New Album Reviews

Zoé Basha Gamble Self Release

It’s been a long time coming and this impressive début album from French-American artist Zoé Basha is as interesting and eclectic as her back story. Basha hails from Florida, but has spent much of her adult life to date wandering between France and Ireland, where she now calls Dublin home. Most of that time has been spent living out of a van, busking and working on environmental projects. Her musical influences range from folk, jazz, ragtime, blues and nouvelle chanson, making her sound impossible to pin down, and it’s all the more refreshing for that.

Opening and closing the album are chilling a capella renditions of Appalachian/English folk ballads, Love Is Teasin’ and One Morning in May, and she is joined on the latter by Anna Mieke, a fellow member of Rufous Nightjar, an acclaimed Dublin-based a capella trio. Gamble, the title track, written during a sojourn in a wintry Galway when she was tentatively hoping to meet someone with a similar level of emotional baggage, introduces the heavy slice of jazz styling that permeates Basha’s work. Her versatile vocals can range from sweet whisperings to deep powerful renditions, and she plays a mean guitar (an arch top vintage Gibson and an acoustic guitar). The recording band includes Ultan Lavery on keys, fiddle & guitar, Hannah Hiemstra on drums, Johnny Pickett on upright bass & banjo and Anthony Mannion on dobro & lapsteel. Worried, dominated by Lavery’s keys and Hammond, with its frequent disconcerting key changes, explores insecurity in a relationship, ‘I’m worried that I’ll lose my temper/so I lose my rage/and I lose myself’.

Basha is a master of imagery (though sometimes it can be maddeningly cryptic), as demonstrated in Same Swallows Swooping, where she identifies with the ‘south-seeking swallow’ but she is ‘now settled in these hills’, and admits that ‘I can feel my heart lingering where I ripped it from my breast’, as she scats over her fingerpicked guitar accompaniment. Come Find Me Lonesome draws from a similar jazz palette, more bluesy this time, with some particularly fine dobro playing from Mannion, and piano from Lavery. Lavery adds clarinet to the gently swinging Traveling Shoes, a warning to potential suitors that ‘don’t expect me to be there in the morning… my traveling shoes will have already left with my feet’. 

Amazingly, Zoe Basha also produced the record single-handedly, in Black Mountain Studios in Dundalk. Many artists and producers have had a bash at creating the effect of a dreamscape musically, and many have failed, yet Basha realises it superbly on What Dream Is This, with subtle use of synths, guitars, layered and echoed vocals and a soupcon of magic. Conversely, she covers Jimmie Rodgers’ 1932 hit, Sweet Papa Hurry Home (substituting the original Mama for Papa) as its original jazzy New Orleans two step. Dublin Street Corners, far from being an homage to her adopted city, is a reaction to a badly ending love affair, replete with bitter regret. This is an album that took some time to germinate and it was worth the wait.

Eilís Boland

The Paris Rogues Live and Learn Melt Shop

This musical duo is comprised of Michael C Parris and Peter Rogan and they came together back in 2021 in order to blend their respective talents into a cohesive whole. Both artists have independently released solo projects, with Rogan having two fine albums (2019 and 2021), and Parris one release (2022).

They met at Phil Madeira’s Mercyland Songwriters Workshop in North Carolina and instantly found a rapport together. Peter is from Pennsylvania and Michael resides in North Carolina and both of the musicians recorded and mixed the album at Beacon Hill Sound studios with all songs co-written by both songwriters, together with three collaborators in Vicky Smith (three songs), plus Max Berueffy and Jesse Jones with one apiece.

Michael C Parris plays guitar and shares vocal duties, with Peter Rogan providing guitars, bass, mandolin, harmonica and synthesizers, plus vocals. There are a number of studio players who join the duo and Phil Madeira is very influential on piano, organ, Wurlitzer, lap steel, and accordion (five tracks). Rob Strabinsky also guests on piano, and synth (two tracks), with Cliff Starkey sharing piano, organ, synth, Rhodes (four tracks). The rhythm section is ably provided by Josh Kanusky (drums, percussion) and Steve Varner (three tracks), with Parris also playing bass on a number of songs too.

Hold the Light is a standout song with the duo taking a poem by  Vicky Smith and interpreting it. The image of a daughter helping her Daddy service his truck is enduring ‘Points and plugs and oil change, keep her running smooth he'd say, Father's truck the front jacked up, beneath the wheels some boards stacked up, Hold the light little girl, just hold the light little girl.’

Another highlight is the final song The Gift and written in the wake of Rogan’s mother passing away. It’s a song of deep reflection with the words resonating ‘If we lost it all today, would it matter anyway, who we are is the choices that we make.’

Elsewhere, the album title, and opening song, Live and Learn with its bluesy groove is a fine introduction to the excellent musicianship that is assembled here. Another Day In Paradise is something of a departure with a reggae beat and some wise words about how your attitude shapes the way in which you view the world. The rocking sound of 16th and Haak is really enjoyable and sees the band stretch out in the playing, while Wake Me Up, Mama has a nice blues groove to highlight the quality on display. A very enjoyable album.

Paul McGee

Michael Lane Our Love Greywood

This 5-song EP is the latest offering from an artist who is presently based in Germany. He has lived in the USA previously and served in the American army on active duty. These days, Lane is entirely focused on his music career and dealing in matters of the heart, rather than affairs of the military world.

These songs highlight Lane’s angelic voice that has magnified previous releases and I recall his last album from 2022, titled TAKE IT SLOW which was very memorable. Kicking off with the title track Our Love, the simple acoustic guitar is augmented by subtle keyboard sounds as Lane sings of the joys of being in love ‘One walk, we talk, sometimes we sing, This child, his smile means everything.’

The next song Run Away is quite the opposite and looks at the emotions involved when love breaks down ‘ You took the key, You shut the door, You left me here on the floor.’ The vagaries of love, drawn to the flame but always at risk of being burned. Following on is Live Free and the engaging melody encompasses feelings of conflict between being lucky and grateful for so much and yet recognising the urge to leave it all behind for a new start.

This dichotomy is explored further on Don’t Hold Back as themes of death and grief are highlighted as reasons to just embrace the present moment and give everything to the absolute ‘The universe will align and set you free.’ It’s a message of loving awareness wrapped in gorgeous vocal harmonies that build to a fine crescendo. The final song is Blind and an acoustic track that balances shadows against the light of love. Pain of the past and moments of sorrow leave their mark, but the heart can surmount any challenge and shine brightly. This is contemporary songwriting and is all very therapeutic, even if the scars of love can run deep. Michael Lane is an example of the superb songwriting talents that remain generally undiscovered, and I look forward to his next project with anticipation.

Paul McGee

Joe Stamm Band Little Crosses Den Tree

This is roots rock with a broad appeal that has a lyrical depth to match its robust disposition. The band, on this latest album, are joined by a number of additional players who help to round the arrangements to something that adds a layer, taking it further than being just a studio representation of a live show. There are the rockin’ songs sitting beside the more contemplative arrangements. As you would expect, it is Joe Stamm who is the primary songwriter and singer and frontperson here. The production is handled convincingly by Al Torrence, a player in his own right and owner of Music Garden Studios in Pennsylvania, where the album was recorded. Torrence has also worked with Charles Wesley Godwin in the past and brings an equal quality to the sound here. He adds acoustic and slide guitar, Wurlitzer and a bunch of other keyboards throughout the album. However, it is Stamm’s band who all make their own solid contributions to the bedrock of the sound. There are also some string arrangements and Amico DeMuzio’s pedal steel to that add a layer of different textures to the various tracks. 

Stamm is the main songwriter here and he sets the tone with those songs and with his believable, down to earth vocals. The songs tend to focus on observation and personal occurrences, like this couplet for the title song “I got two hands on the wheel, I try to focus on the road / But I pass them little crosses and I shiver in those souls.” There are also a number of comments relating to living life under small town, small minded attitudes. In Territory Town, the things to do in summertime are somewhat limited. Trying to arrange some private time is not as easy as it might seem  “Meet me down at the high school track / Watch the sun comin’ up from the pole vault mat / Groundsman shoutin’, “What’cha doin’ down there?” / Runnin’ to the car in our underwear.” This track opens the album in an able-bodied, rockin’ mode.  But there are also tracks that are arranged in a more pensive style, involving personal friction, such as Forward, the perspective of a man with a daughter, hoping that every time there may be an opportunity to move on “Darlin, won’t ya wait out in the car / Me and mama gotta talk a little heart to heart / How’d I ever let it fall apart? / Every time I fall, Lord, I find a way forward.” These show Stamm as a writer who is a cut above the average, who imbues his material with some personal input, mainly from an uplifting and hopeful perspective. 

The title track is equally musing, the song equates the small white crosses that are often placed beside roadways to an equally, perhaps soulless, relationship. “I pass them little crosses and I shiver in those souls / And I wonder if I’ll have the time to tell the Lord I’m sorry / And I wonder if she’ll wait to cash the check until I’m buried.” These words are full of the doubt and self discrimination that many who are away from home and family may regularly feel. In a similar set of circumstances, How To Quit looks inward to the life of a small time musician who is also wondering if it might be time to quit in the most final way - whichever way the story might end, the track rocks. The aftermath of that lifestyle is again talked about in the slower Foldin’ Cash that is about looking for “Just a little foldin’ cash, to keep the cold off my back / And a little self-respect”. Something not to lose sight of is how well the band and assembled players perform here, whether the songs veer towards the introspective ballad or the more heart pumping heartland rockers. It is a sound with a lot of appeal and attitude that has a potential to be picked up and achieve a lot more. The Joe Stamm band will, doubtless, gain ground on their journey here and deservedly so.

Stephen Rapid

Murry Hammond Trail Songs Of The Deep Fluff & Gravy

The founding member of the Old 97s and the current touring bassist with The Long Ryders has already staked his place in the alt-country world. This may give certain expectations in terms of his solo releases, but Murry Hammond has instead travelled in another direction with this and his previous (debut) album. This time out the songs are all original and he has added an unusual instrument to the mix, not often heard these days,which is his skill as a whistler. He utilises it over several of the tracks and it is not only individual but also highly effective. Being a band person, and although this is released under his name, he is not alone here. He is joined by Annie Crawford on piano and Richard Hewett on drums and tambourine and by Faith Shippey on upright bowed bass. The sound is perhaps rooted in an acoustic delivery and therefore with a certain nod to old school folk songs, but that is not to recognise how fresh and inviting this album actually is.

Not only melancholic but quite alluring is The Wedding Plates, a song full of sad thoughts that shows Hammond as a writer who tells a story without being a storyteller in a poetic, rather than objectively literal, way. “She stayed at home and that's all she wrote / So do hang up your hat and coat / The single room and the mess inside / Compliments, your nervous bride.” A sense of leaving rather than arriving can be gleaned from Praise The Road and Long American Highway, wherein he asks “Bus stop, truck stop / Make a new man of me.” This combination of subtle, simple, yet satisfying melodies complement these words of the need to wander and to wonder. Another strong example is the clear statement and continuing search contained in When A Fella Needs A Friend.

That sense of place and the need to continue on down a long road is deep seated and apparent in Trinity River Bridge that sees “the sight of a grey water tower made / The sound of a Rock Island train at grade / A bridge where my important thinking is done / Then I'm gone”, a further emphasis of a human tumbleweed in motion. The essential feel is of man, acoustic guitar and vocal, yet the additional accompaniment of piano, bass and percussion add much to the overall ambience.

Produced by Hammond and Todd Burke, it has built upon his debut album I DON’T KNOW WHERE I’M GOING BUT I’M ON MY WAY. That title offers a hint to the transience that is portrayed here lyrically, although released seventeen years apart,  and there is a continuity and progression here. It is apparent that Hammond’s singing has gone from strength to strength, on a release that while it will sit well outside of the mainstream, offers something deserving of attention, not least for his existing fans but also in the context of this seeking something that has, in itself, a certain uniqueness.

Although not quite certain what to expect this time around, I was taken in from the first track onwards and more than happy to amble along it trails that have both depth and a sense of airy disposition overall, despite a slight feeling of dislocation. The first song, even as an instrumental, has from its title 3-10 To Liverpool given you a clue to Hammond’s rambling mind. One can only hope that this team will deliver another set of songs in less time than lay between these two releases. It will be welcome, whatever the time frame and frame of mind.

Stephen Rapid

Tami Neilson Neon Cowgirl Outside

There’s quite a backstory to this album, with the title and cover image representing Neilson’s deep love of country in its myriad forms and aspects. The original neon cowgirl sits down above a boot store in Broadway in Nashville and has become something of a mythical figure for Neilson (while the cover is in fact a painted representation by Kellie Talbot). The familiar image overlooked her various visits to the city as tourist, songwriter, performer, parent and above all fan of the genre she has chosen. 

The album was produced by Steven Schram (bar You’re Gonna Fall which Neilson helmed herself) with a musical team capable of delivering their collective vision, which included Brett Adams (lead guitar), Chet O'Connell (acoustic and rhythm guitar), Neil Watson (pedal steel guitar and banjo), Chip Matthews (bass), Steph Brown (keyboards), Tom Broome (drums and percussion), Nick Atkinson (saxophone) and Ashley Brown (cello). This allows for the different arrangements over the eleven tracks to be achieved with a sonic realism. The most immediate aspect of the album, not unlike the neon cowgirl herself, is the towering voice of Neilson, which is readily apparent from the open song Foolish Heart, though she is joined by backing singer and guests such as Neil Finn on the title track, Ashley McBryde, Shelly Fairchild, Grace Bowers (Borrow My Boots) and JD McPherson (You're Gonna Fall). Neilson’s aim was to capture the spirit of Elvis, Willie, Patsy, k.d. and also of the inspirational Roy Orbison. As she notes herself “the blues of Memphis, the twang of Texas, the cinematic torch of Judy Garland on a Hollywood soundstage”, which pretty much sums up the overall ambience of the album.

