Simeon Hammond Dallas Seventeen self release
The third EP from London native Simeon Hammond Dallas sees her looking back on her life, friendships and relationships to date as she enters her third decade, discovering the benefit of hindsight. Her sound this time round takes a slightly different path, there’s less of the blues, country and jazz and instead she has chosen a more power pop sound, evidenced by her choice of producer in Fred Abbott (formerly of Noah & The Whale).
The title track sets the tone and theme for the collection, being an honest acknowledgement of mistakes she made in an early relationship with an older man, “I was afraid to say no/I’d blame myself when you go’. SHD admits that she has repeated this pattern in her relationships ever since. Producing this song herself, it is the quietest track on the EP, with Gabriel Holland providing a piano accompaniment behind her accomplished acoustic guitar playing. Her powerful voice is equally comfortable and effective in the rock/pop sounds of the other four tracks. The catchy Fallen is a perfect piece of power pop, although with perhaps more authentic grit in the lyrics than the usual radio fare, ‘I’ve fallen in love with a car crash baby and it’s headed towards me/ I’ve fallen in love with a storm cloud and I didn’t get any warning’. There’s a lingering country influence in the memorable Do I Die?, though Abbott on electric guitar, bass and keys, along with Christopher Morris on drums, lend it a distinctly poppy flavour.
Four In The Morning details another relationship that’s going down the tubes - ‘All those wasted nights/We fight, I cry, and try to be something you like’ -but at last SHD is coming to a realisation.
She calls out a poisonous former friend in Bad Liar, ‘You should have just stayed quiet/Dragging my name though the dirt’s/Only gonna hurt you when it backfires/ Ooh you’re a bad, bad liar’. Don’t mess with this gal.
Simeon Hammond Dallas can do angst with the best of them, but hopefully this slight change in musical direction will garner more commercial success for a talented artist who is clearly taking control of the next chapter of her life and her career. She will continue to wear her heart on her sleeve, but perhaps her luck is about to turn.
Eilís Boland
Ethan Harrison Smith Live On the WDVX Blue Plate Special Self Release
An interesting live EP from a singer-songwriter who resides in Atlanta, Georgia. It originally surfaced back in 2014, but I received a link to the music in an e-mail from the artists and decided to give the songs an airing. Whether it’s getting a reissued release is unclear, but just in case…
Acoustic guitar and harmonica… essential elements in the boiler room of any aspiring artists’ tools of the trade. I listen to opening song Maybe, Baby and the enjoyable combination of guitar strum and lifting harmonica are immediate as the song tells of unrequited love ‘ Every time I fall in love, Something in me dies.’
Next up is I Can Talk To You and the rhythm echoes the singer finding real communication with his loved one, even when, all around, his attempts at relationships continue to mess up, ‘I got a million things to say, And I know that it don’t seem that way, Cause when I talk I stutter and mumble too.’
Roll Water Roll then slows things down as Harrison Smith is lost in self-thought and looking for balance in the depth of his self-doubt. Water as a remedy, or perhaps a new baptism. Line In A Song is another relationship challenge and the strong vocal hopes that all the pain suffered will be overcome. The final song on this live EP is People Like Me with a sense of dislocation in the words, and the sentiment ‘These empty bars, they don’t ease my mind, it’s so hard to find a heart that beats in time with mine.’
WDVX is a community radio station in Knoxville, Tennessee and the Blue Plate Special is a live performance show on their schedule. Harrison Smith also included an additional song I Was Here which again displays a keen writing style as it reflects upon our existence while we are alive. It is part of a 10-song compilation album called Secret Stash which is available on the official website.
Paul McGee
Michael Henchman If the Sky Fell Self Release
This is a third album from the contemporary folk artist Michael Henchman. He wrote and arranged all twelve songs included here and if gentle, reflective acoustic music is what you crave, then the tracks on this album will more than satisfy your needs.
Nature features prominently across these songs articulating the life experiences of Henchman and his three decades of living in the wilds of Alaska. The mountains, the trees and the sea all find their place in the imagery as Henchman looks upon our life patterns and the decisions that shape us.
There is an intimacy to these songs and the positive affirmation of Love Always Finds Someone, coupled with Life Is Rich bring messages of living full lives and experiencing the joy in the days we are given. Songs like Ghost Pines and Burning Bush carry messages of what lies beyond our initial actions and sensitivities, whether it’s the ghost of a lost lover haunting or in behaving like our pride should stand as the most important focus in what we do with our lives.
