Dave Desmelik Among Friends Self Release
A new album from North Carolina’s Dave Desmelik is always welcome here at Lonesome Highway. Despite lack of major commercial success, Dave keeps putting out his independent releases because he truly believes in the power of music. For this, his 19th release, he has taken a slightly different tack and has recorded his interpretations of songs written by nine of his friends, with just one of his own compositions. Playing all the instruments himself, he supplies acoustic and electric guitars, bass, keys, synths and drums to provide a pleasant folk/roots/alt country back drop for his vocals, which have an appealing fragility. These are not easy songs. They reward attentive listening because it’s all about the lyrics, folks.
New York Times (by Jimmy Davidson) details the tough life of a blue collar worker who laboured his lifetime in the merchant navy and who ‘lived such that nobody noticed too much/ he kept to his place in the line’, until one day something momentous happened. The protagonist in Immaterial Boy (by Steve Mayone) thoroughly rejects capitalism and so called progress, while Everyday Theatre expands on Shakespeare’s ‘all the world’s a stage’ philosophy. Pulling no punches, Jay Brown’s Be Real advises that ‘now ain’t the time to string us along/ with meaningless singing of meaningless songs’. Preach it, Dave!
Unusually, there’s just one heartbreak song here - the pleading Come Back, from the pen of Aaron Woody Wood. Desmelik’s old friend from Arizona, Nolan McKelvey, provides the moving ballad Durango, which relays the story of an aging rancher approaching the end of his life with acceptance and peace, seeing it as completing the cycle of life, and asking to have his ashes scattered in the Animas river. Impending death is also the subject of Betsy Franck’s Used To Be, but this protagonist is not quite so sure what is awaiting ‘on the other side’, due to a less than salubrious life.
The album closes with Dave Desmelik’s own song, Tear It Down, and his anger is palpable. It’s there in his vocals, in his strident piano and harmonica accompaniment. ‘Now I live in a world that I used to could understand. I been here too long now. I still won’t let you tear it down’. We hear you, Dave.
Eilis Boland
Will Overman Stranger Self Release
Growing up in Virginia saw this singer songwriter develop a real love of music, and an early decision to learn cello was something that started Will Overman on his journey towards a career in music. While living in Charlottesville, he formed his first band and an eight-track album titled SON, appeared (2013). This was followed by a six-track EP, DIE WHERE I BEGIN (2015) and a self- titled album appeared the following year, including a few tracks from previous releases.
A further EP appeared in 2017 (CROSSROADS), and back in 2021, Lonesome Highway reviewed his last album release, titled THE WINEMAKER’S DAUGHTER. We were suitably impressed with the fine songwriting at the time, and apart from a five-song EP, LIVE FROM VIRGINIA (2023) there was little further activity. However, now the opportunity to catch up with this interesting songwriter arises as he delivers the results of his Covid lockdown labours, and a new album spanning eleven songs.
This time around, we are introduced to a new set of studio musicians and production duties are handled by Bobby Holland & Brad Sample, both of whom feature on the album and contribute as musicians. The songs featured are all co-writes, with one cover version of the Killers song, Read My Mind. The sound is very much in the Americana arena with strong song structures and bright arrangements.
Virginia Is For Lovers has a sweet melody, wrapped in pedal steel, banjo and piano interplay. The song has Overman looking back on his youth and the happy memories that have now been replaced by more recent life issues. Indeed, a number of these songs are steeped in self-analysis, decisions made, and the consequences of focusing upon a career as a travelling musician to the exclusion of all else.
Bowery makes reference to the difficulties in keeping momentum in a music career of many lows and relatively few highs ‘There’s a Tik-Tok kid who has sold out the room beneath me, and I’m ten years in and wondering if anyone believes me, There ain’t nothing in this life I expect to get for free, But I thought by now I’d be running on more than a dream.’ Again, on the big sound of Landlocked Heart, Overman sings of the urge to follow his nomadic dreams ‘Is this an anchor or a sail, Am I just chasing fairytales, Cause I’m four weeks in, my phone is dead, I’m homesick and I’m sick of this, I drove twenty hours round-trip for an hour-long hit.’ Hard earned insight into the life of this travelling minstrel, and illustrated with honestly on both of these tracks..