The aforementioned Foolish Heart is laden with stings and may well conjure memories of a number of great singers from Dusty Springfield, k.d. Lang or Patsy Cline - you may easily have your own set of references - but all are likely to be great singers. Salvation Mountain finds us out on the highway with soulful organ and a driving beat. The title song sums up the mood with a piano-led ballad that becomes a big sounding production, featuring Neil Finn on a soaring harmonic chorus. The trio of female singers mentioned above join in on the banjo faceted sisterhood of Borrow My Boots. The vicissitudes of love also take the stage at times in various guises in Love Someone and Loneliness Of Love, while elsewhere there is a personal strength in Keep On. Another highly effective duet is the standout track You’re Gonna Fall, with JD McPherson, that has cinematic guitar and a shimmering vocal choral.

More twangy naturally is Heartbreak City, USA, mixing that with another old school vocal backing that highlights the effective contributions of Bella Kalolo-Suraj, Anna Coddington, and Vanessa Abernethy. This is a not unfamiliar theme, that the town is not always going to be a place to realise your dreams. Similarly, given the title, U-Hall Blues draws on that format’s mores to tell of the complications of hauling one’s life around with them. The final track, again featuring a twanging cinematic feel, is One Less Heart, another ode to a forlorn love. It ends as it began, then, with the overriding sense of being in the presence of a powerful, emotive, stylistic singer at the top of her game. It is a nuanced album that may not suit the more hard-core honky-tonk enthusiasts but, as a summation of some of the more mainstream aspects of that past that are still valid today, is as big and bright as its titular edifice.

Stephen Rapid

Kristen Grainger & Dan Wetzel / True North Duo Time and Materials Self Release

This twelve-track album was written and recorded by the Oregon-based couple, Kristen Grainger and Dan Wetzel. Members of West Coast string band Kristen Grainger & True North, the project is very much a team effort by the duo. They share vocals and harmonies and play five instruments: two guitars, a banjo, a baritone ukulele, and a tenor ukulele, all of which were hand-built by Wetzel. The cottage industry project also included input from their daughter, who designed the artwork on the record.

Taking a leaf out of the Gillian Welch and Dave Rawlings template, the material is laid-back and 'front porch' in approach. Grainger's unrushed vocal deliveries take the lead on ten of the twelve songs, and the harmonious vocals and supporting instrumentation emphasise the relaxed chemistry between them.

Lost love and regret raise their heads in Sound Of Losing You ('It's the clock in the kitchen tick-tocking my life away too, It's the sound of losing you'). Lonesome For You treads a similar path of aloneness and wanting, but the sweeter-themed 'Til I Have You paints a brighter picture of appreciation of stability and companionship. For me, the standout tracks are Doris Dean and Still Life Café. The former tells the tale of a ninety-year-old woman named by her mother after a Wild West trick rider . The latter is very much in the present day, reflecting the plight of immigrants barely surviving against an increasingly volatile background ('Most of us here at the Still Life café learned to smile to cover the pain. The hostess escaped from the Taliban, the cook is from Senegal me from Ukraine, the busboys are brothers from Guadalajara'). The prayer-like Richard Shindell cover, Next Best Western, pleads for safe passage for those whose livelihoods are dependent on pumping gas and spending hours on the highways.

TIME and MATERIALS was self-produced by Grainger and Wetzel and recorded by Dale Adkins at his Big Owl Studios in Oregon. The songs, often stripped to the bare bones, showcase the couple's flair for easy-to-access melody in a highly listenable collection of songs that acknowledge both the past and the present.

Declan Culliton

Bonnie Dobson & The Hanging Stars Dreams Loose

A collaboration between an acclaimed Canadian folk singer from the 1960s and a cosmic roots band from London of recent years may, on the face of it, seem a strange fusion. The composer of time-honoured folk songs Morning Dew and I’m Your Woman, Bonnie Dobson’s six-decade varied career has seen her perform alongside Sonny Terry, Brownie McGhee, Robert Plant, MC5 and Phil Ochs, appear on the Val Donnican show in 1972, and at the invitation of Jarvis Cocker, headlining the Lost Ladies of Folk festival at the Queen Elizabeth Hall in 2007. Her latest venture finds her collaborating with The Hanging Stars to record this eight-track album, comprising six new compositions and two previously recorded tracks, and the union works spectacularly well.

Dobson’s vocals are excellent throughout. Sixty-five years after she first stood in front of a microphone, she effortlessly hits notes that defy that timescale. Evidence of this is the inclusion of two songs previously recorded by Dobson, given similar treatment as the original recording, You Don’t Know from GOOD MORNING RAIN (1970) and the Chet Powers written Get Together, which featured on her self-titled album from 1969. Somewhat more experimental, and highlighting how her marriage with The Hanging Stars works so well, is the opener, Baby’s Got The Blues.  Its sound harks back to the mid-60s but is closer in texture to what Julie Driscoll was recording at that time than Dobson’s more traditional folk output. That Julie Driscoll / Brian Auger vibe also surfaces in On A Morning Like This, which features backing vocals by Hanging Stars frontman Richard Olson, and comes across as what might have been a contender for a James Bond movie soundtrack back in that era. That cinematic landscape is repeated in Trouble, but in this case, the sound is closer to Ennio Morricone’s orchestral desert arrangements.

The title track finds Dobson digging deeply into her memory vaults. Living in the U.K. since 1969, she dreams of a return to her native Canada to visit family and friends. The song acknowledges that the passage of time, as well as life events, both positive and challenging, cannot be reversed. It’s a fitting closing statement by an artist who, at the age of eighty-four, is still prepared to expand her musical universe and, in this collaboration with The Hanging Stars, continues to record essential music.

Declan Culliton 

The Legends of Surf Guitar Various Artists Oglio

Recorded live at the Lighthouse Café in Hermosa Beach, California, in 1995, THE LEGENDS OF SURF GUITAR brought together some of the original players of the instrumental surf guitar genre from the 1960s and 1980s. The recordings were the work of Grammy winner Mark Linett (The Beach Boys, Los Lobos, Red Hot Chilli Peppers) and The Cars’ lead guitarist Elliot Easton, the twenty-five-track album is finally available, thirty years later, on vinyl and CD.  Linett and surf guitarist extraordinaire John Blair are credited with producing the album, and they successfully recreate the electric atmosphere created at the event.

The concert was held twelve months after the movie Pulp Fiction introduced surf guitar to a whole new generation with the inclusion of The Lively Ones’ Surf Rider and The Centurians’ Bullwinkle Pt. II.

A member of The Bel-Airs and Cat Mother & The All Night Newsboys, Paul Johnson and his backing band, The Pacards, feature on ten of the tracks, with Apache and Mr. Moto being particular highlights. Davie Allan (of Davie Allan & The Arrows fame) features twice with note-perfect renditions of the time-honoured Peter Gunn and also his own composition, Blues Theme. Allan was the go-to artist to design soundtracks for teen and biker movies in the 1960s, and the latter was used in the opening scene of the film, The Wild Angels. Other notable inclusions are Bob Demmon with Baja and Movin’ and John Blair’s brace, Geronimo and Rumble at Waikiki.

An often-underappreciated musical genre, surf guitar is well overdue for another revival. Hopefully, this gem of twangy instrumentals will correct that and once more trigger interest in this timeless classification.

Declan Culliton

New Album Reviews

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 VanNorstrand (vocals & guitar) and Noah VanNorstrand (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 VanNorstrand’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 Speakeasy Studio

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

New Album Reviews

Watchhouse Rituals Tiptoe Tiger Thirty Tigers

Chapel Hill, North Carolina-based duo Watchhouse's latest recording is their second since changing their name from Mandolin Orange. Their debut self-titled album under The Watchhouse banner was released in 2021 and debuted at No.1 on the Billboard Charts. Strictly not limited to bluegrass, the duo, and also husband and wife, of Andrew Marlin (vocals, mandolin, guitar, banjo) and Emily Frantz (vocals, violin, guitar), recordings range from old-timey to folk, alongside their bluegrass leanings.

'Mandolin Orange was born out of my 21-year-old mind. The name isn't what I strive for when I write,' explained Marlin on the name change. Whatever the motive, the reincarnation has resulted in a signing with the Tiptoe Tiger/Thirty Tiger label and a broader appreciation of their music. 

RITUALS, with its core theme of positivity over defeatism, presents ten tracks of modern folk which address the real meaning of home (All Around You), surviving in modern and burdensome times (Rituals) and the strength of a loving and lasting bond (The Sun). The more exploratory Endless Highway (Pt.1) is a composite slice of cosmic Americana that is not unlike the sonic world of Bonny Light Horseman.

Sharing the production duties with Ryan Gustafson (The Dead Tongues), RITUALS moves at an unhurried and fluid pace, highlighting a duo whose talents continue to develop.

Declan Culliton

The HercuLeons Self-Titled True Lonesome

A collaboration born out of the pandemic lockdown, The HercuLeons is a meeting of minds by John Cowan and Andrea Zonn. With touring firmly on the back burner during the pandemic years, the couple communicated remotely to kickstart what was to become this eleven-track album of original material and covers. Classic material written by Kenny Edwards, John Sebastian and Lowell George, Stevie Ray and Jimmie Vaughn, Larry Campbell, and Gregory Porter all were reconstructed at The Sound Emporium in Nashville, with Wendy Waldman overseeing the production duties, as well as contributing acoustic guitars, dulcimer, keyboards, and harmony vocals. Other players, of which there were many, included Michael Landau, Bill Payne, Michael McDonald, Scott Babcock and John McFee.

Cowan’s four-decade career includes fronting the progressive bluegrass supergroup New Grass Revival, being a member of The Doobie Brothers and Sam Bush’s touring band, and a session player on recordings by Garth Brooks, Steve Earle and Travis Tritt.  An accomplished vocalist and fiddle player, Zonn has toured with Vince Gill, Lyle Lovett and James Taylor and recorded with a host of household names, including her close friend Alison Krauss, Trisha Yearwood, Mickey Newbury, Randy Travis and Martina McBride.

With their combined CV’s and musical backgrounds, it’s little surprise that this album covers a number of musical bases ranging from straight rock (Long Way From Home, Trying To Survive), soul (Straight Up, When I Stop Loving You), folk ballads (Face of Appalachia, Still I Sing), newgrass (Resurrection Road) and, at over seven minutes long, the album highlight and closer, Barbed Wire Boys, which crosses numerous genres.  

What at its conception is essentially a pastime of two long-term friends during uncertain times, morphed into an impressive musical journey. With Cowan and Zonn’s combined musical talents and the quality of players engaged, it is hardly surprising that the musicality is of the highest order, but the icing on the cake is how perfectly the couples’ vocals stand out from start to finish.

Declan Culliton

Ward Hayden & The Outliers Little By Little Self Release

There have been numerous countrified versions of Brice Springsteen songs over the years. Need he has even done some himself. They tend to highlight however adaptable and memorable his songs are and have been. Ward Hayden and his band though have taken these songs and done them in the style of their own sound and set-up. They hail from Boston where Hayden has fronted the band since it was know as Girls, Guns and Glory (a name they felt might confuse the perception some might have for a band with that name). Through the years as is often the case and for a variety of reasons there have been many members who plated live or in the studio under the Outliers. This makes Hayden the only consistent member since their inception. However it is Hayden who is the vocalist, tone setter and leader so this allows a certain constancy for the ongoing musical direction.

There is no doubt the influence that Springsteen has had on Hayden (and many other of his contemporaries) in overall writing style. The album opens with Promised Land - a song that is born out of Springsteen’s long road journey to California (on advice to become successful). Another song absorbed at an early age was Youngstown. Another lyrical astute deep storyline of the boom to bust of that town’s steel industry and its inevitable effects on its populace.

Perhaps more universal and certainly a more iconic one is Dancing In The Dark, a song that is feasibly more related to the latter word of the title than the perception of the former in its message. Something that the slow ballad styled arrangement here homes in on. This shows how many songs can be translated across to a slightly different emotion that the original might have taken. The song Cadillac Ranch is here given a more overt rock ’n’ roll influence as befits the band’s own history. They brought in guitarist Eric ‘Roscoe’ Ambel who had also previously produced and played with the band as well as Jim Gambino on piano who normally plays with Boston band Swinging Steaks. This gives the song and band an added energy that aligns with their own work and gives the album a mid-set uplift in true cowpunk spirit.

A dissertation on how a having trust and faith can lead to real love is at the heart of If I Should Fall Behind. Hayden manages to capture in his vocal much of the songs need to stay strong in his assured vocal delivery. Something that he does through by being himself and not try to capture another singer’s distinctive manner. With the song Two Faces who has the protagonist realising how he is offering two different faces in his everyday life. They experiment with a two voice vocal delivery on the title refrain, this helps Hayden underscore the title in a more direct way.