Henchman is a multi-instrumentalist and he is joined in the studio by an array of talented players in binging these arrangements to life. There is not too much gear shifting on these songs and we tend to remain in the middle ground of easy going melodies that occupy a quiet space and provide an atmosphere of contentment.
Blue House Dreaming is a fine example of the writing here with a look back to a family home that has seen children raised and now moved out, into adult lives. It contains a knowing reverence to parenthood and the place of love within a family. There are songs that look at some of the pressures in life and Days By Degrees visits the daily pulse of a city and the inhabitants going about their routines, with that sense of isolation felt in the search for meaning and fulfilment. East To West also looks for measure and a way in which we can live for a higher purpose ‘It don’t seem like the answer’s coming anytime soon, Throwing up our hopes with all the latest news.’
The overall commitment to nature and to keeping attached to the wonder is captured on If the Sky Fell and the lines ‘Something in the wind calls my name, Though I never was a rolling stone, Time to get away from everything, Free the spirit, lose the home.‘ These are gentle songs that nestle in beside you on a quiet night and whisper their messages. The playing is understated and the production qualities are very high. Certainly an album that gives food for thought and one that will creep up upon you slowly.
Paul McGee
Barry Oreck and Friends We Were Wood Self Release
Brooklyn, New York is home to this singer songwriter and he has been releasing music since 2016, with four previous releases to his name. This album was self-produced by Oreck and Bob Harris who also contributes to the album on mandolin, keyboards and percussion. The ten songs were written by Oreck, with three co-writes included and involving Rob Meador.
Just Enough Pain kicks off proceedings with a sweet folky melody and the co-vocal of Rima Fand harmonising nicely on a song that questions our commitment to the environment and the abuses that we increasingly tolerate. Build Me A City is an attack on urban development and property speculators. There is a price to be paid for apparent progress and the song is specifically aimed at Robert Moses, a developer in NYC who caused huge change in the manner in which the city was developed.
The title track We Were Wood is a look at the importance of trees to our eco-system and the way in which humans not only take them for granted but who also abuse their uses ‘We hold the earth together, we’re the fur and we’re the skin, Burnt seeds, deep roots, we’re covered in fruit, We’ve got connections in high places, enemies in hot pursuit.’ A homeless people and misguided planning is the tale contained in the song The Norris Dam where the Tennessee Valley Authority persuaded families to sell their farms, scheduled to be submerged in 1936 when the Norris Dam was developed. The lovely violin of Rima Fand features dramatically in the melody
Trust is a song that examines the dynamic in a relationship and again the violin of Rima Fand is a highlight. She Was Supposed To Cry continues this relationship theme with the girl finally leaving and all the pointless fights now firmly placed in the past. It’s a fine country song and the guy certainly gets his comeuppance ‘When she came to the bar I thought she had forgiven, My meaningless flings with other women, Then a guy walked up and touched her hair, She left with him, she didn't even see me there.’ Karma indeed. This is a very enjoyable album and one that I continue to enjoy on repeated listening.
Paul McGee
Patrick Rydman and Mark Davis You Plus One Self Release
Six songs that run over twenty four minutes and highlight the excellent harmonies of this duo. They originally met in California some years ago and their collaboration was delayed until they found themselves living in Europe, with Denmark and Sweden their host nations.
Both artists have released solo works in their own respective careers and they bring much experience to the writing process. The songs are varied, speaking of friendship and of love, in their multi-layered variety; the plight to the world and the search for real meaning are also important issues upon this spinning globe and whether we can endure is anyone’s guess.
On the title track You Plus One the vicissitudes of life are examined and the way in which our dreams and expectations don’t materialise just because we wish them so. Life can feel like it’s only just a day away from where we want it to be. Sailing Time is a love song that asks for a partner to join in the struggle against the storms of life’s journey and the challenges that form such a part of any relationship. The enduring love can conquer all things, and this is the message here.
Who’s Got the Time? questions our way of living and the constant need to keep busy and moving forward. The lack of real communication and the inability to listen to the sounds of nature cause us real harm. With the song The Box we are asked to step outside of accepted norms and to live life more freely. Self limitation is a terrible thing and our resilience is tested as we try to see the world in different colours.