There is a much bigger sound on this album compared to his 2021 release with more layering and sonics in the production. The commercial sound on Names and the sing-along chorus has radio hit written all over it and the song highlights the lure of transient relationships, even if the abiding feeling is one of loneliness ‘I'm too broke for therapy, You're too broken to change, It's better that we don't know each other's names.’
The title track Stranger is a self-acceptance of the price to be paid for continuing to chase success ‘I thought the grass would be greener turns out it’s full of weeds, I thought it would be everything that I wanted, turns out it’s nothing that I need, Turns out the shit I left back in Virginia just followed me to Tennessee.’
A stand out song is Funeral For A Friend and it references the sad memories that follow after a divorce, likening the pain to that of a funeral. The previous album was a tribute to Overman’s wife, and her fight against cancer over a number of years. Having survived this battle, the couple then navigated the Covid years and the inevitable pressure and strain brought by having to hit pause on music and on touring revenues. The decision was taken to part and go their separate ways and this song carries that pain in the slow acoustic build and quiet synth sound echoing the words ‘There ain’t nothing about who you are that I ain’t gonna miss, Our love was supposed to last until the end, Now every day’s a funeral for a friend.‘
Another personal song is Held Up By A Woman highlighting the difficulty in trying to move on with living. When you are getting used to life without your long-time partner, you start seeing images of them in everyday activity as you go about your day, perfectly captured in the words ‘Now I’m too broke to date, and I’m too desperate to wait, Was that you walking down Gallatin Avenue, Yesterday.’
The country sound of Somewhere Upstate is very bright and engaging, even if it hides the emotion of wanting to get back home, and the harmonica sound offers a plaintive memory ‘In her arms my sanctuary, Now it’s truck-stops in January, If I can’t go back, I’m taking the long way home.’ Equally, As A Crow Flies looks back at earlier happy times and there are images that can still haunt ‘All your pictures on my phone make it hard to be alone, fucked up on your memory, Or maybe it’s all this whiskey.’
Will Overman now resides in Nashville and works closely with Evan Hunsberger who doubles as his manager, in addition to being the band’s drummer. With all the upset of a divorce, coupled with a move to a new city, and added to the demands of the Covid years, Overman reflects in the song The Bottom ‘I lost so much, I gave up on my wife, I’ve questioned my life, shot up on myself and got high on my pride, I’ve climbed and I‘ve climbed, Only to find the bottom.’ Well, if this is truly the case, then the only way is back up.
There is no questioning the talent on display and Overman sings passionately with his engaging vocal always finding the bulls-eye. The album comes highly recommended and all credit goes to Will Overman (acoustic guitar, harmonica, synthesizer, lead vocals), Bobby Holland (bass, guitars, keyboards, synthesizers, percussion), Brad Sample (acoustic, electric, slide guitars, percussion, backing vocals), Brittany Bishop, Evan Hunsberger (drums, vocals), Kaleb Jones (backing vocals), Ryan Lee (bass, guitar, backing vocals), Kyle Tuttle (banjo), Sam Wilson (pedal steel), Stephen Roach (keyboards, piano, synthesizer, Wurlitzer).
This ensemble of musicians that would grace any album, let alone one of this excellence and quality.
Paul McGee
The Tasty Kings Native Tongue Self Release
Songwriter and musician Andrew Morse founded The Tasty Kings and this is the third album from the NYC-based band. Their sound is very much rooted in R&B, with added dimensions, and on this new release the presence of guest vocalist Blondie Chapman is front and centre. He is known for his appearances with such acts as The Rolling Stones, The Beach Boys, The Byrds, Rick Danko, Brian Wilson, Jeff Beck, Brian Wilson and many more. His expressive vocal delivery dominates proceedings here and the soulful rhythm and blues feel throughout is a real pleasure to hear. These songs were only released in digital format originally, back in 2023, and exposure was minimal. This represents a re-release of the project and it is certainly worth the investment.
Opening with Done and Dusted and that sense of feeling burned out, the sentiment in the lyrics is one of fatigue ‘Done and dusted, I'm just waitin' to be, Done and dusted, Nothin' left of me.’ That sense of dreams unfilled carries into songs like South America with the lyric ‘And the hero is confused, His feelings are bruised, And his big day was ruined, By the small size, Of his crowd.’