Place and its relation to its people is again a big part of the telling of County Fair, an event that happens a lot across the States. It is an observation of this type of event and how it’s very much a part of the social interaction for many of those who attend such an occasion. The final song on the eight track album is firmly in Springsteen’s mythology and working man territory. It was given a much more stripped back approach on the NEBRASKA album. Here its given a solid country delivery with harmonica and steel guitar underscoring that and it shows what the underlying ethos of Ward Hayden and his band and guests to here. It is a reminder of the endearing nature of their output and a primer for the next release of original material as well as demonstrating their collective appreciation of the Boss’s talent. So this is an album that will doubtless please the band’s fan base as well as those who appreciate Bruce Springsteen’s work given an alternative perspective.

Stephen Rapid

Weldon Henson Stone Gold Country Gold Self Release

This is an album that lives up to its title and continues Henson’s live and recorded work and dedication to an abiding appreciation and love for the traditional aspects of real country music. Unlike many of his compatriots on the Texas Music scene whose music is a mix of a more raucous rock element as well as that of country music and more. Henson stays true to what he set out to do so rather than chasing fame or some larger venue appearance he knows what his audience what to hear and appreciate. This new album is a perfect example of what he does and does so well.

It is a satisfying journey through many of the touchstones of classic honky tonk and hardwood floor fillers as well as his regular Broken Spoke residency. Produced by Henson and featuring an assembled cast of like-mined players there is a variety here that is thoroughly engaging. No one is going to say that Henson has set about to write a series of thought provoking singer-songwriter dictums on the current state of the larger or local world. That is not to say that emotion and relationship situations don’t have a meaning or the songs don’t express the lives of the listeners. They do and they work within the context of the overall aims of the album.

The opening song for instance is an ode to a much love dog coming to the end of his life and the need to help the dog in return for the company he had given previously. That is Carter’s Song and it sets the tone for the album. In a similar vein is the song This Ol’ Truck wherein Henson eulogises his comfortable but falling apart truck. One that has been a part of his life for a long time and know feels much more like home than a new shiney one could ever be, it is also one he can fix up himself!

His dedication to the music he loves is played out in Pastime Of Country Music, this is about continuing a tradition rather than racking up social media numbers. In a comparable space is the title track in which he states that stone cold country gold won’t betray or judge you as its music straight from the heart. While interpersonal relationships - the perennial subject of the ladies are the substance to the life and love of our protagonist, either lost or newly found - are covered in tracks like Come On, Time For Loving You More, If I Can’t Talk To You and Playing With Fire. Mostly delivered in a spirited uptime fashion with the latter with a strong western swing touch that works a treat. While the songs Lost In Time and The Past Ten Years are imbued with a sadness and are slowly rendered ballads that underscore the recognition of how such feelings can effect how one comes to terms with their own shortcomings.

All of this is delivered by a set of sympathetic players who are at one with the mission in hand and Henson has a pure country voice that is a perfect vehicle for his material. There are some thirteen musicians credited alongside Henson on the album and all can feel satisfied with their contribution. Names like Tommy Detamore, Eric Hokkanen and Ricky Davis, to name three of those involved, have a history of association with playing music with a real conviction. bThis is an album that will consolidate Weldon Henson’s position of an artist who cares more about the music that he makes rather than the fame (or fiscal reward) it might bring. Hopefully with the wheel beginning to turn a little he might pick up a little of that too along with the thanks of those who already know his previous work and will love this album too.

Stephen Rapid

Willie Nile The Great Yellow Light River House

With some fourteen previous studio albums under his belt the 77 years old singer/songwriter continues his penchant for giving his songs something of a rock ’n’ roll edge. Mixing the heartfelt with the hard worn this ten track release covers some different bases as it unfurls its flag of offence. Produced by Nile and Stewart Lerman it employs members of Nile’s regular band Jimi Bones (guitars), Johnny Pisano (bass) and Jon Weber (drums) with a number of guests who we will mention as we go along.

The opening track here is a full on rocking ride entitled Wild Wild World, Nile’s raspy vocal has elements of his history as a committed vocalist about it. 60s style keyboards are featured along side the solid rhythm section and strident guitars. It lets you know that Nile means business and hasn’t settled for a lesser option. We Are We Are has the title repeated as a gang style chorus that works well. This trio of upfront rockers is completed by Electrify Me. Again the title as simple sing along chorus that is full of mutual lust and is memorable and sure to work well in a live context too.

There is a strong Celtic influence on the next piece An Irish Goodbye that features, at a guess as the promo has no individual credits, Black 47 members Larry Kirwan, Fred Parcells and Chris Byrne. It has easy and inevitable references to the Pogues and those bands who followed in their wake. The expression means making exit discreetly and without due attention. This is followed by an excellent song which acts as the title and is based on an expression in a letter that Vincent Van Gogh wrote to his brother about the quality of light he found in Arles where he was painting, yet It is also about dreaming of a girl if you follow the lyric. The is then a reality check in the next track Tryin’ To Make A Livin’ In The USA, it has an almost Ramone’s feel to it do without aping there sound to these ears. A friendship is offered in Fall One Me, another more mid-paced song that lets Nile step back from the harder vocal to something more considered. The piano-led What Colour Is Love is another tender moment that helps to give the album some diversity and light.

Wake Up America is another songs that observes and warns of the darker turns that are taking strong roots there. It features, convincingly, Steve Earle on shared vocals to further emphasise the urgency of the message. The album ends with Washington’s Day a song that Nile co-wrote with Rob Hyman and Eric Brazilian both members of The Hooters. Other guests on the album included Waddy Wachtel and David Mansfield as well as Irish singer/songwriter Paul Brady.

It is an album that is evidence that Wille Nile is still in the game and leading from the front and further affirmation to the notion that he is to New York what Bruce Springsteen is to Jersey. And coincidentally the album was recorded at Hobo Sound in New Jersey. It will be welcome by the many Wille Nile fans and should be also by those who like the a certain truth and longevity to the music of their singers and writers. May the light shine.

Stephen Rapid

Jesse Daniel Son Of The San Lorenzo Lightning Rod

A lot of lives take wrong turns and sometimes bad decision are made. This is a storyline that may have been part of Jesse Daniel’s past but he has worked hard to move beyond that point - and there’s no denying he has achieved that on his own terms with his own music. With his new album titled after a song he released on an earlier album and here rerecorded he uses the opportunity to look back at his life but also to include some of the musical influences he had along the way. The strong country feel is still very apparent but he has added some new textures to broaden out this journey  - his liking for both Southern rock and Cosmic American canyon music are a part of this process.

This album starts with Child Is Born and ends with, well somewhat naturally with, The End. Produced by Daniel himself this time out he is fully in control of the recording and showing his developed songwriting craft and a growing vocal maturity - this time it’s (more) personal. It is still early days for an artist whose heroes produced music for decades in some cases. Daniel notes that this is more about the experience of the journey rather any specific destination.

That opening song features the harmonica of the legendary Charlie McCoy (as do several other songs using it effectively throughout the album) and it sets out that first part of his particular expedition from then on we get an honest, personal account of his life story. It details getting ‘strung out and locked up’ and how he ‘put down the spoon and picked up the pen.’ It also has a fondness for the place he grew up in ‘for better or worse.’ Given the reflective nature of the material many of the arrangements are more slow paced and allow the listened to get involved. Acoustic instruments are also prominent in the mix giving the album a different emphasis than on some of the previous releases. One’s Too Many (And A Thousand Not Enough) is an inward look at the destructive traits of an addictive personality while coming to terms with those unwise decisions.

The role his partner, manager, inspiration and wife Jodi is a turning point and outlined in the song of that name. The pedal steel drifts around this life-changing love story. That change in lifestyle finds Daniel looking further back and wanted to return from a different time that was built around his Mountain Home. One’s allotted span is central to the song Time Well Spent For A Man, he is joined here by Charles Wesley Godwin on harmony vocals as it contemplates what is actually worth putting energy into. Upping the tempo in Crankster kicks things up notch or two for account of dissolute man ‘who doesn’t know what he’s looking for.’ A different tack is taken for My Times Gonna Come which has a soulful 60s West Coast feel overall that looks at a past and a future and all the possibilities in that and in finding the higher places that can be found.

We close out with The End, a pretty perfect way to end an album that has allowed the singer and listener to make a musical journey through some of the standout points in what has been fundamental to his life to date. This album is an important one for Daniel to outline how he has arrived at this particular moment in time. He can be justifiably proud of arriving here and how the hard work he has put in has come out in his music. The next step from son to man of San Lorenzo will be a further development of an undoubted talent in country music’s future.

Stephen Rapid

William Beckmann Whiskey Lies & Alibis Warner Nashville

Here is something to take note of a debut album on a major label that appears to be a big step in the direction of a country orientated artist being presented in the mainstream. It has been produced by renowned artist, songwriter in his own right Jon Randall, who himself has been in a similar position in his career. It has an immediate feel of the 90s better and brighter moments. Beckmann has an attractive vocal that has an energy that easily appeals. Aside from a number of outside song choices Beckmann has a hand in co-writing eight of the tracks here. The opening song (which seems to have been a confusion with some online sources crediting it to Hank Williams Sr.) is a cracker. Honey Tonk Blue is listed on the notes as being from the pen of Chris Stapleton and William Brice Long. It is a perfect opener, though on first listen I felt some of the other tracks moved into a more pop-county feel. Listening to the album several times since that I have got to like these tracks and feel that that are perhaps a necessary part of a wider acceptance at radio and with a younger listener. Beckmann has a look that is not going to dissuade that audience, however there is substance here that is pointing to a future growth. Which direction that growth will go is open to a number of choices. For now it is pointing largely in the right direction.

Randall has assembled some players who can take their contributions in several directions but whose talent is obvious. These include amongst others Jedd Hughes on guitars, drummer Chad Cromwell, Jimmy Wallace’s B3, synth and piano and songwriter Jesi Alexander providing backing vocals. The arrangements are often a little more rock orientated in the guitar department than some might wish but none-the-less effective.

The tile track is another standout with a strong chorus to bolster it. Overall the theme throughout is relationship related and relaying on a Cathy hook and strong chorus. In Be Your Man the lyric tells us that he wants to be your Townes Van Zandt and write you a song, not an obvious or usual reference that indicates that Beckmann may indeed listen to such an worthy influence. A couple of other songs that came from others includes the Alexander (a well know writer herself) co-written Game I Like To Play and the Dean Dillon/Brass Dillon song Neon Sounds. The last song Pro Mujeres ComeTu is another strong performance, written by Enrique Yanez Guzman it is convincingly sung in Spanish and with some telling feel for the lyric and some nice Spanish guitar to emphasise the mood.

Beckmann also can deliver a ballad with conviction as in Not That Strong, while the more rhythmic songs are also given an animated delivery that is as convincing as in Making Them Hate Me, in which his female interest chooses him over some other contenders this making their dislike obvious. There is also some likeable contrast with those songs that sit alongside these like the more stylised Orbinson-esque vocal of Lonely Over You or the more antagonistic Starting Over Again which has a very engaging contribution from the female voice which I assume is either Alexander or Jessie Jo Dillon.

This is an album that I was a little dubious of at first, given some previous so called country music encounters from major label, but it certainly grew on me. This is not the hardcore honky tonk of earlier times released by mainstream companies but, as the wheel slowly turns, is in itself a good start for both Beckmann and his label. Forget the lies and alibis that are part of many a press release and listen and make up your own mind.

Stephen Rapid

Sound Of the Sirens The Other Me Self Release

On initial listen this album highlights the impassioned harmony vocals of Abbe Wood and Hannah Walker. The opening song Who You Are captures this dynamic perfectly as the short arrangement comes and goes in a rush of hand-claps and strident vocal delivery. Chasing Skies keeps the tempo high and things drop back a few notches on the sweet love song Infinite Kindness, with some fine keyboards present in the mix.

Based in Exeter, England, the duo came together in 2011 and have released quite a few albums over the years since. Tao has a nice piano melody running through the song and The Part Where You’re Gone deals with the reality of living with grief. The passion in the vocal delivery is obviously something that the duo focus upon and Coming Back delivers with a real conviction and sense of joyous change.

The album was recorded at The Old Cider Press in Worcestershire, England, and was produced by Dave Draper. He provides bass, drums, programmed keyboards and electric guitars, while Hannah and Abbe perform on guitars and piano. The impermanence of life is covered on Things Change and the realisation that we are shaped by our experiences. Anxiety and self-doubt is the topic that Sacred Dreaming tackles and asks that old fears are left where they belong, firmly in the past.  An impressive album that will win many new admirers of this energetic and thoughtful music.

Paul McGee

ARBO Self-Titled Self Release

L'Angélus was a family band that made a vibrant cocktail of music, originally influenced from their home base in Louisiana during the early noughties. They were comprised of four siblings, Katie, Paige, Johnny, and Stephen Rees, and their talents spanned a variety of genres, including Cajun, Zydeco, Bluegrass, and Western Swing. A debut album appeared in 2006, Ca C'est Bon, which is well worth tracking down, and it was a heady mix of thirteen tracks, sung in both English and French, with eight original songs, plus collaborations with Cajun legends D.L. Menard and Hadley Castille.  