Ghosts has simple piano accompaniment on a song that reflects upon a past relationship and the feelings that still haunt a decision to part ways. The final song To Be Home is a hope to put away feelings of impermanence and yearning for something not seen, to be more present, and to happily live in the now. There are no musician credits that I can find, so my assumption is that Rydman and Davis play most of the instruments. The song arrangements are very much steeped in melody and lush sounds, all of which makes this project something that should be repeated by this creative duo into the future.
Paul McGee
Kemp Harris The America Chronicles Self Release
This singer-songwriter dwells in the space between different musical styles. He’s also an actor, activist, author, and storyteller, plus an award-winning educator who has taught young public school students for more than 40 years.
The opening song Ruthie’s is one of segregation at its core and the reflection that ‘maybe love will set them free.’ It’s a soulful sound with piano and keyboards featured in the mix. The following song is along similar lines and looks to poverty throughout the world but specifically at home in his America where mass shootings are also a grim reality. Don’t You Hear Them America is full of reggae beats but masks the plea to recognise the inequalities in society.
The song Tulsa refers to the race massacre that took place in 1921. White supremacists carried out a massacre where mobs of white residents attacked black residents and destroyed homes and businesses. The event is considered one of the worst incidents of racial violence in American history. Harris grew up in the local community of Edenton, North Carolina and laments the certainty to life back then. He misses those days of innocence on the song Edenton and rues the way that society has changed to one of fear and hatred in greater proportions. It’s wrapped in a sweetly soulful sound.
Standing Your Ground continues this theme of hatred and violence in our cities where murder is as cheap as the reasons behind why it happens in the first place. Ego and pride at the centre of so much suffering. The song Down is pure in its message about keeping your head up at all times, no matter what the obstacles ‘But when push comes to shove the open hand becomes a fisted glove, So much for the brotherhood of man.’
“It’s all about communication,” Kemp says. “Everything I do.” This is his mantra and his previous album releases cover similar ground in trying to influence listeners to the message of peace and love through his beautifully honed vocal style. The song In For the Kill looks at greed that is prevalent in the actions of those with power in society. This Is America Right is almost bordering on a theme song from a popular musical, delivered with great pathos and supported with circus sounds. The Elton John/Bernie Taupin co-write Border Song is prefaced ironically, one feels, by America (the Beautiful), the patriotic song. The resonance of the lyric ‘There’s a man over there, What’s his colour? I don’t care, He’s my brother, let us live in peace.’
The lullaby Goodnight America puts everything to bed and asks for understanding in the struggle towards enlightenment ‘I loved you then, I love you still, You always have my heart, And we’ll all keep trying, Yeah, we’ll all keep trying.’ If only we could believe in a sunny day tomorrow. This is an album of great heart and soul and is very much a prayer for reconciliation from an artist who has lived through the many stages of hopes and dreams redefined. Well worthy of your attention.
Paul McGee
Ed Haaker Project Born To Rock Self Release
The title says it all, and this is a classic slice of Americana music, fuelled with strident guitar sounds and a coterie of great studio players who feature on the ten songs included. Duties are shared in the studio with multiple credits for drum, bass and guitar contributions. Producer Keith Lynch also stars on lead vocals, guitars and bass across a number of the songs and Haaker plays rhythm guitar throughout. The Ed Haaker Project is a collaboration of many co-writers each taking turns performing the compositions. The songs span the musical territory from story songs to blues, and into hard rock.
Can You Feel the Power could be a song that slots easily onto any Allman Brothers recording with the laid-back rhythm and the lyrical quality in the vocals and the playing. It sounds so sweetly loose in the delivery that you know just how practiced these players are. Despite a middle-eight where the vocals take an unusual turn, it’s a great song. Another relaxed song is Call Of the Road and the band supports the guest vocal of Jim Kimo West with a look at nomadic lifestyles ‘I know there’s something out there, I’m not just spinning my wheels, May not know what it looks like, But I’ll know it by how it feels.’
The great dynamic on Born With the Blues is a highlight with Jimmy Wood prominent on harmonica and some very tasty guitar from Keith Lynch, with the backbeat of Keith Carlock and steady bass of Jimmy Johnson setting the rhythm for the song to take flight. The atmospheric keyboards of Michael Ruff on Pacific Breeze project the image of lazy days and easy living as the instrumental plays out on the smooth jazzy sound Lynch’s expressive guitar.
