Michael J Sheehy Don’t We Deserve Some Kind Of Love Dimple Disc
“Stitches burst/Wide open/Shirt bloody and torn/Nerves shattered/Will broken/In the cold” imparts Michael J Sheehy, the opening lines on his latest record, recalling a cocaine and alcohol blowout from two and a half decades ago. From the album’s opening track, Like Blood On Snow, the confession is delivered in a clear, spoken voice for maximum effect, a precursor to the brutally honest tales that follow across ten tracks.
A career spanning nearly three decades includes Sheehy’s leadership of Dream City Film Club and Miraculous Mouse, as well as a solo career. His last album, DISTANCE IS THE SOUL OF THE BEAUTY, written and recorded during the pandemic, was his first work in sobriety. As a recovering addict, and despite the uncertain times in which it was made, its theme was hopefulness and cautious optimism.
Sheehy's latest recording is more reflective, bravely holding on to life without burying the darkness of a previous existence that, while embroiled in self-destruction, cannot be glossed over. That point is particularly emphasised in the stunning You Better Take Everything. Over a backdrop of organ, guitars and violin, Sheehy pours his heart out in what can be described as an addict’s lament (“Every unfulfilled desire that ripped me to my soul/Every conquered addiction and its god-shaped hole/All my defeats and the one that will always sting/If you’re going to steal from me /You'd better take everything”).
Those emotional contours and cry for empathy are repeated on the title track (“The damaged and the broken /The mighty and the small /The heathens who have seen and done most everything /And the holier than thou who’ve done nothing at all/ Don’t we deserve some kind of love?”) Once again Fiona Brice’s violin contribution and backing vocals by Sandy Mill are immense on a song that recalls a similar sentiment to Mary Gauthier’s epic Mercy Now.
No doubt a recurring nightmare for a recovering addict, Only Drinking In My Dreams, despite the potential terror for the protagonist, is laced with black humour (“Hey Mr Sandman let’s hit the town and get fucked up/I wanna wake up looking like I got hit by a truck”).
It’s no lazy overstatement to compare DON’T WE DESERVE SOME KIND OF LOVE with the songwriting and vocal deliveries of Nick Cave and Leonard Cohen. Bruised but unbroken, resilient and brutally honest is the lasting impression after listening to this album multiple times. Its core message is articulated in the title of the song Don’t Put Yourself Beyond The Reach Of Love. Sage advice from someone who has rediscovered himself and, in sobriety, communicates that passage so impressively.
Declan Culliton
Andrew Sa American Rough Bloodshot
California-born Andrew Sa cut his teeth as a live performer at the age of ten, as a warm-up act performing on various stages in his mother’s karaoke company. Having initially pursued a career in acting, he redirected his focus to songwriting and furthered his education at the Old Town School of Folk Music in Chicago. That period in Chicago led to building friendships with two artists, Liam Kazar and Sully Davis, who hugely influenced and encouraged Sa’s musical direction.
Signed to Bloodshot Records, AMERICAN ROUGH is Sa’s debut recording. Having started working on the songs in 2021, Sa was introduced to North Carolina artist and producer H.C. McEntire, which helped Sa complete the ten-track record. McEntire, alongside adding vocals and co-writing a number of the album’s tracks, took control of the production, working closely with fellow North Carolina producer Missy Thangs and Sa. Recorded in Kernersville, North Carolina and Fox Hall in Chicago, the recruited players were Luke Norton (piano, guitar), Casey Toll (bass), TJ Maiani (drums), Spencer Tweedy (drums and percussion), Nick Broste (trombone), Hunter Diamond (saxophone), Ivan Pyzow (trumpet), Allyn Love (pedal steel), and Macie Stewart (violin).
Sa possesses a dramatic high-pitched falsetto vocal – think Gene Pitney and Roy Orbison - which he uses to great effect on the album. Best described as soulful country rather than country soul, essentially due to the extensive use of pedal steel, the tracks are often melodramatic, bordering on cinematic.