 Although the band no longer exists, their spirit is very much alive and well in the strong Irish and Cajun/Acadian influences that now shapes ARBO. Brothers Johnny (drums) and Stevie (fiddle) walked different paths for a few years after the original band split but they were always drawn back to a vision of what they could build again. The music that the brothers now create as ARBO has been described as “Country music that has hot sauce on it.” The band name is short for the historic Arbolada neighbourhood which is located near the University of Louisiana in Lafayette.

The new music is full of great energy, led by dynamic fiddle playing, a driving beat, and rich vocal harmonies. After releasing a series of singles in recent years, the duo also recorded a live album at the Brightside in Dayton, Ohio (website purchase only). On this studio debut a number of the singles are included on the eleven tracks and the listening experience is both powerful and rousing. On the opening track Whiskey River Road, you are immediately thrown into the feeling of hearing a country classic unfold. Things slow down on the reflective Give You Away a song of regret over a love that didn’t work out ‘There’s a little diamond ring that never got to sparkle on your hand.’

The pain of love continues on Little Less Back and the country rock beat echoes the message ‘Every time you give yourself away, You get a little less back.’ The various musicians include Aaron Smith on keyboards, James Gregory and Scott Mulvahill on bass, Tim Galloway, Simon Martensson, Zach Torres on guitars, David Howley on bouzouki, with Stevie Rees (fiddle, guitars, mandolin, harmonica, lead and harmony vocals) and Johnny Rees (drums, harmony vocals) providing the source of the magic.

Hot Stuff is a standout track with an addictive chorus and rhythm and the sweet melody on Light In Me is perfectly judged in the execution ‘It took finally finding you, To find the light in me.’ The regret on Already Gone is a fine example of the band dynamic, with considered words surrounding a divorce, backed up by understated drumming, restrained guitar, and sweet harmonies. Another country-cool song is Bayou Boy with a slow build in the tempo and the fiddle surfing on the rhythm.

Love Is Not A Gun plays with the idea of manipulative relationships in the lyrics ‘Love is not a tool you have to use someone,’ the driving rhythm and excellent piano playing highlighting the message. If  there is a radio hit to be plucked from these excellent tunes then Cry Love gets my vote, with great vocals and a dramatic guitar break lifting the energy levels and bringing home the compelling beat.

One of the final tracks When You Left visits failed relationships ‘I wish I was the man I was not being let,’ as he reflects upon that promise “for better or worse” and the fiddle playing drives the regret. Last song is a superb workout of Cajun / Zydeco class on Louisiana Saturday Night and the introduction of Scythian, a band that Johnny used to be a part of, and which includes Alex Fedoryka (lead vocal, fiddle), Dan Fedoryka (harmony vocals, accordion), Ethan Dean (harmony vocals). It’s a real hoedown in classic style to bring proceedings to a close. Such an enjoyable album. You will not be disappointed.

Paul McGee

New Album Reviews

Mary Chapin Carpenter Personal History Thirty Tigers

Loretta Lynn was undoubtedly the trailblazer in country music for headlining real issues facing women both in and out of wedlock in her writing, and Mary Chapin Carpenter followed in her footsteps in the alt-country genre, with material that often visited feminist themes. A five-time Grammy Award-winner, Chapin Carpenter was, and continues to be, an inspiration to a host of woman singer-songwriters, including close friend Shawn Colvin in the 1990s and more recently Brandy Clark and Anaïs Mitchell, the latter adding vocals to the song, Home Is A Song.  PERSONAL HISTORY is her seventeenth album, and it's of little surprise that Mitchell's bandmate in Bonny Light Horseman, Josh Kaufman, was brought on board to oversee the production at Peter Gabriel's Real World Studios in Bath, UK. It follows LOOKING FOR THE THREAD, her collaborative album with Scottish artists Julie Fowlis and Karine Polwart, released earlier this year. 

As the title implies, the album takes an autobiographical leaning across the eleven tracks, and she articulates that objective in the opening track, What Did You Miss? ('I've been walking in circles for so long, unwinding the mystery. I've been writing it down song by song, as a personal history'). 

Carpenter credits the inspiration for the album to Elizabeth Strout's novel MY NAME IS LUCY BARTON and the advice her creative writing teacher gives the main character in the book 'You will only have one story. You will write your one story in many ways.'

The vocals are delivered in an unrushed, whisper-like manner, often accompanied by sparse instrumentation, inviting the listener to focus on every lyric. Girl And Her Dog is a candid reflection on life decisions made, some of which are regretted, while others are cherished. Equally broody is Hello My Name Is, and a brief encounter or lost opportunity, imagined or otherwise, is the tale that unfolds in The Night We Never Met. The influence of Guy Clark on a twenty-five-year-old Chapin Carpenter is the subject matter of the album highlight, Paint + Turpentine. Like a master addressing a pupil, it offers sage advice of patience and perseverance ('But some things take their time to age enough to shine, with paint and turpentine'). 

 Carpenter's career has evolved from youthful escapism to being an unapologetic supporter of feminism, and she now stands as an artist continuing to mature like fine wine. There's hardly a line wasted in her latest collection of deeply contemplative songs, from an artist who excels in expressing both anguish and fulfilment in her writing.

Declan Culliton

Sam Stoane Tales Of The Dark West Cloverdale

Country & Western may have dropped the 'Western' from its name in the 1950s in an attempt to appeal to a broader and more urban fan base, but three-quarters of a century later, it's creeping back into fashion. Colter Wall, Corb Lund, Victoria Bailey, Nathan Jacques, and Chris Guenther are just a few of the increasing number of artists who genuinely embrace the cowboy or cowgirl backdrop, some with firsthand experience. Californian Sam Stoane can boast a genuine 'cowgirl' pedigree, having worked with horses and agriculture from a young age and continues to do so since moving to Nashville nine years ago. Since that move, Stoane has pursued parallel careers as a recording and performing artist alongside her passions for horse training and farm management.

A lover of writing and poetry from a young age, her farm and stable work drew her towards songwriting with a Western theme. Her debut album, TALES OF THE DARK WEST, is loaded with impressive lyrical expressions that fully embrace that lifestyle.

The strummed and plucked short guitar intro that opens the record plays out like a late-night campfire recording. It's followed fittingly by the equally mournful Coyote Cries ('Coyote cries a lonesome goodbye, serenading the moon in the sky') with Stoane's billowing falsetto vocals supported by wailing harmonica. The working cowgirl way of life and a devotion to animals also presents itself in A Good Horse And A Good Dog ('I'm sitting high in the saddle, been a long life travelled, with a good horse and a good dog'), and the lonesome Tehachapi is a drifter's yearning for his homestead.

It's not all a 'thumbs up' to the outdoor prairie life either. Pretty Poppies is a dark murder ballad ('Sleep, sleep, baby, never wake, forever flowers on the grave'), and Calico Coal is a eulogy to the coal miners who toiled long hours, unwittingly filling their lungs with toxic dust. A close encounter with a stranger sets the scene for the timeless tale of Dead Man's Alley. Diesel is an autobiographical account of how Stoane's love of a horse outweighed a passing romance; she ends up owning the horse and ditching the boyfriend.  Two covers also feature the Gene Autry/Ray Whitley classic Back In The Saddle Again, and Rodney Crowell's Even Cowgirls Get The Blues, but the real winner here is Sloane's original self-writes.

It's a remarkably assured record for a debut effort that combines quality writing, inspired vocals and musicianship that supports rather than dominates, from an artist who appears to have achieved the perfect lifestyle balance.

Declan Culliton

Kelsey Waldon Every Ghost Oh Boy

'I've already hurt the worst that I could and lived to tell the story. We can be thankful for our ghosts,' confesses Monkey's Eyebrow, Kentucky-born singer-songwriter Kelsey Waldon. 

The title of Waldon's sixth studio album is a brutally honest declaration. Very much a 'skeletons in the closet' group of songs, she opens her heart, addressing issues such as addiction, trauma and grief, and no doubt exorcising a number of demons in doing so. 

In saying that, the issues are often expressed in a toe-tapping and upbeat fashion. Recorded at Southern Grooves Studio in Memphis and backed by her touring band, The Muleskinners, the album was co-produced by Waldon and Grammy winner Justin Francis (Sheryl Crow, Kacey Musgraves, Tyler Childers, Gary Clark Jnr.).

Blessed with her glorious Kentuckian vocal drawl and a cracking bunch of players, she opens with the first-person narrative, Ghost Of Myself. It's a 'here and now' declaration and a recognition of adversities that were overcome through graft and resoluteness. Those characteristics of strength and resilience are also revealed in an ode to Waldon's grandmother in the fiddle-driven Tiger Lillies. Likewise, Comanche, written about her thirty-year-old-plus Jeep, also embodies toughness and dependability. Family pride and continuity also play a significant role in My Kin.

Falling Down is a cry for help ('He keeps fallin' down, fallin' down, liquored up, spinnin' 'round and I don't know how to get out') as the self-destructive protagonist just about hits rock bottom.  Lost In My Idlin' is classic honky tonk tears in your beer fare, complete with splashes of weeping fiddle, before the album closes with a cover of Hazel Dickens' Ramblin' Woman.

Waldon continues to take giant steps forward with each recording, and EVERY GHOST is no exception. It captures everything that is so gratifying about her work, from her distinctive vocals and excellent support players to her ability to translate thorny and real-life matters into terrific songs. Albums that address their authors' journeys, written from the heart rather than songwriting sessions, often produce genuinely great listens, and this one certainly hits that particular bullseye.

Declan Culliton

Clarence Tilton Queen Of The Brawl Self-Release

A five-piece band based in Omaha, Nebraska, QUEEN OF THE BRAWL is Clarence Tilton’s third full-length album. Fronted by brothers Chris Weber (guitar and vocals) and Corey Weber (guitar, vocals and pedal steel), the other members are Craig Meier (bass), Paul Novak (guitar and vocals) and Jarron Wayne Storm (drums, percussion and vocals).

They cite their influences as the Flying Burrito Brothers, James Gang, and George Jones, which explains their blend of what used to be called alt-country. With references to names and places, their storytelling songs unfold like a walk around a small-town rural area. Typical of this is the impressive mid-paced opener Fred’s Colt, which spells this out. It’s catchy as hell and features Marty Stuart adding vocals and guitar. It is followed by the racy instrumental Ray’s Stockyard Stomp, which tips its hat in the direction of The Sadies. 

Presley Tucker, daughter of Tanya Tucker, is a guest vocalist and a fine one at that, on the call-and-response country rocker Flyway Café. Tucker also contributes backing vocals on Pretty Things. Slowing things down, Sorrow And Sail and, in particular, Friant, are outstanding unhurried inclusions. On the other side of the coin, they let rip with the Lynyrd Skynyrd-type rocker St.Joseph’s.

Self-produced by the band and recorded at ARC Studios, Omaha, and Keystone Studios, Nashville, Clarence Tilton is not attempting to reinvent the wheel with QUEEN OF THE BRAWL, and the album may only make a small dent in the paintwork of the overcrowded Americana market. However, their impressive lyrical descriptions and deeply groovy melodies work spectacularly well.  Alongside their first-rate vocal deliveries, they’ve moulded a suite of songs that I’m most certainly going to revisit in the coming weeks and months.

Declan Culliton

Thee Holy Brothers High In My Balloon Regional

The debut album by Thee Holy Brothers, MY NAME IS SPARKLE, was released in 2020 and the duo comprises Marvin Etzioni and Willie Aron. Both lives have been touched by cancer in recent years, seeing Etzioni diagnosed with the disease and Aron’s wife passing away from the same condition. Rather than serving to split the band with the enormity of these events, it actually consolidated their wish to make music together.

Multi-instrumentalist Etzioni wrote all ten songs included and co-produced along with Aron. The sound is very much in the space of contemporary indie-folk. There is an echo of the Beach Boys from certain tracks, such as the title song and the standout The Holy In Everything.  Other notable songs are I Am Time, High In My Balloon, and Sunshine In My Veins, written around the topic of chemotherapy treatment.  There are a number of guest musicians on the album and they contribute to what is a very enjoyable thirty plus minutes in the company of artists who have plenty to offer in their creative expression.

Paul McGee

James McMurtry The Black Dog and the Wandering Boy New West

This ten-song collection was co-produced by the inimitable  James McMurtry and the legendary Don Dixon, who produced James’s third album WHERE’D YOU HIDE THE BODY? (1995) and he again brings his production perspective to this new project. It is his first album that James has recorded in four years and it features appearances by Sarah Jarosz, Charlie Sexton, Bonnie Whitmore, Bukka Allen and more. Regular band members BettySoo (accordion and backing vocals), Cornbread (bass), Tim Holt (guitar) and Daren Hess (drums) also appear and add greatly to the usual high standard of musicianship to be found on previous releases.

There is no doubt that James is taking stock and considering his options right now. So many ways that he could decide to walk, so many choices to ruminate upon. His observations on the human condition are legendary over a career that dates back to the 1980s, but for every fictional character created in the songs, there is always going to be a little bit of himself caught up in the detail.

The new songs find James reflecting upon the past, including family, and the night hallucinations experienced by his father, renowned writer Larry McMurtry,  and mirrored in the title of the album. There is also a sense of time running out for an artist who has done it all, toured forever, released numerous albums, and now sees the world changes through his increasingly frustrated lens on life, while wondering where he still fits into it all.