Tomorrow May Never Come is a rousing workout that brings echoes of Eddie Van Halen on guitar shredding, courtesy of Keith Lynch, and the soulful backing vocals of Amanda Frazier providing the perfect support for the excellent lead vocal. Hell Of A Ride takes on a quiet pace and is a fitting tribute to the memory of the greatly missed Jimmy Buffett ‘*I see him chilling by a palm tree barefoot in the sand, Glint in his eye, Guitar in his hand.’ There is a great energy on closing track Ain’t Gonna Change with Amanda Frazier featured and a Stones groove in the delivery. An excellent album, filled with great Americana and Rock tunes, and a feast to enjoy, from all involved.
Paul McGee
Eliza Gilkyson Dark Ages Realiza
What was initially intended to be a celebration of Kamala Harris's Presidential victory, the direction of Eliza Gilkyson's latest album took on an entirely different focus following the results of the 2024 election. Taking its title from the decline in culture, intellect and economic stability during the Early Middle Ages in Western Europe, the album's message may be one of 'history repeating itself.' Still, alongside that sentiment, the material also emphasises the belief that today's trauma and chaos will be replaced by a more caring and inclusive world in the future.
As a result, the album includes 'fire-spitting' songs with unflinching lyrics like the title track, with an obvious target in mind ('Dirty old man with the dead snake eyes, fork-tongued devil telling lie, lie, lies. Holding up his bible like a wannabe martyr, never gonna buy back the soul he bartered') and Dark Night Of The Soul ('There's some bad news going 'round, our whole world's turned upside down, dreams are shattered, hearts are broken………Alpha white boys thumping on their chest while they dictate to the women what is right, what is best, they all bow down when the big dog barks').
On the other side of the coin, Times Like These ('You gotta pull yourself together/in times like these, figure out how to weather times like these') is a tender call to arms, and the opener Song To You, written by Gilkyson over fifty years ago, rejoices in the healing effect of music. Man In The Moon is dedicated to the late Jimmy LaFave, a close friend of Gilkyson.
Produced by Don Richmond, who also contributes the majority of the instrumentation, DARK AGES, despite its motivation, is surprisingly upbeat in its deliveries. Gilkyson is in fine vocal form throughout, drawing the listener into mid-tempo ballads that delicately and convincingly handle a bleak theme. However, that's hardly surprising; she has consistently hit that high mark with her recordings for over four decades now.
Declan Culliton
Alaina Stacey Dusk Self-Release
Chicago-born and now Nashville-based singer-songwriter Alaina Stacey's latest album is the final instalment in her trilogy DAWN, DAY and DUSK. An EP/mini-album, it includes the final six tracks, which complete the trilogy's nineteen songs.
A former member of the country trio Maybe April, Stacey is forging ahead with her brand of modern country, while attempting to sidestep the current industry direction that many similar artists are drawn to.
Given its title, it's little surprise that the nature of the songs is in keeping with a time of day when reflection is key. 'Being a performer in Nashville made me aware of the constant attempt artists make to create a 'sound' that reflects the musical genre into which they best seem to fit. With this project, I decided to relieve myself of that burden for a moment and create a sound that reflected, to me, different times of the day,' she explains.
The result is an introspective suite of songs that tap into personal issues and dilemmas. Insomnia speaks of problems that appear insurmountable in the dark of night, and many of those sleepless nights were the result of a relationship breakup. The opening track, Think of You, revisits a previous courtship and, similarly, Revolve visits unrequited love and the pain of finally accepting that the flame is well and truly out. A song written some years ago, 'Drunken Lullaby, recalls a flatmate arriving home late at night, uncharacteristically with a few drinks too many on board. In the song Stan, Stacey fondly remembers her late grandfather, who had Alzheimer's disease.
A melancholic mood prevails throughout the album, which is precisely what Stacey aimed for. Tapping into country/pop ballads rather than traditional or mainstream country, Stacey's vocals are excellent and achieve the aching sound that perfectly suits the material. DUSK fulfils the promise of its predecessors, DAWN and DAY, and serves as another stepping stone in the career of an artist who, despite a crowded playing field, has the credentials to continue climbing the industry ladder.
Declan Culliton