Another song, Ocean’s Unfaithful, has a cool Stones vibe in the loose arrangement and the guitar riffs, while the solemn hymn on George Floyd is in stark contrast ‘Well, two sets of rules, One black and one white, That's the best we can do, As you beg for your life.’ Subtle guitar brings an additional layer of emotion to the arrangement.
Flyboy is a clever song in reference to Daedalus, a craftsman, and considered the inventor of carpentry. In Greek mythology his son, Icarus, flew too near the sun on wings of wax and feathers in search of a dream. The standout track is Steady Reggie and it has such a sweet groove, ‘The gun on your hip, now, is gone to your head, Steady Reggie, hear what I said.’ Again, some sweet guitar playing compliments the overall rhythm and brings a smile.
The acoustic strum of Kiss Me has a soothing presence, as it hints at a relationship at a crossroads ‘Maybe you got a generous heart, Maybe things are coming apart, Maybe I forgot how to fly, Maybe I'm blind.’ The concluding track Girl Next Door is a memory of time gone by when a hidden crush remained unspoken ‘Her hair in a braid, As the evening light fades, Her voice calling out, “Hey, ain't I seen you before?” That girl next door. ‘
The lack of album credits restrict me from listing the fine musicianship that the Tasty Kings display throughout. The founding member is songwriter and musician Andrew Morse, and his move to include Blondie Chapman proves to be an inspired choice on this excellent collection of songs.
Paul McGee
Marina Rocks S.O.S. Texas Self Release
Straight out rock n’ roll on opener It’s All Messed Up and memories of the seminal Runaways sound in the groove. Marina plays a mean guitar riff and she is very much on top of her creative inspiration on this new album. The song S.O.S. is one that displays a real sense of irony in the lyrics that focus on the plight of trying to ‘make it’ as a female artist in the music industry. Be true to yourself, girl!
The Hollywood Sign has a slow burn with some sweet harmonica and a song that deals with lost dreams. A very nuanced vocal delivery from Marina, and followed by the up-tempo groove on the fine instrumental I Don’t Know, quite the opposite dynamic, but no less worthy of attention. Again, some great band interplay and unfortunately, the musicians are not credited on the information that I received. However, hats off to you all, whoever you may be!
One More Song channels Lucinda Williams in the vocal timbre and is a soulful plea to the muse of broken hearts to ease the pain. A fine example of the heartfelt talent of Marina Rocks. The tough stance on Mind’s Eye is wrapped in an easy melody and a message of being open to the world and what may fall our way.
Standout song Slap Happy has the band in full flow as the addictive groove extends into a climatic guitar and keyboard swell. The easy touch on Starlight is in complete contrast as Marina delivers a really sweet instrumental meditation. A return to One More Song concludes the album with an emotional rendition that highlights the passion of being in the moment ‘When did we get this way,’ a recognition to the broken hearted in need of redemption. A very fine album.
Paul McGee
Rachel Whitcomb Wildest Dreams Self Release
There is not a weak song here, among the ten excellent tracks included on this debut album, courtesy of the Associate Dean and Associate Professor of Music Education at Duquesne University, Pittsburgh. Folks, I give you the impressive talents of Rachel Whitcomb.
Rachel has assembled a group of Nashville’s finest session players to interpret these songs and bring them to life. We are given the talents of Brent Mason (electric guitar), Pat McGrath (acoustic guitar), Ryan Joseph (fiddle), Duncan Mullins (bass), Johnny Brown (keyboards), Scotty Sanders (steel guitar), and Garth Justice (drums). Such superbly delivered playing of understated excellence and nuance.
Honky Tonk opener Walk Of Shame is a great way to introduce the music with a swinging tempo and a nod towards the groove of the famous Joe South song, Rose Garden (I Never Promised You), with pedal steel leading the melody. Next up is a slow dirge to unfulfilled romance on You’ll Want Me and a look at sad times when feeling left behind, fiddle and pedal steel featured as the echo of longing. Kryptonite is another slow burn that channels raw desire and the electric guitar brings a sweetly cool blues energy to the song arrangement.