The song Sailing Away has lyrics such as ‘Feelin' faded, and I'm not okay‘ and is almost a goodbye note to the admirers that have followed his career in every detail - ‘Have I any business, being in this business anymore?’ James asks, and hints at feeling dated and less relevant. The anger expressed in Sons Of The Second Sons is in total disbelief that the ideals of previous generations could be bent out of shape to fit and suit the avarice of the minority to the detriment of others in modern USA.

This legendary storyteller has included a pair of covers as bookends on the album and Laredo (Small Dark Something (Jon Dee Graham) opens things up before Kris Kristofferson’s Broken Freedom Song brings everything to a conclusion. Laredo (Small Dark Something) by Jon Dee Graham dates back to 2002 and It’s inclusion here is somewhat surprising, unless perhaps James has murder on his mind. The party fervour of the song comes through in the lyrics ‘We shot dope ‘till the money ran out’. Hedonistic denial of the reality at the end of the world?

The next track is the interesting South Texas Lawman and a slice of life taken from border surveillance, while the chief protagonist is found ‘cheating on both his wives.’ A view from the edges of keeping the peace in border towns that flirt with what is defined as legal. ‘I used to be strong as any man, nobody bothered me, I can’t stand getting’ old, It don’t fit me.’ Things remain the same, until change comes calling.

The Colour Of Night is a song that appears to be about dislocation and not being comfortable with the state of things. This is something of a default position in the musings of James McMurtry. There is the outlier who grapples with meaning, trying to just get along with what it takes to just come through intact. However, the existential shadow always looms large and the thought that there may be more to the story is never too far away in the sentiment.   

Pinocchio In Vegas is hilarious. ‘He’s a real boy now and his dick grows when he lies’ is one of the cool lyrics to digest in a song that appears to reflect image rights in a modern world where the real sense of balance has disappeared ‘Who were my grandmother's friends? They used to take me fishing every now and then, Who were the neighbours next door? I can't call you up and ask you anymore.’ Old values lost in the race for media recognition and social acceptance. Annie is a song that reflects on a 9/11 experience and the trauma of the time. Reference to George W. Bush is made and the chilling reality of the Trade Centre terrorist acts. The twin towers and Saddam Hussein reference the sense of confusion and the roles that were acted out.

The title track is an hallucination that Larry McMurtry had prior to passing away, imagined here by James in a scenario that has the character drinking beer in the morning on the porch, and watching while ‘The squares go to work.' Back To Cour d’Alene is as song that talks of the city in Idaho and likens the search for commercial acceptance and success against the reality of the emigration police calling to check on credentials.

The band are so much in the central moments of the album and the playing is so tight across all the songs here. Ending with that Kristofferson number is perhaps appropriate as the song looks at disillusionment where the price to be paid is more than expected, ‘Just a broken song of freedom, and the closing of a door, no one's missin' till you need 'em, Ain't no fun to sing that song no more.’ As always, there is so much to digest in the music of James McMurtry and this new album is filled with ample proof of his many gifts and talent.

Paul McGee

Jeff Finlin Myth Of the Giver Continental Song City

LIFE AND DEATH – The Essential Jeff Finlin, appeared back in 2016, and it represented an interesting look down the path taken in the colourful career of this troubadour. One might have thought that this compilation signalled something of a full stop, and that the years of touring had perhaps taken their toll. In early days, Finlin travelled across America in cars, trains, planes, and also hitchhiked in his search for the American dream. He played music in different bands from Boston, to Ohio and L.A. He was a founder member of The Thieves, a Nashville band, before going on to release a debut solo album back in 1993. Since those times, Jeff has seen a run of eight studio albums, a few live releases, and a previous retrospective album (2006), appear on his interesting CV.

Happily, since the appearance of LIFE AND DEATH, he has not rested on his laurels, deciding instead to go on a run of albums that brought renewed media reaction to his creative talents, and rewarded his ever-expanding army of admirers, with THE GURU IN THE GIRL (2017), SOUL ON THE LINE (2022), and now this album of thirteen new songs. His voice has become more ‘lived-in’ over the years of touring and to say that the new songs carry a ragged elegance is an appropriate and heart-felt compliment.

On the opening track, Whippoorwill, he sounds tired with the routine of the everyday and his words reflect ‘Knowing seems to take the place of doing, Since I done it all before, Show me how to keep on moving, When I feel I just must close the door.’ The edgy love on All Dolled Up Like Michigan tells a tale of ‘We met at the well, with a rope and a bucket, and a story to tell; spoke words about a future, only the broke could spell, all dolled up like Michigan, in love we both fell.’

Wings is a love song and is superbly structured in all aspects ‘The skeleton boys in my closet, they rattle my bones by the day, Till the wicked red road loosens that load, And rolls me on out, like the washing of a rain.’ The poetry of the weary and the wise. There are songs that reference his past, and the lost highway of Lightning Days is a close companion for Tears Roll By in the images painted ‘Bootheels dug deeper with each mile that winds, Nothing to feel but the end of the line, As the tears roll by.’

The album was recorded at the Rubber Room in Fort Collins, Colorado and Jeff Finlin played most of the instruments that are used in the songs. There are contributions from Jeff Coppage (mandolin), Phillip Broste (pedal steel) and Eric Straumanis (electric guitar) on individual tracks but it’s pretty much all of Jeff’s own work. There is a worldly-wise understanding in the song Unknowing with its addictive rhythm and the words ‘Stepping through the turnstiles, boarding that inbound train, Her love is in the doorway, punching my ticket again, My destinations lost in the sound of the chord, ringing in the grace between the lamb and the lord.’ Excellent imagery.

Dare I suggest that this represents a musical highpoint in a career that has seen many plaudits, and the key message of love is continued through the interesting rhythms of both Valentines Day and Love Is the Last Word. There is a weary sense of responsibility on both Hannah In the Air and The Cowgirl In Forever, whether in the returning or the leaving, memories linger in the ether. Lovers Day is a beautiful slice of poetic perspective ‘ Lovers day, Blowing in the willow, Laying light on my head and on my pillow, Songs in blue laughing in the rain, How I long for you and lovers day.’

Two final love songs wrap the album with Taking the Blue and Volunteer confirming the real quality throughout ‘Stuck on this train, Traveling the timeless years, You taught me how to be my love, another volunteer.’ An essential purchase and a welcome reminder that real class is permanent.

Paul McGee

Rupert Wates Father To the Man Bite   

Looking to the boy within us all and wondering upon the future life that will unfold for a treasured son. This is what lies at the core of these songs, where Rupert Wates takes the perspective of being a father to his son Gabriel, and pondering upon what paths may open up ahead in the distance.

On the opening track, (Like A) Songbird In the Spring, Wates pens the words ‘Then like a songbird in the spring, Open your loving heart and sing, The time will come to spread your wings and fly, And you will fly.’ A reflection that life is there to be lived to the full, and that growing up strong is the inevitable result of wise parental guidance. Another song The Fair brings to life the magic of a festive event in the eyes of a young child with the colour and spectacle of it all.

The album is performed entirely on solo guitar from Wates who favours his richly sounding Lowden instrument throughout. His prowess on guitar is at an elevated standard of excellence and his thirteen previous solo albums bear testament to this lofty talent. As a musician who is based in NYC, he is steeped in the artistic influences that the city holds and his very astute arrangements hold the attention as they play out in sweet melodies. The tale of love lost on The Lady and the King is a fine example of this playing prowess although what the message is to the child remains open to interpretation. Them Bones is a look at mortality and the fear that grips us all that in time we are reduced to no more than a set of bones. It is our deeds by which we are remembered.

The Song Of the Wayfarer is reminiscent of all that is good in the British Folk tradition and relays the story of a father who has the restless spirit for travel, leaving behind his young child in the process. Wates was born in London and grew up in England where the influence of contemporary folk was very much an influence and one that remains alive in these reflective songs.

April Morning heralds the onset of Spring in the sentiment and the interpretation of growing up is well captured in the songs, the need to show courage and to face life’s challenges.  In the song Nobody’s Man (But Your Own) Wates councils ‘The man at the top will pay you in gold, To steal what is yours alone, Don’t pay him in kind don’t give him your soul, Be nobody’s man but your own.’

The world is forever changing and the need to stay wary of outside influence and pressure can only be taught when the child is not yet a man and having to face such challenges himself. The title track suggests that the child is father to the man and that in guiding a young life, there is as much to be learned by the parent as is imparted. Apart from double bass accompaniment from Dave Pomeroy, the twelve songs are an intimate love letter from father to son and beautifully delivered throughout.

Paul McGee

Ben Joseph and the Lay Lows The Burns Self Release

The official website highlights Ben Joseph as a London-based singer-songwriter and multi-instrumentalist with roots in Alabama and New Orleans. His sound is stated to be a unique blend of blues, country, rock, and soul. The nine tracks included on this new release run for twenty-seven minutes and studios in London and New Orleans were used in the recording process.

Despite my best efforts, I have been unable to find much detail around the boast that “over 20 musicians from around the globe” feature on the album. There are only credits on the PR sheet for Jimmy Messa (bass), Rob Lee (drums), Emily Moment (harmonies), with Dan Razza and Stephen Llewellyn also providing harmony vocals. Production is handled by Ben Joseph, who holds an MA in Ethnomusicology. He released an album back in 2017 titled TWO TICKETS PLEASE and this outing is his second full release.

The sound on some of the arrangements is somewhat busy in the mix and can come across as somewhat muddy in their delivery. Certain songs have a distant quality, like they’re coming out of  speakers in another room. The album is a fiery exploration of love’s many flames according to the promo sheet and the harmonica of Ben Joseph highlights the need to fix a broken love on opening track Fix It Or Listen. The ponderous beat on I’m A Rolling Stone holds the song back and it never gains any real momentum, while the spacy guitar solo does at least try to lift the energy.

Damn Kudzu is an appealing song and the slower tempo suits the song that tells of the invasive Chinese plant that suffocates trees, abandoned homes and telephone poles. The song I’m A Dog has the lines ‘you were feral when I found you, I just couldn’t leave you all alone.’ Letting love rule the heart is something that the easy country groove of Tell Marie addresses and harmonica soothes in the melody. Love Burns is a soulful journey down the highway and has a nice flow to the playing.

It’s followed by the rocking Betty that looks to capture the energy of the old Ram Jam song Black Betty. There is a stop-go feel to Burn Me which has some nice guitar on the song, and the final track Cajun Fairy (or Queen?), tells of addiction to brown sugar and has an interesting dynamic in the playing. Marks for effort but could certainly up the game on future outings.

Paul McGee

New Album Reviews

The Steeldrivers Outrun Rounder

Hands up time: I admit to being one of those who predicted that The Steeldrivers would fall apart after the departure of lead singer, Chris Stapleton, just after the release of their second album in 2010. I am happy that I was totally wrong and here they are, celebrating their 20th anniversary, and releasing their seventh self-produced bluegrass/Americana album, and with a Grammy under their belt. Founding member Tammy Rogers, who is the main songwriter as well as playing fiddle and singing harmony vocals, puts down their success to their ‘unique sound, where everyone is encouraged to have their own voice’. They’ve also toured relentlessly and that tightness, that only evolves after years on the road together, is a hallmark of their sound. Each member is a standout on their respective instrument, like the other founding members, Mike Fleming on bass and vocals, and Richard Bailey on banjo. Guitarist Matt Dame also takes lead vocals (his gritty and bluesy vocals are not unlike those of Chris Stapleton, indeed) and he also contributes two songs. Brent Truitt completes the lineup on mandolin.

Comprised of twelve strong cuts, there are no fewer than five murder ballads on this record, believe it or not, and all of them have unexpected twists. Emma Lee, cowritten by Matt Dame, is a female protagonist, who almost escaped justice but, thanks to a wily sheriff, ‘now she’s doin’ time in a 10 x 10 cell / and she’s holdin’ on to stories that she’ never gonna tell’. The rocking title track is a Tammy Rogers and Leslie Satcher composition, where the subject learns that he ‘can’t outrun the Grim Reaper, once the deed is done’ and Rosanna tells the sad tale of the outcome of forbidden love between a Hatfield and a McCoy. Thomm Jutz has co-written three strong songs with Rogers, including the murder ballad Cut You Down, and the catchy You Should see The Other Guy, wherein a misogynist gets his comeuppance.

Band co-founder, and indeed the lynchpin who got them all together initially, Mike Henderson, died in 2023 and there are two inclusions in his honour: his quintessential country ballad, Prisoner’s Tears, and Painted and Poison, his cowrite with Ronnie McCoury, which the band had often performed but never recorded until now.

Verlon Thompson cowrote Booze and Cigarettes with Rogers, the tale of a barfly and his excuses, and the album closes appropriately, after all the murder and mayhem, with Mike Dames’ redemption song, On My Way.

The Steeldrivers are itching to get back on the road again and, if you’re fortunate  enough to catch them live, please tell them that Europe is waiting patiently.

Review by Eilís Boland

The Shootouts Switchback Transoceanic

There are a couple of very telling clues that The Shootouts have made a change to their music. Not least is the fact that they have moved away from the previous western dime novel graphic look of their previous albums. They are still using an illustration but,rather than the previous fun graphics on the cover, this time it is an abstract landscape. Also, the band pictures now only feature the three principal members. Once you listen to the new recordings you hear that they have made a decision to concentrate on a slightly different sound, one that, while still rooted in country, is derived less from the sound of classic honky tonk and Bakersfield this time out. The Ohio-based trio are now working with producer Dan Knobler in Nashville studios. They have augmented their contributions with a host of additional session players, such as Sam Bush, Russ Pahl, Mickey Raphael and Jen Gunderman, with Knobler also contributing on guitars and keyboards. There are numerous additional vocal guests, from noted names like Vince Gill, Rodney Crowell, Logan Ledger and Lindsay Lou, as well as band founding member, Emily Bates. But the central figures are lead vocalist and chief songwriter, Ryan Humbert, and lead guitarist Brian Postern, who shows off his skills on the instrumental title track, wherein he trades licks with Sam Bush’s mandolin here and elsewhere on the album.