The album’s first single Lavender Cowboy was inspired by Sa’s late friend Patrick Haggarty, whose band, Lavender Country, released their self-titled album in 1973, the first gay-themed record in country music history. The Kazar-written love song Under You is simply gorgeous both vocally and musically, with McEntire’s backing vocals adding additional weight to the song.
‘Intimate’ is probably the most literal description of much of the material, Your Whisper, Gorgeous Things, and You Turned Me On being three examples of unrelenting desire and seduction.
Adventurous in arrangements and with pin-sharp production, Andrew Sa, with no little input from the hugely talented H.C. McEntire, has created something quite stunning here. Hugely recommended.
Declan Culliton
The Hanging Stars Just A Day Loose
Enhancing their reputation as Europe’s torchbearers for blending country rock and jangle pop, The Hanging Stars' sixth studio album is not a major diversion from their previous work. It is more like a slight rerouting, concentrating on the most compelling elements of their earlier material. “It feels so good to do what you want,” announces the band’s main songwriter, Richard Olson, on the opening track All Your Yesterdays. Is this perhaps a clouded reference that, with JUST A DAY, the band, over a decade into their career, are at their most creative? Now a four-piece following a line-up change in 2024, the band’s members are singer and guitarist Richard Olson, Paul Milne on bass, Patrick Ralla on guitars, and drummer Paulie Cobra.
As was the case with the band’s last two albums, Edwyn Collins’ Clashnarrow Studio in the Scottish Highlands was once more the location for the recording, which was essentially completed over a week. The production duties were shared by Gerard Love (Teenage Fanclub) and Sean Read (Dexys).
The album recalls classic music from the past while also leaving the band’s own stamp. Sisters Of The Sun and Let It Slide replicate the addictive melodic vibe that The Jayhawks perfected on their 2000 album, SMILE. Drummer Paulie Cobra, currently on a sabbatical from the band, excels on the latter, a recurring feature on the album. The Patrick Ralla written (Keep On) Making My Wait could be a distant relative of The Kinks’ Tired of Waiting for You.
Four-part harmonies are consistently striking across the album from the gently melodic opener, All Our Yesterdays, to the bubbly, rootsy, Show Me The Way. Big Red Car is a standout track, its intro playing out like The Velvet Underground’s classic composition, Heroin. They sign off with the title track, Olson’s opening lyrics, “Close the door/settle down/ ‘cause the night is closing in”, drawing the curtains on a suite of well-constructed songs that drill deeply into longing, regret, and fulfilment.
The musical cross-pollination from the U.K. to America and back in the mid-1960s, incorporating rhythm and blues, rock 'n' roll, folk, and country, created a new wave of innovative music on both sides of the Atlantic, often without record label influence, and arguably unequalled to this day. The Hanging Stars' back catalogue would fit snugly into that period, with JUST A DAY, underpinned by top drawer playing, their finest record to date.
Declan Culliton
Kerry Fearon Boots ‘n’Roots Self-Release
"I've waited a long time for people to hear this album as it was always intended to be heard," explains Kerry Fearon, on the release of her sophomore album, BOOTS’N’ROOTS.
Country singer, full-time teacher and radio show host, Kerry’s album finally lands after a series of setbacks that delayed its release. With much of the material recorded prior to the Covid-19 pandemic, further complications delayed the completion and release of the record, which follows on from her award-winning debut album HONKY TONK GIRL from 2018.
Rather than premeditated, Kerry stumbled into a musical career. Following the passing of her father, a well-known local singer, from motor neurone disease in 2013, and by way of dealing with the grief and by her own admission, too shy to sing in public, Kerry recorded a few country cover songs which were uploaded to Soundcloud by a friend and received supportive and constructive feedback. That confidence booster gave her the incentive to record and release a few singles and eventually her debut album.
