The Faux Paws No Bad Ideas Great Bear
What do you get when you team up a rootsy stringband brother duo with a saxophone player, with dastardly drums thrown into the mix? On paper it shouldn’t work, but The Faux Paws have proven that not only can it work, but that it can give rise to one of the freshest releases of the year so far. I reviewed their last release (the BACKBURNER EP) after a chance meeting at IBMA 2023, and at that time declared that I ‘had never come across a harder to classify band’. Happily, on the strength of this new record, they are still (proudly) impossible to pin down into one musical genre. However, the beating heart running through every track is the pulsating rhythm that derives from their joint love of traditional dance music. Andrew VanNorstrandt (vocals & guitar) and Noah VanNorstrandt (vocals, fiddle, mandolin & feet) grew up in NY state, playing in an influential contra dance band with their mother. They met Chris Miller (vocals, tenor saxophone & banjo) some years later, when he had begun to explore musics beyond his jazz training in sax. Eventually he became immersed in folk music, influenced by attending Merlefest, discovering Bela Fleck and learned clawhammer banjo. The trio have now been playing together for 12 years. Miller’s jazz sensibility, along with Noah VanNorstrandt’s love of power pop and their strong melodies combine with old time, Celtic, folk and bluegrass to give them their unique sound.
Night, which opens the album, is a literal footstomper since the percussion is provided by Noah’s feet, along with fiddle, acoustic guitar and bass on this upbeat declaration of love. The glorious Rockingham runs to almost 10 minutes long and is an exploration of the feelings associated with moving to live in a new place. It lopes along languidly - ‘gotta take it slow’- getting to know new people - eventually being taken over by the saxophone in an extended freeform flight of fancy, all the time underpinned by hints of psychedelic pedal steel from guest, Charlie Rose. The sax finally comes back down to pick up the mesmeric beat held down by guitar, bass and mandolin. Three Days In Cheyenne contemplates moving on from a relationship, again with a strong upbeat sax and fiddle led memorable melody. Riverdog is an energetic old timey dance instrumental, complete with lots of ‘oh oh oh oh’s’ from the boys.
Zoe Guigueno plays bass on all tracks and also takes lead vocals on the gentle Sneak Out The Back Door, her delicate timbre most appropriate for the theme of social anxiety or, at least, introversion. The Celtic feel is very strong on the high energy instrumental Bubwa/No Bad Ideas- for this reviewer very reminiscent of the saxophone work of Seamus O’Donnell in the sadly now defunct Irish trad band, At The Racket- fiddle and sax in fabulous harmony, at times heavily percussive. At almost 8 minutes long, the bonus closing track, 15 Below, is another instrumental, featuring more spectacular interplay between fiddle and sax.
One of the notable aspects of the self produced project is the length of the tracks, averaging at over 5 minutes each, which the band put down to years of playing long dance tunes live for gatherings. As Andrew put it ‘we just lived in the music a little bit more’. I sure am glad that they did.
Eilís Boland
Kathryn Legendre Here’s Your Honky Tonk Self-Release
Texan Kathryn Legendre has been at the heart of the Austin honky tonk scene for well over a decade and her first full-length album since 2013’s OLD SOUL is a dynamic 70s-styled country collection of toe-tapping and dance-friendly gems.
Out of the tracks at fever speed with the opener Tailing Eighteen Wheelers and signing off with the mid-paced two-stepper ballad, The Long Haul Legendre doesn’t put a foot wrong. Very much reflective of her live shows, she fuses humour, pain, tears in your beer and full-on honky tonk across the album’s nine tracks.
Ray Benson joins the party, sharing vocals on the hilarious western swing ditty, The Day I Smoked a J with Ray and, on a sterner note, she’s breathing fire in the finger-pointing Tear Your World Apart. Dreams and disappointments are visited in the love-lost Best Western Breakdown and Cigarettes, and heartbreak also raises its head in Back To The Baroom Again. The title track is a matter-of-fact synopsis of where Legendre is coming from. Laced with pedal steel, slick guitar breaks, and raging fiddle, the track showcases the quality of the players who joined Legendre at both Signal Hill and Studios in Fischer, Texas, for the recordings.