The Shootouts made this move to try to develop more of their own sound and to, simply, move on to something a little different from what they had done over the past three releases. This can both have the effect of giving a band a new energy, but also risks alienating those fans who really loved their interpretation of those classic country motifs. The end result is more of a move towards a roots rock sound, something that works in the context of the new material, but still featuring the welcome sound of the pedal steel alongside the mandolin and harmonica contributions, making a solid connection to the previous albums. However, it is the upfront guitars and keyboards that underpin the majority of the sound.

Humbert delivers some matured vocals throughout, on the original songs and also he goes toe to toe with Vince Gill on I’ll Be Damned, a Gill written song from earlier in his career that is one of the more twang-centric outings on the album. The other is a reinterpretation of the Yazoo/Vince Clarke written hit, Only You. It features a nuanced vocal from Humbert, while guest Lindsay Lou adds harmonies, and the song shows how well it is open to another elucidation. The harmonica, mandolin and steel are effective in underscoring the overall sense of the theme of finding an individual need as close to true love as is possible. 

The album opens with a mid-paced ballad, Trampoline, with the vocal shared again with Lindsay Lou’s harmonies on a song that looks at life’s ups and downs using the title as something of a metaphor. It clearly sets out the comprehensive new direction that The Shootsouts are pursuing. The overall use of lead and harmony vocals seems much more prominent this time out than previously, or maybe that is how the production has placed the emphasis. Crowell’s harmony sits behind Humbert’s own voice on the pensive Half A World Away. It is another tale of introspection and love seeking sentiments, and is something of a continuous theme with songs like Blue Eyes, or Only Good At Goodbye.

A standout that feels pure country, in terms of its lyrical content, is A Few Old Memories, wherein there is a wish to make a few more of those ‘old memories’. Your Love (I’m Afraid Of) is another uptempo guitar-driven tale of doubt that features a strong chorus. The closing track, Dancing With A Distance, begins with some ambient sound, looking at a past and things that used to be part of a lifestyle that seems lost. Raphael is again featured effectively while Postern then takes the song in a harder rockin’ direction that allows the harmonica to stake its claim in the sound. “Where I am to where I want to be” is the sensibility here, something that is also echoed in the overall context of this album. It opens another chapter for The Shootsouts to write their own future, one that seems open now to move away from a hardcore country attitude to something broader, with a wider potential. However, they have demonstrated their ability to make such a move with panache, and a platform to develop without losing the genre-based feel of their earlier work. Such is the trampoline of music.

Stephen Rapid

S.G.Goodman Planting By The Signs Slough Water/Thirty Tigers

The title and theme of S.G. Goodman's latest project were constructed around details of her rural Kentucky childhood, when planting seeds, or indeed, basic planning, were often timed by the cycle of the moon.Satellite, the third single from the album, particularly explores this phenomenon, it’s an intoxicating song featuring Goodman's semi-spoken vocals set against a hypnotic backbeat.

Currently living in Murray, Kentucky, Goodman was born and raised fifty miles west on a farm in Hickman, Kentucky. Her writing has consistently focused on the people and the lands in her rural and small-town homeland, and PLANTING BY THE SIGNS follows that pattern.  Though a country artist at heart, she marries her quite unique vocals with pounding drums, screeching guitars and thumping bass lines. A champion of the underprivileged (the quite excellent "Work Until I Die" from her 2022 record TEETH MARKS is a case in point), her latest album recalls upsetting childhood memories as well as more recent events and setbacks. Snapping Turtle looks back on an encounter, during her youth, with a group of kids she caught trashing a turtle in the street and the evasive action she took in rescuing the situation. The song also speaks of a less fortunate childhood friend who was unable to survive ('Not after seeing LeAnna's face, A life beat down like that snapping turtle day').

The self-questioning and introspective Fire Sign broaches the self-doubt that two years of constant touring, and the expectation of that sacrifice, can initiate. Michael Told Me pays homage to her close friend Mike Harmon ('Love You from Los Angeles, even with the pain'), who often acted as a roadie and van driver, and who died tragically in a tree-felling accident while Goodman was on tour. Elsewhere, she is joined by fellow Kentuckian Bonny Prince Billy on Nature's Child, and co-producer Mat Rowan on the title track, before closing the album with Heaven's Song, which, at nine minutes long, fondly remembers road trips with her beloved dog, Howard, who died in 2024.

Born out of setbacks and personal pain, the extent of which is emphasised by her near-broken vocals on occasion, PLANTING BY THE SIGNS is a tour de force. Few can connect country and post-punk in the electrifying manner that S.G. Goodman has over her four-album career to date, and this effort is, without doubt, the cream of that crop.

Declan Culliton

Anne McCue & The Cubists Wholly Roller Coaster Flying Machine

East Nashville-based treasure, singer, songwriter, ace guitar player and multi-instrumentalist, producer, video director and music show host Anne McCue has been recording and releasing her eclectic mix of roots, power pop, blues and psychedelia for nearly three decades. The Australian-born artist confesses that the lack of a studio release over the best part of a decade was down to writer's block. However, in recent years, primarily fuelled by a full-on diet of psychedelic pop, she got her writing mojo back in full swing, and WHOLLY ROLLER COASTER is the result of that rebirth.

Described by McCue as 'a pop album with psychedelic folk-rock tendencies,' it transports the listener back to the classic left-wing pop/folk crossover that blossomed in the U.K. during the heady mid-1960s, when the industry allowed artists to dictate their output rather than the A&R suits who eventually took control. The resulting ten tracks recall the work of Syd Barrett and early David Bowie, while also paying homage to the movement from traditional folk music into folk rock in the late 1960s by crossover bands like Fairport Convention. 

Co-produced by McCue and Jane Nightshade, and recorded at Flying Machine Studio in Nashville, the album features a diverse range of instrumentation, including the standard instrumentation employed, as well as the Wurlitzer organ, tambourine, bouzouki, banjo, harpsichord, flutes, horns, and trumpet, all of which contribute to the hallucinogenic and experimental sound.

Typical of the record's folk-rock cocktail, and making an instant connection on first play, is the breezy and cheerful opener, Fly or Fall. A contemporary folky vibe also surfaces on the mellow Gone. Closer to the work of Ray Davies, Shadow Lane harks back to simpler and more innocent times, evoking a delightful sense of nostalgia ('And Mr Finnegan is in his chair acting like he doesn't care, perhaps he's a millionaire'). From a comparable musical era Leaping On The Moon could have been plucked from David Bowie's 1967 self-titled and often underappreciated album.  Feelin' Alright Now is a seriously catchy and upbeat affair, possibly rejoicing in the passing of the pandemic and the return to normality ('Feelin' alright now, 'cause our eyes can finally see the way'). Layered and semi-spoken vocals, along with a steady drum beat, contribute to the cheerful final track, The Years.

Explaining the long pause since her last recording, McCue explains, 'I've been waiting patiently for the song gods and goddesses to once again grace me with their splendour.' The gods and goddesses certainly made their presence well and truly felt with this delightful and mystical collection.

Anne McCue has never reached as broad an audience as her talents merit.  Perhaps she is quite happy to operate slightly under the radar. But with a back catalogue that includes gems such as ROLL, EAST OF ELECTRIC, BLUE SKY THINKIN' and now this delight, WHOLLY ROLLER COASTER, she is an artist that, if you don't already know, you're well advised to investigate.

Declan Culliton

North Mississippi Allstars Still Shakin' New West

Twenty-five years after the release of their Grammy-nominated debut album SHAKE HANDS WITH SHORTY, and thirty years after the band’s formation, North Mississippi Allstars celebrate those landmarks with an eleven-track album. Like that debut album and close on twenty others that followed, brothers and founding members Luther and Cody Dickinson were joined by guest players to contribute to STILL SHAKIN.'

The album was recorded at their family studio, Zebra Ranch, near Coldwater, Mississippi, which was established by their late father, Jim Dickinson, who, as well as releasing his own numerous solo albums and work as a producer, played piano on recordings by The Rolling Stones, Bob Dylan, The Flamin' Groovies, Ry Cooder and The Cramps.

Luther Dickinson describes their output precisely as 'We don't fit in anywhere. We're not Americana, we're not blues, we're not country or rock, we're just what I call modern Mississippi music.' In that vein, their latest project is a celebration of the traditional music of their home state, alongside their passion for improvised jams, which crisscross between blues, folk, southern rock, and psychedelia. The current line-up is Cody and Luther Dickinson, Rayfield ‘Ray-Ray' Holloman (The Origin Band), and Joey Williams (Blind Boys of Alabama, Peter Gabriel) along with a host of guests (Jojo Hermann, Duwayne Burnside, Robert Kimbrough, Kashiah Hunter, Trae Pierce, Grahame Lesh, Sharisse Norman, Shontelle Norma) who also feature on STILL SHAKIN'. 

Effortlessly weaving between blues (Don't Let the Devil Ride and Stay All Night), jazzy rap-like jam (Still Shakin'), a woozy instrumental (Monomyth- Folk Hero's Last Ride) and funk (Poor Boy), the songs play out like an encyclopaedia of songs gathered from the Dickinson brothers' numerous influences. An acknowledgement of both the past and the present is the order of the day here, from a band with their feet firmly on the cosmic pedal of the sonic landscape of Mississippi. Groove-laden and infectious, it's a crescendo reaching and highly engaging listen.   

Declan Culliton

Drew and Ellie Holcomb Memory Bank Magnolia

Can there be any greater buzz than making music with your wife and enjoying the creative process together? This Tennessee-based couple formed a band in 2005 as Drew Holcomb and the Neighbors, with Ellie remaining as a member until 2012, when she left to raise their children and to pursue a solo career. They now come together again in song to release their first album as a duo, and it’s packed with great tunes.

You Drive Me Crazy hits the nail with a sultry groove, dripping in sweet rhythm as the co-vocal parts come together in a real tour de force. The couple collaborated on nine of the thirteen songs included here and they recorded at the Sound Emporium Studios in Nashville. There is a fine cover of the song Shut Up and Dance (Walk the Moon), and Ellie includes a collaboration with Taylor Leonhardt on Brick By Brick. There are two songs written by Drew with Bones and We Can Go Dancing both hitting the high bar set in the writing, and on a number of other songs the talents of both Cason Cooley and KS Rhoads are highlighted.

All of the above simply goes to show what is involved in the process of collaboration, both in the writing and in the ensemble performance in the studio. The sessions were recorded live in the studio and production was handled by Cason Cooley who also contributed on drums, percussion, programming, synthesizers, mellotron and acoustic guitar.

Regular members of Drew’s band The Neighbors also play on the songs with both Rich Brinsfield (upright and electric bass) and Nathan Dugger (acoustic and electric guitar, piano, Wurlitzer, mellotron, pedal steel) bringing their magic touch. Ian Miller also stars on B3, accordion, piano, along with other guests who provide great colour in the song arrangements. You Drive Me Crazy is a fun look at the relationship dynamic between spouses and Rain Or Shine is a strong statement of the love that endures between them. The lovely Silver Thread is a fine example of the mature songwriting at play here and throughout the album we are treated to many highlights across the vocal prowess of both artists as they dove-tail around the melody and come together in a celebration of music. A very enjoyable album and definitely a keeper.

Paul McGee

Gordie Tentrees and Jaxon Haldane Double Takes Self Release

A very satisfying album from a duo that have been recording and touring together, on an ad-hoc basis since they met in 2014. Both musicians had already forged their independent careers in Canada, with Tentrees hailing from Whitehorse in the Yukon, and Haldane growing up in Winnipeg, Manitoba. They released a live album in 2018, titled GRIT, and now this new project has arrived to represent their first studio collaboration. Included are ten self-penned songs and the production is by Nash Chambers (Paul Kelly), the brother of Kasey Chambers. The musicians include Shawn Fichter (percussion), Steve Mackey (bass), Charlie McCoy (harmonica), Tania Elizabeth (fiddle), Bill Chambers (lap steel), Lucky Oceans (pedal steel), Joanna Rodriguez (harmony vocals), and Nash Chambers (percussion, melodica).

The entire album was completed in just a few days at Troubadour Studios in Nashville, and there is a great live ‘on the floor’ feel to the songs in an attempt to replicate the typical performances that the duo are renowned for when on tour together. The easy blues of Drive Or Push is reminiscent of the early Elvis sound with the harmonica of Charlie McCoy and the electric guitar of Haldane high in the mix. Bygone Days is another step back in time and the exceptional fiddle playing of Tania Elizabeth is a real highlight on this light bar-room jazzy groove.