Live In the Lonely is a heartbreak song that asks how to move forward from a relationship breakup. Again, the impressive guitar of Brent Mason elevates the arrangement as Rachel asks ‘How can you turn all your feelings around so your hopes don’t resemble your fears.’ The level of maturity in the songwriting reflects someone who is fully immersed in the creative process in her life and this is a substantial album that carries a real statement of both intent and quality.
Promise has the beautiful violin lines of Ryan Joseph to embellish a song that will no doubt become a staple at wedding day ceremonies into the future; a statement of commitment and dedication to a future where two become one. Such subtle ensemble playing and a real highlight among many great moments. The Old Time swing of Tryin’ To Quit Me is another joyful slice of musical reverie with all the musicians playing off each other with short runs that compliment and colour the melody, ‘I’m like a cigarette you can’t put out, and you’ve got no defence.’
Tim McGraw recorded a song back in 1998 by Bruce Robson, titled Angry All the Time. In the song the husband addresses the breakdown of a marriage and the memories of how the couple used to be before life beat them down. Rachel has written Flirt With Me as a response to the sentiment expressed and puts the emphasis back on the husband to act differently ‘If I’m still your heart’s desire, your burning fire, then why not let it show.’ Such a clever conceit and a very considered lyric.
Control is a straight rocker that really impresses as the slow introduction builds and the guitar of Brent Mason explodes into a space where both desire and inspiration can meet. The vocal control of Rachel is a feature on this track and, throughout the album, knowing when to lift the song delivery and singing with a great resonance and style. Things slow down a pace on the reflective Taking Me Down To the Blue and a song that tries to untie relationship complexities, with Scotty Sanders echoing the sense of longing on pedal steel.
The final song is Can’t Say Goodbye and the feeling is clear with the lines ‘I don’t want to throw us away, But I can’t stand to stay, I can’t forgive yesterday.’ It’s another classic country melody that highlights this talent and with the future opening out like a big open highway there is plenty to look forward to from this very impressive singer songwriter. Definitely one of the contenders for my top albums of 2025.
Paul McGee
Blake Smeltz Heartbreak Highway Self Release
This is a debut album written by Virginia native Blake Smeltz and containing nine songs that reflect his life and the experiences that have so far shaped him in growing into a professional musician. These are mainly songs of the heart and songs of the road, with some obvious influences apparent in the music.
Growing up in Evington, there is always the pull of open roads and the presence of that journey taken into the dreams and hopes of tomorrow. Drive is a song that looks to living free and getting beyond feelings of not being able to express honesty. The Road is another such look at staying mobile and restless, looking to have his girl share in the dream. There is lost romance and missing connection on the title track Heartbreak Highway and the love song I’ll Love You turns into quite the opposite on You Ain’t Whiskey where the sting of a departed lover still smarts ‘You ain’t whiskey, but you damn sure hit me.’
Till I See You Again is another song about heartbreak with the girl having left in a trail of lies, and love gone bad. The sins of the past and family skeletons are part of Good Faith and a look back at the way life can unfold, sobriety issues and staying on a straight path. The dreams of youth are visited on Nicotine Daydream and as we grow into adulthood the question is whether we end up chasing old memories.
The album is produced by William Gawley, Michelle Robertson and Dave Flint. David Flint played acoustic, electric, bass and piano on the tracks and also mixed the record. Andy Hull played drums on the tracks. The overall sound I very clean in the speakers and the songs will certainly find a wide audience if you are in the camp of new country stars like Luke Combs or Zach Bryan. An impressive debut and I’m sure that Smeltz will write further albums of greater resonance as he continues his musical journey.
Paul McGee
MacKenzie Roark and The Hot Pants Ghosts of Rock and Roll Vocal Rest
Lonesome Highway's introduction to Richmond, Virginia-based MacKenzie Roark was her 'no holds barred' debut full-length 2022 album, ROLLIN' HIGH, FEELIN' LOW. Shooting from the hip, song titles like Drunk Again, Wasting Away, and Little Pills were brutally honest, addressing recurring themes on a hard-hitting album. Twelve months after that release, she formed MacKenzie Roark and The Hot Pants as a vehicle to recreate her studio sound in a live setting. The Hot Pants are Billy Bacci (lead guitar, piano, Wurlitzer, organ, harmonica, backing vocals), Caroline Vain (violin, backing vocals), Matt Moran (bass guitar, backing vocals) and Drew Barnocky (drums, backing vocals, penny whistle). Additional players on the album are Leigh Pinner on backing vocals and John Bradberry on lap steel.