It’s not difficult to draw comparisons between Legendre and fellow Texan, Sunny Sweeney. Both possess flawless and organic voices, can draw a tear and a smile, often in the same song, and are loaded with good-natured sassiness. Legendre isn’t attempting to rewrite the rule book here, but HERE’S YOUR HONKY TONK is a prime example of how country music should be done. Hats off to her for nailing it with this hugely enjoyable record.
Declan Culliton
Katie and the Honky Tonks Ain’t No Shame Self-Release
‘IOWA, you know I’m here stay….. but you better have a honky tonk somewhere, someday’ are the closing lyrics on the debut album by four-piece band, Katie and The Honky Tonks.
Indie, pop and rock may be the most popular genres in Iowa City, but with the slow but steady growing popularity for honky tonk outside the traditional country heartlands, band leader Kaie Jo’s wish should be granted sooner rather than later. The other band members are Brian John McCarty (bass, backing vocals), Bryan Hendrickson (guitars, lap steel, backing vocals) and Luke Jerry (drums).
Recorded live to tape at Catamount Recording Studio in Cedar Falls, Iowa and co-produced by Travis Huisman and the four band members, it is their debut full-length album following the release of their 2024 EP TWO STEPPIN’ IN THE SHOWER.
A degree of continuity appears in the songwriting. The ballad Slow Down Honey is a red flag warning to a less than attentive suitor; Boo Hoo could be the next phase in that relationship, and Bye Bye Birdie the final instalment. Women of Country takes a similar stance to that of Loretta Lynn half a century ago, a reminder of the talent of the fairer sex in a still male-dominated industry. High-spirited Ain’t No Shame offers the thumbs up to the partying women types, and the two-stepper Dance Hall continues in that thread of dance-friendly songs.
The real winner here is how the songs come together. The vital ingredients of powerful singing and slick playing gel perfectly, and Katie and the Honky Tonks join the ever-growing canon of women like Summer Dean, Emily Nenni, Sarah Gayle Meech and Kimmi Bitter, to name but a few, that are representing genuine honky tonk music.
Declan Culliton
Josiah Flores Doin' Fine Self-Release
This debut full album, DOIN' FINE, follows Chicano Josiah Flores' 2019 eight-track mini-album AWFUL FEELING. The San Francisco-based singer-songwriter's introduction to his chosen artistic career began at a young age when he led a church youth group band. Although not religious these days, that grounding was critical in Flores developing the skills to lead a band, along with an outlet to hone his songwriting skills. The journey from an evangelical beginning to that of a non-believer is articulated in the album's opening track, Wishin' I Didn't Care, described by the writer as 'his death letter to the church'.
There is a Hank Williams feel to Young, Dumb & Full of Beer, both in the vocal delivery and raw production, even if its core story is more repentant and apologetic than much of Williams' output. The stripped-back La Lucha is a powerful protest song fueled by stories, related to Flores by his grandmother, of difficult times when much of the family's survival depended on migrant farm work. This toil often included travelling in railroad boxcars, packed with others also reliant on this seasonal work to put food on their tables. Recalling South San Jose where he grew up, Southside is a more up-tempo affair, fondly speaking of the town he continues to be drawn back to.
The influences of Johnny Cash, Blaze Foley and Townes Van Zandt are close to the surface on a number of the tracks. The latter's semi-spoken deliveries and absorbing lyrics are certainly to the fore on both Eddie and album closer Flaco & Rose.
Produced by Alicia Vanden Heuvel and recorded at Speakeasy Studios in San Francisco, the impressive supporting instrumentation was contributed by Esther Gonzales (dobro, lap steel), Sydney Peterson (bass), K. Dylan Edrich (Fiddle), Ainsley Wagoner (piano, keys, background vocals) Jacob Aranda (pedal steel), and Marisela Guizar (drums).