Haldane delivers a tribute to his grandparents on Bobbi and Gus, with harmonica and resonator guitar superbly delivered by Tentrees. A highlight is the song Time and a look at how our lives are shaped by the decisions we make and the ways in which we choose to spend our days. Crystal is another strong song and it references a tale of addiction and trying to control that urge to keep chasing that high. The final song, Gratitude, has a slow tempo and gives thanks for good fortune in life, with some fine harmonica and harmony vocals. It all feels very loose and lively in the delivery, with plenty of tight playing, and the right attitude to letting the music speak for itself.

Paul McGee

Nelson Wright Ghosts On the Water Self Release

This singer songwriter grew up in New York and his music is very much in the genre of folk and roots in the content and delivery. Having released a debut album back in 2012 titled STILL BURNING, Wright followed this up with a second record in 2014, ORPHANS AND RELICS. It has taken the distance in between for Wright to present this new music and the nine songs included are very much worth the wait.

Like any seasoned musician the years bring their own reward in terms of experience and insight into the ways in which we all try to negotiate our separate lives. Now based in Seattle, Wright has a keen eye when it comes to observing the human condition and these songs cover quite a lot of ground. The opening song Alcatraz looks at the  1960s escape from the island which was orchestrated by Frank Morris and joined by brothers Clarence and John Anglin. None of the escapees were ever captured and were reputed to be living all these years in South America.

Mobile Bay is another song that references prison, this time from the perspective of an inmate in an Alabama prison who is thinking of the freedom that lies just a few hundred miles across the Gulf of Mexico. The Natchez Trace tells the story of dislocated people who are looking to get back home to their origins. Both a young girl and an old soldier are featured in their attempts to get beyond their grown experience and return to simpler times. The Old Natchez Trace is a historic forest trail which spans over 450 miles from Nashville, Tennessee, to Natchez, Mississippi, and links the Cumberland, Tennessee, and Mississippi rivers.

Kindred Spirits is a tale of an old uncle that impressed a young nephew with his earned wisdom and simple ability in playing a musical instrument. Learning from the old ways and the true path of living ‘the things I learned from a kindred spirit’s hand.’  There are love songs included and the easy groove of My Favourite Brunette is a real tonic, together with the sentiment expressed for a loved one on My Heart’s Best Tattoo.

The story on The Night Love Ran Out is one that sees female partner taking the hard decision to leave behind the frustrations of trying to keep the flame of love burning ‘Dreams can take a lot of abuse, they hold on fast when there’s no excuse, But they don’t come back once you cut them lose, when love runs out. ’ There is a list of musicians who play on the album but sadly no detail as to individual credits. The ensemble deliver some striking moments throughout and perhaps more care should have been given to give recognition where it is due.

Stony Ground  looks at trying to escape your roots and trying to recall youthful memories of the days left behind. The accordion on the song builds a sense of nostalgia with the guitar motif echoing this sense of needing to escape. Elsewhere mandolin, dobro, fiddle and guitars mix together and the female lead vocal on My Heart’s Best Tattoo could be any of the three female names that appear in the musicians list … The final song is about letting go and the words in Let Me Down Slow say ‘There’s a chill wind running through me now, like something I don’t know, let me down, let me down slow.’ If you wanted to slip off this mortal coil then this is perhaps a song that would be played as your mortal remains are taken to their final resting place.

Paul McGee

Charles Ellsworth Cosmic Cannon Fodder Burro Borrachos

Raised in Arizona and based now in NYC this is the fifth album release from a singer songwriter who has established a career that brings much to the listener. Frustration at being stuck in an airport makes up the opener, LAX Song. Up next is Avenue Of the Giants and a rocker that swings along at a pace, looking at the challenge of life passages. Elsewhere, the country sound of Ripped To Ribbons is a strong track calling for a chance to make a relationship work; ‘I’ll do my best to open up, if you promise not to run,’ with some nice pedal steel playing courtesy of Mike Brenner, to give the mid-tempo melody a gentle lift.

If They Let Me Choose Forever is a rocker that plays out with plenty of attitude and a song about teenage rites of passage, getting high and making out. Another Fucking Tuesday is a song about the normalising of mass shootings in American schools, and the media reports that increasingly see such tragedies and killings as just a part of our daily reality. Politicians doing nothing to effect change in any real way. The Gates has a slow melody with sweet pedal steel sounds and a song about earning just enough to pay the bills and get by, victims of a corrupt system that rewards greed and takes the common-man for granted.

The title song Cosmic Cannon Fodder has a reflective theme and examines the way in which we try to find meaning in the chaos of daily routine; basically, in adulthood, how we are left to ponder our own place in the universe. Time passing is also a theme in Crazy Kelly and the heady abandon in the freedoms of youth, and the following song Swimming In the Shades Of Grey is a tender contemplation on past relationships, old memories, a restless spirit and the need to keep moving. The anger felt by Ellsworth at the political state of the nation pours forth on Build A Bigger Table and his aspiration to ‘Get to know that kid, who I once was.’ Wanting to feel he can believe in that ubiquitous American dream and not just passively watching all the pain and upset that permeates.

The final track If I Could Talk To God is another angry look at the state of play on the planet and the frustrations felt in trying to get used to living with compromise. Doubts in a higher power, jobs that don’t inspire, the death of old friends, all  lie heavily on a life that just wants to break away and live freely. The album has plenty to offer and the production of Blake Tallent (Sarah Shook and the Disarmers) is superb in bringing a vibrancy to these songs. Tallent also contributes on drums, percussion, bass and keyboards, with Ellsworth playing guitar and writing all the songs.

Paul McGee

New Album Reviews

Hailey Whitters Corn Queen Pigasus/Big Loud

The title of Hailey Whitters' fourth full-length album stems from her fans christening her 'Corn Queen,' because she was born and raised in the small town of Shueyville, Iowa. As a proud Iowa native who moved to Nashville as a seventeen-year-old and, through a decade of hard graft, has established herself as a breakthrough country artist, Whitters took this as a compliment. 'I'm proud of it, I like the idea of a queen with a little grit and elbow grease,' was her response.

Whitters' first taste of Nashville was as a fifteen-year-old when her mom booked a trip for them both to Music City. Incredibly, it was the teenager's first city trip, and its impact was such that the music-loving girl vowed to return after high school to follow her dream. That dream has been fully realised, through diligence and endeavour, by an artist with a natural talent for penning and singing bona fide country songs about everyday life, loves, and letdowns in small-town America.

With two records under her belt, BLACK SHEEP (2015) and THE DREAM (2020), Whitters’ profile was on an upward trajectory , and her third album, RAISED (2022), earned her tours with Luke Combs, Shania Twain, Dierks Bentley, Eric Church and Luke Bryan. However, the success and market recognition had a stifling effect on her creatively and CORN QUEEN is the product of her pressing the reset button and concentrating on where she wants to be, rather than where outside influences would prefer. 'I got pretty lost in it for a while and needed a rest, I needed to take off the costumes and the makeup and reconnect with the girl underneath it all,' she explains.

That sentiment is evident from the get-go with the banging,fiddle-driven, country opener High On The Hog ('Might look like the dream, but bein' Corn Queen, hell it ain't all crowns and sashes'). That high-octane pace continues on Prodigal Daughter, which includes a cameo by Molly Tuttle. Other guests include The Wilder Blue on the slower-paced album closer DanceMor, and Charles Wesley Godwin trades vocals with Whitters on I Don't Want You, which explores the reality of a love-hate relationship. Other reality checks raise their head on the punchy Shotgun Wedding. Slowing things down a few gears, Casseroles paints a graphic picture of death and the loneliness that follows. The autobiographical Helluva Heart highlights the strength of character and relentless work ethic that keeps her in check during taxing times. Recorded in Nashville with her husband, Jake Gear, overseeing the project, the host of top players that contribute excel in giving expression to the sixteen songs that feature.

It's not yet exactly 'floodgates open' for women in roots and country music, but the wheel is turning slowly in that direction. Hopefully, the industry does not overburden Whitters, as she holds all the aces to emulate the success of similarly talented songwriters and performers like Miranda Lambert, Brandy Clark, and Kaitlin Butts, all blessed with the skillset to pen down-to-earth, meaningful songs with genius wordplay and often from firsthand experiences. Whitters has certainly achieved that with CORN QUEEN, a contemporary country record of the highest order. 

Declan Culliton

Ken Pomeroy Cruel Joke Rounder

At the age of twenty-two, Oklahoma-born Cherokee Nation member Ken Pomeroy’s latest album, CRUEL JOKE, is her fourth recording, three of which she had released by the age of nineteen. This latest record is her first on the Rounder Records label and consists of twelve soul-searching tracks. In keeping with her previous output, it is a profoundly personal project.

When asked by Lonesome Highway in an interview back in 2021 to describe her music, she replied, 'I'd describe my music as a mix of folk and Americana, with a kind of hopeful sadness to it. I write a lot of sad songs and emotional songs in a very vulnerable sense.' 

That melancholy remains at the forefront in CRUEL JOKE, with tracks like the gorgeous Flannel Cowboy speaking of unrequited love and the unreserved heartache detailed in Stranger also striking a chord ('The wind keeps on hitting me like my mother used to. Unlike her, I feel like it doesn't want to'). Likewise, pushing the door open on buried memories is the intense Innocent Eyes ('I think it's funny how my own mind will hide things so I don't cry. I had a friend say the hardest thing is looking back without innocent eyes').

Further brooding ballads beautifully performed include the stunning Wolf In Sheep's Clothes and Coyote, the latter includes swapping verses with guest vocalist John Moreland. Pomeroy also includes "Grey Skies," written when she was only thirteen, an incredible, poem-like composition for one so young. In chaotic and uncertain times, a cry for stability and security surfaces in Cicadas, with the writer recalling how the arrival of the insects every summer was a fixed event in her childhood.

Attentive listening, ideally with headphones, is the key to fully engrossing oneself in Ken Pomeroy's deeply considered lyrics, rich vocals and haunting musical sketches. Once more, as in her previous recordings, by digging acutely into her memory vaults, she has created a hugely impressive listen, from an artist with unlimited talent. 

Declan Culliton

Little Feat Strike Up The Band Megaforce

Over five decades since their formation by two former members of Frank Zappa’s Mothers of Invention, Lowell George and Roy Estrada, the California band Little Feat continues to record its unique blend of rock, country, swamp, and funk. Multiple lineup changes have occurred over the band’s lifespan. The current format includes Bill Payne, keyboard player and member of the original lineup, and bass player Kenny Gradney, who replaced Estrada in 1972. Percussionist and vocalist Sam Clayton, another member since 1972, is also in the current band, as is long-time member and multi-instrumentalist and vocalist, Fred Tackett. The other current members are Anthony Leone (Chris Robinson Brotherhood, Ollabelle) and Scott Sharrard (Gregg Allman Band). Produced by Vance Powell (Chris Stapleton, Jack White, Phish) and recorded at his Sputnik Studios in Nashville, the horn sections were contributed by Art Edmiston (saxophone) and Marc Franklin (trumpet). 

STRIKE UP THE BAND follows on from the success of their 2024 Grammy-nominated blues covers album, SAM’S PLACE. The thirteen songs on the album include material previously written by Bill Payne and Grateful Dead’s Robert Hunter, more recent ones penned by Payne, Sherrard and Clayton co-writes, and collaborations with Blackberry Smoke’s Charlie Starr, Larkin Poe, Molly Tuttle, Larry Campbell and Teresa Williams. Despite the multiple contributors and the period of the writing, the tracks embrace the essence and sonic terrain that the band have created from day one.

At over an hour long and with thirteen tracks, it’s very much a ‘bang for your bucks’ affair. The strong opener, 4 Days Of Heaven 3 Days Of Work, is eyebrow-raising territory. With strong lead vocals by Clayton, screeching guitar solos, a heavy rhythm section and a fiery brass section, it’s an instantly striking listen.  At the other end of the record, they sign off with an equally rousing album closer, New Orleans Cries When She Sings. It kicks off like a piano-led Warren Zevon-styled ballad before, true to its title, exploding into a jazzy, gospel, jam. The title track, somewhat surprisingly given its name, is a lovely, slow-paced ballad featuring backing vocals and guitar by sisters Rebecca and Megan Lovell, of Larkin Poe fame, and a splendid piano solo by Bill Payne. 

The tongue-in-cheek Too High To Cut My Hair is a full-on and funky delight. A co-write by Sharrard and Tackett, based on a true story, it recounts the moment when the latter turned down his wife’s offer of a haircut and includes a killer guitar and horn break. Other standout tracks are the racy Midnight Flight and the more relaxed Love and Life (Never Fear).

In keeping with the title of their 1974 album, FEATS DON’T FAIL ME NOW, the 2025 crew of this remarkable band continue on their path of deeply groove-driven music with this easy-on-the-ear collection. 

Declan Culliton

Shelby Means Self-Titled Self-Release

The esteem in which Shelby Means is held by her musical peers is highlighted by the bluegrass and country royalty who guest on this album. Best known as a member of the supergroup Golden Highway, where she played bass and added harmony vocals alongside Molly Tuttle, Bronwyn Keith-Hynes, Dominick Leslie and Kyle Tuttle, this thirteen-track record is her debut full-length recording. Her other projects included membership in the string band Della Mae and alt-country duo Sally and George, but she has followed her love of bluegrass for her debut record. 