Taking the album title from Kerry’s radio show, she called on Wayne Golden to produce the album and play guitars. Other notable contributors included fiddle supremo Eamon McLaughlin, pedal steel players Richard Nelson and Tim Howard, and drummer Chris Burgess. Fiddle parts were also played by Damian McGeehan.
The nine-track album is made up of well-chosen cover versions with Kerry in fine voice throughout. Two songs co-written by Californian Victoria George feature: When Bad Men Happen To Good Women and Tables Are Turning. Dori Freeman’s gorgeous song Go On Lovin’ is given a country makeover, as is the case with Carson McHone’s Maybe They're Just Good Friends which is reconstructed with more of a honky tonk vibe. Equally, Bob Dylan’s folk waltz To Ramona is remodelled into a pedal steel heavy country ballad.
Kim Richey’s Chase Wild Horses, which opens the album, remains true to the original, as is the case with Nanci Griffith’s Ford Econoline. The remaining two inclusions are the Bruce Robison- and Mas Palermo-penned Take It Out On You, which featured on Kelly Willis’ 1993 self-titled record, and a ‘countryfied’ version of the Esther Rose-written Handyman, the next single due to be released from the album.
Despite the wealth of artistic talent in Ireland, few artists appear to be going down the ‘country’ route, particularly traditional country. Kerry, to her credit, remains steadfastly supportive of the genre rather than veering into the insipid pop/country crossover market. As a result, she remains one of the finest country vocalists of recent years in Ireland, as evidenced by this hugely impressive record.
Declan Culliton
River Shook Self-Titled Blackberry River
The demise of alt-country band Sarah Shook & The Disarmers in 2025 after a decade of touring and releasing four critically acclaimed albums may have suggested the end of the road, career-wise, for Sarah Shook. On the contrary, Shook had been working on the songs for River Shook’s debut album and a sideways career move.
RIVER SHOOK was recorded in a small home studio in rural North Carolina and, incredibly, given its instrumentation and production, by only two players: Shook and former Disarmer’s multi-instrumentalist, Blake Tallent, whose guitar and pedal steel playing is ace throughout.
Shook describes the album as “an absolute anthem for personal freedom,” and the opener and divorce ballad Free at Last may also allude to the winding down of the Disarmers and, given Shook’s role as band leader, the inherent responsibility of making ends meet while touring and recording with a full band. Turning up the heat by some measure, that mid-tempo opener is followed by the title track.
Relationships, and in most cases troubled ones, have been a regular feature in Shook’s writing, and that theme raises its head on this album, although in some cases with a degree of optimism. The raunchy Country Angel speaks of ‘living in the moment’, rejoicing in the innocence and freedom of young love, as seen through the eyes of two girls. Love and compassion also surface in Blue Vervain, with Shook’s layered vocals giving added emphasis to the song’s core message.
Shook’s writing has never ignored more personal complexities, and Beater Car, which includes some serious guitar shredding by Tallent, is a guilt-ridden reflection (“I can’t even buy a beater car for my son on his graduation”) on the meagre financial returns for all the graft, effort and sacrifice. Leaving aside the commercial challenges of the touring musician, If We Got A Chance drills into the strains on relationships that the nomadic lifestyle creates. Bookending the record with Loving Me is Like Rolling a Big Old Rock, Shook, who is non-binary and who grew up in a fundamentalist Christian family, recalls with both regret and pride “I wish my Daddy listened/When I told him who I am/ Wish he was as proud of me/ As I am, as I am.”
A remarkably assured debut album and a relief that it’s ‘business as usual’ for Shook and their latest venture.
Declan Culliton
Charlie Marie Signs Self Release
The previous album from Marie, RAMBLE ON, came out in 2021, its release and promotion got stymied because of the Covid pandemic, causing Marie to reflect on her life and music. She also took a solo cross-country trip to reconnect and rethink. This new album is less a tribute to a bygone era but a distillation of what she found within herself, as well as the people, places and perceptions she gained from that particular journey.