Gritty and intense, Flores's stories are interesting and, most of all, wholly believable. Delivered at an assured and unhurried pace, they draw the listener in and hold the attention from start to finish. I've no doubt that was Josiah Flores' intention when creating this body of work and, in that regard, he has succeeded hands down.
Declan Culliton
Rose Morrison The River She Knows Self Release
Nova Scotia is home to Rose Morrison and her talents as a musician have been recognised with three East Coast Music Awards in Canada. Her native Cape Breton threads gently through these songs that are rooted in nature and the power of the sea. There is a gentle sway that inhabits these melodies and Rose sings with a rich vocal tone to compliment her skills on fiddle, viola and guitar.
The title song on this third album sings of solace and empathy for someone who is experiencing hard times, reaching out to console ‘It all changes with time, Rest your hand in mine.’ The Mi’kmaw peoples are among the first inhabitants of Canada’s Atlantic region and are a First Nation tribe whose culture is still very much alive today. On the song For A Thousand Years we are treated to a timeless duet between Rose and the spoken word of Graham Marshall who tells of ‘The old ones, gone past, Listen to what the water is telling you, In the river.’ The Mi’kmaw native language is featured in the song and is mixed with a Gaelic chorus, sung by Rose Morrison.
Mother Annie is a tribute song and a paean to loved ones now gone ‘May you play, dance and sing in good company, Hold onto the ones you call family.’ Another song Let Our Love is a sweet prayer to the power of devotion, the beautiful strings lifting the words higher ‘We walked out to the glen, Over the bridge, She sang to me, All of your troubles will wash down with the stream.’ This was originally released as a single in February 2022 to critical acclaim and features Dave Gunning, and Brian Doyle on guitar.
Award-winning singer-songwriter Dave Gunning plays an influential role in this project, co-producing the songs with Rose and also contributing on harmony vocals, guitars, bass, drums, banjo and synthesizer sounds. Chris Joslin features on dobro on three songs, including the beautiful Sing River Sing, one of the highlights included here. The Celtic melody on the instrumental Lady Katherine’s Waltz illustrates the deep connection that exists with Irish music traditions and Rose has previously collaborated with Glen Hansard and Breanndán O Beaglaoich, with her invite to play at the concert tribute to Sinéad O’Connor and Shane MacGowan in 2024 a poignant memory.
Rose wrote all these songs featured over a period of years and although her reputation lies more in her instrumental prowess, there is plenty of evidence that these hidden reflections are worthy of finally being set free. There are three co-writes included and the entire album is a real joy from start to finish. Well worth your attention.
Paul McGee
Sacred Vagabonds All That Matters Self Release
Lush production courtesy of producers Brian Gentry and Ken Marvin. It harkens back to classic sounds of the 1960s and these rich harmonies woven together form an integral part of the sweeping melodies that fuel the six songs. The EP was recorded at Sweet City Sound in Nashville and it’s a fine example of what can be unfurled when like-minded artists come together in song. The musicians are Brian Gentry (acoustic and electric guitars, harmonica, vocals), Ken Marvin (guitars, bass, percussion, vocals), Kim Parent (guitars, vocals), Paul Eckberg (drums and percussion), with Alison Prestwood (bass), and Ray Braun (keyboards) completing the studio players.
Both Gentry and Marvin have previously worked together in a band named Peace. They were joined by ex-America founder member Dan Peek, who sadly passed away back in 2011. The duo decided to continue in honour of their fallen comrade and indeed there is a strong musical influence of America running through these songs. They are joined by Kim Parent (vocals, acoustic guitars), and the three-part harmonies created is the key element of the EP. Twenty two minutes of music and not a weak track, kicking off with Beyond Blue and a song about loss. The lovely melody belies the lyric about missing the presence of a loved one. The album is dedicated to the memory of Jill Gentry Alexander, the sister of Brian Gentry who died after battling cancer in 2024 last.