GHOSTS OF ROCK and ROLL continues where that debut album left off with gritty 'get down and dirty' rock and roll alongside some more rootsy and laid-back tracks. Among the 'full throttle' highlights, Take My Money, Hot American Blood, and Ghosts of Rock and Roll hit the sweet spot. Nestled comfortably alongside those belters are the more relaxed Rich Man and Late Bloomer. Cigarettes and TV Dinners recalls The Waterboys, and also included is the barroom honky tonker, Broken Jukebox Blues.
It's not surprising that MacKenzie Roark recruited these guys to hit the live stages. The end product sounds more like an extended family than a newly formed band, and it more than lives up to the promise of her debut album.
Declan Culliton
Mose Wilson That’s Love Self-Release
Starting his journey as a five-year-old singing in his local church at the foot of the Sewanee Mountain, between Nashville and Chattanooga, Mose Wilson’s career path was never in doubt. His early education in his chosen art was furthered by an introduction to Hank Williams' music by his grandfather and being gifted cassette tapes of Muddy Waters by an uncle.
Now a leading light in the East Nashville community, at the forefront of the resurgence in country music, that early grounding is evident in Wilson’s recordings, which encompass the full spectrum of roots music. THAT’S LOVE follows on from his self-titled debut album, released in 2021. The intervening four years have not been idle for him; he undertook production duties, collaborations, worked as a hired hand with a number of like-minded artists, including Hannah Juanita, Sweet Meg, Melissa Carper, and Eliza Thorn, as well as working on his own material.
If lost love and hardship are blueprints for the majority of country albums, Wilson has bucked that trend with THAT’S LOVE. Possibly resulting from his engagement to his long-term girlfriend and fellow artist, Hannah Juanita, and reflected in the album’s title, the overriding theme throughout the album is one of devotion and well-being, but also with a sense of realism. That point is emphasised in the first three tracks. The title track, which opens the album, is a gentle ballad with a cool border feel, underlined by Russ Pahl’s chilled pedal steel and Jeff Taylor's accordion breaks. They are just two of a host of Nashville’s finest players who joined Wilson for the recordings at The Bomb Shelter in East Nashville. Among the other contributors were Dennis Crouch (upright bass), Billy Contreras (fiddle, strings), Chris Gelb and Fred Eltringham (drums, percussion). Cajun Baby and ‘Cause I Got You follow that opening track. The former, living up to its title with an infectious beat, includes Hannah Juanita on backing vocals and killer fiddle work by Contreras. The latter is a mid-tempo, joyful love ballad.
Dance With You switches gear to a more bluesy path, and the stomping tongue-in-cheek Yippi Ki Yay is a breezy evergreen affair. A variation on the theme of good times and everlasting love are the break-up ballad I Told You So and the soulful Since I Lost You, before the album closes on a high note with When I Go (‘I’m here for a good time not a long time, I’m gonna live it up and love it up, enjoy every minute I’ve got’). The lasting impression I’m left with is that Mose Wilson and his players lived up to the message in that closing track by enjoying every minute while recording this hugely impressive suite of songs.
Declan Culliton
April Moon Forgiveness Juice Self-Release
Originally hailing from the Saskatchewan prairies, but currently based in Liverpool, when they are not globetrotting around Europe and farther afield, April Moon is comprised of partners Jaime April and Jason Moon. Describing their output as 'Canadiana', the duo recorded this six-track EP at Scratch Studios and Crosstown Studios in Liverpool, during breaks from living out of their campervan while touring. Included are five written by the duo and a twangy reworking of The Backstreet Boys', I Want It That Way, the title of which, no doubt, accurately describes their nomadic lifestyle. The opening track, Long May We Roam further emphasises the couple's sense of independence.
The zappy Part Of The Game features Liverpudlian Jo Pue on fiddle, and barely surviving in a typical small town is the story behind Echoville. The duet Uptown Lady Life is a spirited toe-tapper with one foot in country and the other in power pop.
Very much a team effort and, no doubt, a labour of love, FORGIVENESS JUICE offers the listener well-crafted and very listenable songs that land between roots and pop.
Declan Culliton