This time out the songs are largely recorded with an outfit called These Wild Plains, in a studio in Salem, Massachusetts. The sound therefore is broader in concept but still fronted by Marie’s clear and purposeful vocal delivery. There are some moments that have an immediate impact, such as Montana wherein she wonders if a former partner still misses her in that State, or perhaps any state. In it she makes a reference to another song and time and notes that “even cowgirls get the neon blues”. That track is in contrast with the opening track Signs, which is more acoustic and reflective of the observations which she encountered on her travels, which were signs of what was happening then. That is followed by Heart, with a dynamic delivery and a twanging guitar riff that is a feature of a number of the album tracks. It proposes that when every relationship starts it does so because every human has a heart and, hopefully, an open mind.
A track like Namaste also suggests a different frame of mind and a wish that that individual greetings might be felt and accepted more openly. It builds steadily to a conclusion about taking life on a path that she has mapped out. Locations feature quite naturally, given her travels, and are denoted in songs like Rhode Island, Buffalo and Aspens In Alaska as well as with songs like Ponderosa Pines and Kancamagus Highway.
The overall production (by These Wild Plains, along with Ben Klise) captures the spirit of the material (which is also imbued with a sense spirituality) and these individual players Ben Vosk, Rob Motes and Nick Mercado are at the heart of this, suggesting that their own records would be worth investigating too. They are joined too by Tyler Tingey who adds some effective pedal steel where it suits the arrangements, while Josh Minyard augments with percussion, all of which gives additional heart and soul to Marie’s accomplished songwriting.
A number of these songs had something of an immediate connection but as I listened more the whole album grew on me and so it became a journey that played well over the eleven tracks. The references to 'Mary jane' and 'smokey bear' and other inevitable lifestyle distractions are taking their toll everywhere, with people withdrawing from engagement as Only You Can denotes. So overall although this album moves on from her debut release’s particular frame of reference it’s about a different approach and attitude overall. One of personal growth and interaction based on encounters with the new locations and the people she encountered. The signs are all good here, an artist taking stock of her music and life and making it as she sees it. Something that will appeal to those hearing her for the first time and those already acquainted with her music.
Stephen Rapid
Galvezton Ocean Cabaret La Izquierda
This Texas-based project is the brainchild of Robert Kuhn, multi-instrumentalist, and songwriter. He grew up in Houston before leaving to travel across different continents in search of other life experiences. Returning home after many adventures, he settled in Galveston and was instrumental in the establishment of local record label and recording studio, La Izquierda Records. It’s a platform for the local culture, music and festivals. Freedom and independence on the Gulf Coast.
This new album is very much a labour of love with Robert performing all eleven songs in a stripped-down, acoustic-based, format. The result is an enjoyable listening experience, the initial impact in the lovely melodies, with Robert using guitar and synthesizer sounds to create some memorable moments. Opener Origami speaks of dreaming towards an oasis in the sun where everything is slowed down and can be enjoyed in the moment. The sound of banjo, harmonica, and piano drift into the mix and the questions of “What If…”
At the centre of many songs is the acoustic playing of Robert on guitar, his fluid style an anchor for the other embellishments added to the music arrangements. The more up-tempo rhythm on Paved Roads highlights harmonica on a song about forgiveness, while the rock groove of Roll to G-TOWN has superb female harmony vocals in the mix on a song about losing it all to a woman of the night. The synth pattern on Quint’s Cantina doesn’t sit right to me however, unless it’s meant to express the dissonance in self-reflection, and the nights spent ‘with a bottle and a loaded gun.’
Driftin’ comes in like a floating cloud with light percussion propelling the melody on a song about our mortality and the inevitable arrival of death to knock on our collective door at some future point. The arrangement on Tonight is right out of the Lou Reed songbook and tilts a hat in the direction of Walk On the Wild Side in a song about missing the girl. If love is to be found then it’s hiding out in the sentiment on Me and You, an honest expression to his wife of the devotion felt. True is another profession of love, reaching out to another and wanting to establish connection. Harmonica, tambourine, and synth sounds come together to deliver a sweet melody that takes you out to sea on a gentle wave.