The song Amelia is contemplating an old love that has now faded away. The regret that is housed in the vocal harmonies also sending positive thoughts for new experiences to be kind in the ex-partners travels. Again, the sweet song arrangement sweeps the vocals along a blissful path. Goodbye Old Friend looks back to younger days of blue skies and looking optimistically forward, whereas in the present the skies have turned grey. The exuberance of youth cannot be revisited sadly, and again this is a song of goodbyes. The inclusion of harmonica is a nice touch in the song arrangement.
Here Down Below again explores loss and asks for a sign that we go on after leaving this mortal coil ‘Can someone above show me a sign, because here down below, love is blind.’ All That Matters follows and the weight of the world is disguised by the nice mid-tempo arrangement and the sweet harmonies ‘Ever since you’ve been gone, the love we shared is all that matters.’ On the final song Shimmering Skies we are given a sense of the grief that death unveils in the memories that can haunt ‘I can hear you calling out my name, walking upon the water, I can feel you calm the wind and waves, when I’m going under.’ Again, the use of harmonica is very effective. This is a fine set of songs and leaves the listener wanting to hear more from this talented band.
Paul McGee
Hat Check Girl 29 and Gone Gallway Bay
Atmospheric country noir in the form of a duo about whom it has been said “intense yet unhurried and quiet, poetic as they enjoy each other in deep partnership” (Michael Devlin).
Both Michael Gallway and Annie Gallup have been releasing music for many years now, either as solo artists or as this duo, Hat Check Girl. The opening song Twenty-Nine and Gone is a tribute to the memory of Hank Williams and his troubled life, cut all too short at the tender age of, yes : twenty-nine. The words paint pictures of ‘a black locomotive coming for the kill’ and ‘A black sheep son’’ with telling references in ‘damn that whiskey and every master it serves, give me something stronger for all this pain.’ Dripping with atmosphere.
Radio Darling is a love song to the intimate relationship that exists between two lovers and a common bond forged in music. Annie sings in a wistful style that contains so many reflective tones. There is a meditative quality to these songs even if things are kicked up a notch on the more up-tempo One-Stop with relationships again to the fore ‘I forgot to remember to forget, me and Janey on the porch for hours.’
Fight the Devil has some lovely guitar lines, courtesy of Peter Gallway, as Annie sings about an odd coupling and the depths through which a love can run. It’s a new version of the same song that appeared on a very early album. If you are looking for equality in relationships then don’t listen to The Record Skipped where the vagaries of troubled love are clearly illustrated ‘ Jack says I’m a black hole, George says I’m a deep well, Joe says I’m a lost soul, Jake says I can go to hell.’ Excellent wordplay to illustrate the message.
A Lot Of Try is a story song about resilience and facing up to the challenges that grief and loss bring ‘Well this world will throw you everything it’s got, And all you can do is take your best shot, There’s times you’ll shake your fist at the sky, Till there’s nothing left to do but cry.’ Other songs deal with the compromise of living and the decisions we make, whether the doomed actions of the guy in The Light Beyond the Streetlights, or the deals made for better or worse on Winning Hand ‘I played to win by losing.’ The song Pilot Light is a sweetly delivered schmooze, and talks of going to the love doctor to have your perspective reset on matters of desire.
The final song Carry You Now is superbly arranged, with ghostly guitar sounds and a prayer to ease you into the next part of life’s journey. The song was inspired by the passing of a favourite pet, but it’s equally relevant for any loved one we have lost. A very rewarding album on many levels. The talents of these two artists continue to shine brightly.
Paul McGee
Ryan Holweger The Golden Paper Flower Self Release
There are nine songs on this follow-up album to Holweger’s debut GUNMETALl SKY, which dates back to 2018. This time out the Minneapolis-born musician used the Capture Studios in Syracuse, New York, where he now resides, to record the project and both engineering and production was handled by Casey Ahrens-Cavallo.
It has been difficult to obtain relevant information regarding the musicians used on these tracks, and the official website makes a short reference to “classical guitar player Aaron Bobis, bassist Blake Propst, and Holweger’s talented wife Katie Anderson, who once again lends her voice to her husband's music, singing backup on two songs The County Route and Bird.” Singer Reagan Helen also guests on co-lead vocals for the song Settle In Easy but the remaining musicians will have to remain anonymous.
The songs are very well constructed with a loose feel to a number of the arrangements, leaving lots of space for the players to express themselves. The title song is a nice album opener and an easy groove about meeting up with friends ‘ If you don’t know where we’re at, On this late hour, You will find us towards the back, Of the Golden Paper Flower.’ There is some nice classical guitar and pedal steel as the gentle pace continues on Bleed All Over, another relationship song and the light percussion signals a message of ‘I don’t think you realize, Standing there at our last sunrise, How it feels to be apart, Tearing pieces of my decrepit heart.’
Reagan Helen shares lead vocals with Ryan on Settle In Easy and yet another relationship song ‘I was hoping to see you comin’ through that door, What am I even gonna hope that for? To finally figure out what we always knew, If it’s not working then it’s time to choose.’ It’s one of the highlights on the album. The song Dehydration sings ‘ All I wanna do Is hang out in the kitchen, Drinkin’ whiskey with you’ - which may well be the reason why dehydration hit in the first place.
The Country melody on Some Lives is led by nice pedal steel and piano, with the guitar solo echoing a sense of live and let live. Things slow right down on the sweet sounds of Bird, a song to a newborn baby that celebrates life. There is some nice interplay between banjo, pedal steel and guitar as the writer observes ‘Soon she’ll be one year old, Next, she’ll be driving a car.’ Another song The Country Route is about slowing down time to enjoy daily life and to opt to take the long way home, the rhythm section propelling the song along a nice tempo that allows keyboard and pedal steel to add colour.
As the album winds down, Wasted Gods is another fine song that displays some virtuoso playing on a song that examines beliefs and the dynamic in what we believe as the correct thing to hold dear. The final song is Hope You Don’t Forget and if there were a note to end on, then the sentiment to keep the spark of love glowing is captured ‘You may not still remember, How to do all the things you used to do, I hope that you don’t forget, That I said I love you.’ This is a strong album and one that stands up very well on repeated plays.
Paul McGee
Eva Hillered Take Me Home Self Release
Eva Hillered is an established Swedish singer-songwriter with ten solo albums to her name, in addition to success as a singles artist. Her sound is very much in the area of Americana and Folk influences and on this seven-track album she includes two cover songs from Patty Griffin and Shawn Colvin.
The title track is a co-write with Jerry Sillah and it opens proceedings with a mid-tempo arrangement and a plea to her lover for sweet sanctuary. Horses is a song that looks at the wild freedom to be found in relationships ‘You say, just come closer, You're much too far away, Warm blood, shoulder to shoulder, Right here wild, On the hills.’ Elsewhere, on Open It Up, Hillered urges us in the repeated refrain ‘Don't limit yourself, open it up now,’ to be brave in living your authentic life.
Her vocal is both assured and strong in the delivery with her rendition of Forgiveness (Patty Griffin), showing her more considered side in what is a fine interpretation of the original song. Also, on the Get Out Of This House cover (Shawn Colvin),Hillered is laying down a statement of an independent woman breaking free from the chains imposed by compromise.
Today is a self-penned song that highlights Hillered’s vocal depth on a track that celebrates the joys of love and has a nice blues feel in the delivery. The final song Water Is Life uses the imagery of magical water as the essence of creation and asks to ‘Let me go down to the wide blue ocean.’ Another example of the varied talents of Eva Hillered. An engaging album.
Paul McGee