Let Go is dealing with the death of someone close; that sense of impending grief when you want the person to keep fighting, but at the same time seeing the need to let them go. Wicked Wind is looking at outside forces that impact upon our sense of safety and the doubts and fears that can be allowed to appear. Again, the uncredited female vocal is very prominent, it may be a studio effect, but it sounds like the real thing.
With the final song One Way Ticket we have the weary traveller wanting to return home to the warmth of his lover’s arms where redemption awaits from all the wicked ways of the world. It is a profound sense of achievement to see your project come to fruition and be released into the world. It’s certainly a very pleasant way to spend thirty-six minutes, with your headphones on, and immersed in the creative talents of Robert Kuhn.
Paul McGee
The Bluest Sky Birdland Self Release
Chuck Melchin is the creative source behind this project, and The Bluest Sky is a collective of musicians gathered by creative leader Melchin who wrote all ten songs that appear on this fourth album.
Melchin is known in New England as the frontman with The Bean Picker’s Union, an eclectic band that formed in 2006. Having retired the band from active duty he turned his talents towards the Roots Rock sound that is prevalent across the recorded output of this new outfit. We had a self-titled debut in 2023, followed by Raindancer in the following year. Homegrown appeared in 2025 and now we are treated to Birdland, with a strong mix of laid-back country-tinged arrangements, coupled with weightier songs that highlight a deft electric guitar style with great riffing in the dynamic.
Opener Magpie is a perfect example with the twin attack of Melchin and Jabe Beyer on guitars, supported by the rich organ sound of Jen Gunderman. Stellwagen follows and changes lanes with a nice country style romp, before the fine drum shuffle of title track Birdland propels the song alongside the atmospheric guitar duelling on a song about relationship breakup ‘I’m tired of chasing after angels, Always turning into ghosts.’
Finish Line has a bright sound with jangling guitars and a medium tempo reflecting upon a relationship that didn’t quite make it to the ticker tape ‘At the finish line it was too close to call, Between the jealousy and the alcohol, It’s a long way down when you start to fall, Just praying for a softer landing.’ Another mid-tempo arrangement on According To Plan has the band settled into a nice easy groove on a song about a friend who aspired towards becoming an actor and a celebrity in moving to LA ‘Save a star on the boulevard, He can dance and he can sing.’
There is a great dynamic on Isabella, the longest song included, with the guitar sound and the harmony vocals of Lynne Taylor soaring in the arrangement. It’s a song about a social siren who trips the light fantastic. On Please Come Home we are in the territory of up-tempo driving rock, not unlike a Jayhawks vibe, with a song that hints at dread and fears while living alone without the girl by your side. Snowbird has some great resonator guitar and pedal steel, courtesy of Andy Santospago, on a recollection of school days and a girl that caught the imagination of the writer. It winds a slow course through the restrained melody.
The Motel is a straight-out rocker with busy drums and pumping bass giving great momentum on a tale about a robbery that is planned by a couple to break free from social constraints ‘I’ll wear fake glasses, You put that wig on, Just one more job and baby we’re gone.’ On the final song White Belly Bird there is a stripped back arrangement and fine octave violin from Jess Fox to compliment the acoustic guitar, mandolin, and vocal of Melchin. The song paints a picture of freedom to be found in nature, a journey through the mountains, and references to the painter Georgia O’Keeffe, in capturing the essence of the moment.
Chuck Melchin plays both acoustic and electric guitars, banjo, mandolin, organ and sings all lead vocals. He also produced on six of the songs. Jabe Beyer produced on five tracks in addition to playing acoustic and electric guitar, dobro, bass, drum sequencing, and backing vocals. The duo were joined by the talents of Jess Fox on octave violin and backing vocals; Andy Santospage on pedal steel and resonator guitar; Jen Gunderman played Hammond B3 organ and piano. Production was completed between studios in New Hampshire (Melchin) and Nashville (Beyer); the overall sound delivering an eclectic variety of styles to enjoy. This music has great appeal and is worthy of wider recognition.
Paul McGee
David G Smith Hero Street Self Release
On this new album, David G Smith continues his rich run of success that has been steadily building since his debut album first appeared back in 2011. This time around we are given twelve songs and a very enjoyable listening experience over forty-plus minutes. Production credits are down to Neilson Hubbard, who also contributes on drums and percussion, with his unique stamp evident in the quality of the recording. It’s a fine example of all that is good in Roots Rock/Contemporary Folk today.
The musicianship is top-drawer with the ensemble made up of Dan Mitchell (piano, Hammond B3, mellotron, horn), Juan Solorzano (acoustic, electric, slide and steel guitars), Lex Price (bass), Mia Winsinski (vocals), producer Neilson Hubbard on drums and percussion, with David himself featuring on acoustic guitar, piano, and lead vocals. The interplay is a real joy to immerse yourself into, with new surprises awaiting on repeated plays.
There are themes of celebration and defiance that run through the songs; the power of the human spirit to endure and the need to remain ever vigilant against the worst excesses of human nature. Album title, and first song, Hero Street is in the city of Silvis, Illinois and the street is home to a Mexican American community who came from immigrant ancestors, crossing the border in search of a better life. This community gave openly in buying into American ways, even to the point of having eight of their sons awarded Gold Stars in recognition for giving their lives during World Wat Two.
HBO featured the sacrifice in a nine-part film series called “Hero Street: The Last To Fall” and this title song was included on the soundtrack. Another song on this new album also honours a mother from Hero Street who lost four family members over her lifetime, and Angelina is a poignant, powerful message of courage and sacrifice. Elsewhere, the message of endurance and never quitting is relayed in Broken…Open with the words resonating ‘Down into the fire I keep going, I could give up and I could be broken, Break me once break me twice, Every time you break me, I can see a little more light.’
The will to endure surfaces again on Walking Each Other Home and the story of two damaged lives in the world who need to lean on each other for support and for survival; a war veteran and a bereaved mother looking for solace and answers ‘What’s done is done, What’s gone is gone, Two wounded souls moving on.’ Social media in the role of true evil is captured in the song Days Of Babel and an angry expose of the high price society pays ‘Watch a screen, Watch what crawls, Twitter mobs and Facebook brawls, Spewing hate and vitriol in a dangerous battle.’ Of course, Twitter has now been rebranded as X, ironically a darker symbol for where we are all heading with online bullying and anonymous keyboard warriors.
In the Back Row looks at the disenfranchised and the outsiders in society and the way they are derided. Again, there is a righteous anger in the delivery and the words ‘The quiet ones who suffered, stammered and stuttered, Always on the butt-end of a joke.’ With Rachel’s Story we are asked to look at gender bias and gay hate in a community that acts against minority groups and folks just wanting to get on with life and love each other. It’s one of the highlights on the album. Thoughts and Prayers looks at gun violence and the empty rhetoric trotted out after every funeral “Our thoughts and prayers are with the family and loved ones…” Not enough anymore – time to change the script.
More anger in society is captured on the song My Finger Talkin’ where the frustrations met daily are often solved by a flip of the middle finger; it’s a light, sassy number with a strong element of truth. The omnipotent power in Mother Nature is captured on Green Fire, the spirit of the mountains and the secrets of the canyons. There is a plea in the final song to stop this self-destructive path we are on and with Hymn To Humanity we are asked to grasp the message of nature and to stop destroying our habitat before it’s too late. So, both a serious statement and a lot of enjoyment in the musical delivery. The perfect combination for the thinking aficionado of all that is good in the creation of art.
Paul McGee