Produced by fellow singer-songwriter and instrumentalist Maya de Vitry, the thirteen tracks include eleven originals and two covers, George Jones' The Old, Old House and Lady Gaga's Million Reasons. Together with Means' former Golden Highway colleagues, the numerous contributors read like a 'who's who' of bluegrass royalty, including Bryan Sutton, Jerry Douglas, Sam Bush, Ron Block, Billy Strings, and Billy Contreras. Harmony vocals are credited to Tim O'Brien, Kelsey Waldon, Rachel Baiman, Ronnie McCoury and Joel Timmons.

The tracks are a mixture of material written by Means early in her career, rearranged songs previously recorded and more recently composed songs. The opener, Streets Of Boulder, is her first attempt to write a breakup song, which she wrote back in college, and Fisherman's Daughter is the first song she wrote after moving to Nashville. The more recently written Suitcase Blues recalls leaving Nashville and moving to a different city. Wild Tiger Style, a co-write with her husband, is a defiant statement confronting the oppression of women at various levels, both at home and abroad.  Farm Girl, which started as a co-write with fellow artist Mac Leaphart, was built around Means' ranch work as a young woman, and the album is bookended with Joy. Written during the pandemic shortly after she had relocated to Charleston, S.C., the latter reflects on the relief that the backyard company of a fellow musician offered during that dark period.

Like her peer and fellow artist Bronwyn Keith-Hynes, whose 2024 album I BUILD A WALL established her as a leading player in the evolving modern bluegrass scene, Shelby Means' debut album marks her out as a formidable band leader alongside her parallel career as a standout bass player.

Declan Cullton

The Brains Behind Pa Beggars Belief Grass Magoops

When I look into the career of Bill Price I am left wondering as to why he’s not better known in wider musical circles. His debut album as a solo artist was titled BONES AND APPLES and was released back in 2003. Since then there have been a further two solo albums and four EP releases from this creative talent, in addition to releasing two albums under the performing name of The Brains Behind Pa. He is based in Indianapolis, Indiana and his creative muse burns brightly as an inspiration for music of this depth and quality.

Bill Price writes all thirteen songs here and they run over a generous seventy-five minutes of listening. The album was co-produced with Tyler Watkins at Postal Recording studios and the musicians in the band have been together since 2002 when they recorded their seven-song debut titled Old Hat. A second album, Better For the Devil, appeared in 2006 and it has taken the intervening years for Price to resurrect the band and provide a new lease of life with this project.

The core band is comprised of Garry Bole (Piano, Hammond Organ, Electric Piano, Farfisa Organ, Accordion, Clavinet, Mellotron, Vibraphone, Dobro), Gordon Bonham (Electric and Acoustic Lead Guitar, 12-string Electric Guitar, Vocals, Harmony Vocals, Banjo), Bill Price (Electric and Acoustic Guitar, Vocals, Pump Organ, Cittern), and Jeff Stone (Bass, Fretless Bass, Upright Bass). They are joined by four separate drummers across the various tracks, a brass section of three additional players, plus seven backing singers who bring great Gospel and Soul traditions in their harmonies and variety.

There are a few solo piano vignettes linking a number of the songs and these sound almost ghostly, as if the piano was playing itself in another room. This mood fits in quite well with the overall theme of the album which is that of darker times ahead and the emerging price to be paid for our poor care of planet earth. The song Blue Riders Approaching could be seen as the horsemen of the apocalypse bringing their punishment to the planet; maybe in order to sweep it clean and give hope that we could start all over again?

Strike the Rock is a gospel-influenced song that covers a similar territory and we are reminded that in the bible Moses went to God for water and God ordered him to strike the rock – he did and water came forth. The blues of Whistling Liars is a damning song that states ‘Just a trace of truth, not a trace of proof, The dirt you are digging is so uncouth’; fake news anyone? The country sound of Poor Eyes is another look at the portents of doom while all around us ignorance abounds.

The album is a real tour de force and the quality of the musicianship is hugely enjoyable. There are excellent solo parts across the various tracks with the studio players given freedom to expand and experiment within the song arrangements. An example is the track Most Men with the sweet groove inspiring guitar, mellotron and piano to stretch out in a jazzy flow that aims arrows at a certain political leader - ‘Most men learn from the enemy, Avoid the mistakes of history, In glass houses hold their stones, You are not most men.’ Answers on a postcard please…

The ensemble playing on Maybe, Maybe Not #2 conjures memories of the Allman Brothers in full flow, with organ, piano and guitar spiralling together in unison. The cynic will enjoy the put down on Red, White and a Little Bit Of Blue and no doubt say “I told you so.” For true evil to endure, all it takes is for good men to do nothing ‘A little bit of debate, just a spit and spat, A little bit of honesty, Little chance of that.’

The title track is a surreal vision of a travelling circus with the ringmaster overseeing the great farce and spectacle. Somehow the metaphor is inescapable, the imagery in the characters so wrapped up in our political and corporate clowns ‘Now I’m not the smartest, But I’m sitting here on the edge of my seat, Because the things people do to take part in the heart of the darkness, It beggars belief.’ The circus is indeed coming to a nearby town, if it’s not already arrived.

Apparently the band recorded enough surplus material from the studio sessions to warrant a further two albums, and I look forward to the next chapters in this interesting band’s evolution. Definitely an album to stimulate and to provide many hours of listening pleasure.

Paul McGee

Blue Fish Diamond Radio Silence Self Release

This is the third album from Dublin-based Blue Fish Diamond, an ensemble that comprises of six excellent musicians that advertise their music as ‘indie folk rock.’  There are certainly elements of all three genres included in the overall sound and their broad approach continues to produce results that are very radio-friendly and enjoyable.

The quality of the musicianship is very high and each player contributes in a telling manner to the overall rich sounds that are created across the eleven new songs included here. Jim Murphy (lead vocals and rhythm guitar) is the founder of the band and he writes all the songs (with one co-write credit), in addition to taking on the responsibilities of leading mover and shaker for the group. He is ably supported by the talents of Laura Ryder (keyboards), and Axel McDonald (guitars). The strong rhythm section is locked down by Ronan Quinn (bass), and Shay Sweeney (drums), with Matilda O’Mahony (backing vocals) providing sweet harmonies throughout.

A debut album, FROM DARK TO LIGHT, appeared in 2018 and this was followed by FROZEN STARS ON THE NIGHT in 2021. Jim also took time away from band duties to deliver a superb album in 2023 under the side-project name of Hibsen. This resulted in an album titled THE STERN TASK OF LIVING and drew from the short stories of 'Dubliners' by James Joyce. Each of the songs on the album was named after one of the book’s stories and Irish Folk chanteuse Gráinne Hunt joined with Jim to create a project of enduring quality.

With this new set of songs the sonic direction has expanded somewhat, and under the creative guidance of producer Gavin Glass (Pedal steel & 12 string acoustic guitar), there are plenty of nice touches in the song arrangements to enjoy. The string section that graced the Hibsen project is also employed here to great effect and the combined skills of Lynda O’Connor (First violin), Paul O’Hanlon (Second violin), Beth McNinch (Viola), and Gerald Peregrine (Cello), play at a level that colours the melodies with subtle hues. All of the string sections were arranged by Cormac Curran.

On the song One More Chance the lead vocal is taken by Matilda O’Mahony as she delivers a superb performance, accompanied by the string section, in echoing a female perspective on a relationship that is running out of hope. Another relationship song is the lovely Stranger Things Have Happened but in this case it is Jim wearing his heart on his sleeve in honour of the enduring love he holds for his wife. Yet another love story, of sorts, is the song Gracepark and the close affiliation that Jim has to a favoured location that he likes to visit.   

Elsewhere there are songs that strike out against the mess that humankind has made of planet earth on Planet Blue; the dislocation and loneliness endured by so many in today’s society on Radio Silence; the stress in trying to make ends meet every day on Fallen Angel, and the nostalgia of wanting to revert in time to a happier space on The 1980s. The big questions are tackled on Universe and the lyrics pose the immortal dilemma of who we are, what are we doing here, and where are we all going.

The sentiment expressed on Servants To the Hand is one of questioning extreme right-wing control in our lives by government. However, the Wizard of Oz has long been exposed for the manipulator that he was, and the thought that we need to ‘pull aside the curtain’ or that ‘we cannot see’ the controlling hand, is perhaps no longer the actual case – rather we see all too clearly these days and the view is not one that brings comfort or reassures.

I Don’t Know is a great band workout to the idea that the reality we face is perhaps something ‘other’ and that the Buddhist philosophy of the ‘middle-way’ could well be our redemption. The mention of ‘a big blue frog inside of me‘ suggests the concept of birth, renewal and transformation that runs through the frog spirit animal in certain spiritual teachings. Tonight speaks of the enjoyment of honest relationships and living for the freedom of the moment, and I’ve Got It Made is a celebration of a new-found perspective on living, which hints toward an ELO sound in the strings and the song arrangement. So, plenty to enjoy, and definitely a knowing confidence running through these new songs, as the band continues to build upon an impressive career on all fronts.

Paul McGee

Alice Howe and Freebo Live Self Release

This is an example of all that is good in attending a live gig and basking in the glow of accomplished musicians playing at the height of their collective powers. No overdubs or enhancements were added to this performance from Port Townsend, Washington State, back in 2024. Alice Howe has two previous releases and she has been playing music with bass legend Freebo since 2017. Their understanding on guitars and vocals is seamless and their duetting is both subtle and warm. The inclusion of Jeff Fielder on electric guitar is an inspired choice and his playing is both spontaneous and understated, his interpretations of the song dynamics something that is exhilarating.

Freebo includes songs from his 2019 album IF NOT NOW WHEN. Along with the title track, he performs superbly on the tongue-in-cheek She Loves My Dog More Than Me and three other tracks taken from this release. He also includes a cover of the Little Feat classic Sailin’ Shoes and gives it a slow treatment that works really well. Alice is a very talented performer in her own right on acoustic guitar and her superb vocal tone is highlighted really well on these stripped-back arrangements. Her warm delivery is very alluring and she includes five songs from her last album Circumstance, including Travellin’ Soul, Something Calls To Me and With You By My Side.

Her previous album is also represented with the song Twilight and there are covers of the Joni Mitchell classic A Case Of You with Alice providing a real highlight with solo performance on guitar; along with John Prine’s Angel From Montgomery, a finely judged duet between Freebo and Alice. This is a really enjoyable live album and a celebration of real talent across this trio of great artists.

Paul McGee

David Massey Man In the Mirror Self Release

Seven albums strong and Washington DC resident David Massey continues to represent some of the best hidden gems that can be found in contemporary singer songwriter music. This new album is eight songs that have been carefully created and are delivered with a measured attention to detail. Massey includes one cover song and his take on the Townes Van Zandt classic Tecumseh Valley is beautifully considered, bringing out all of the pathos of the original story concerning a working girl who falls victim to the vagaries of life.

There is a tribute song to the memory of two young sisters, Jillian and Lindsay, who were taken at a very young age and the beautiful sentiment expressed in Too Soon Gone is that of admiration in the face of such trauma and the quiet dignity shown by a father while coping with such grief.

Man In the Mirror is a song of self reflection and wanting to recapture the heady days of youthful innocence when make-believe and wide-eyed wonder were the order of the day. The grown man in Till the Evening Comes is found on his porch in spring, enjoying the sounds of nature while trying to write a song and being fully in the moment. Fighter’s Lament is a story song about a guy who played ice hockey for The Hershey Bears in Pennsylvania before injury forced him to change to boxing in order to try and make ends meet ‘All those kid dreams dissolved into fear, No joy left in skating, no comfort in beer.’

Massey had a career the legal profession for quite a number of years and enjoyed performing his music around the local circuit in Washington DC and the Maryland region. His debut album appeared back in 2004, so at this stage he is a seasoned musician. This is clearly evident in the quality of the songs and the assembled studio musicians that he called upon to colour these arrangements. Included is the talent of Jay Byrd on guitars, who adds great nuance in his playing, and who released a very striking solo album himself back in 2022, AT HOME AGAIN, and which featured in the Lonesome Highway best picks of that year. Also featured is Jim Robeson on bass (and web design), and Miles Lieder on drums, both providing the rhythm that is built upon in the melodies by a variety of other invited guests.

The song Marianne is written in heartfelt memory to Jim Robeson’s wife, who sadly passed away, and the words resonate ‘Marianne our merry band has lost its joyful beat, We try so hard, but you’re the card that makes this deck complete.’ Two other songs speak of peace and being thankful for the simple pleasures; Home and Free is penned in celebration of his local environment and name-checks many of the locations as Massey drives himself home to his beloved nature, and Dawn seeks to put all personal doubts and fears aside in favour of embracing what you already hold safe ‘Still she wakes up and smiles, Through all the years and the miles, Something there still beguiles, Love lives on, In the dawn.’ An album that is worthy of your attention and one that will give lots of pleasure.

Paul McGee

Scott Warren and Molly Orlando Wounded Bird Sessions Self Release

This album is the result of two young friends growing up together in St. Charles, Missouri. When they met up again as adults in the state of Colorado, both Warren and Orlando decided to start making music together as a duo under the performance name of Wounded Bird. The Covid years meant an enforced break from performance and recording but in more recent times Warren and Orlando were able to create the songs on this new release at a home studio in Evergreen, Colorado.

Warren has been recording as a solo artist since 2009, and prior to this he was a founding member of Signal Hill Transmission, a Los Angeles band that released a few albums between 2002 and 2009.  On the eleven tracks included here the production is handled by Scott Warren (Vocals, Guitars, Bass, Keys, Percussion), and he is joined by Molly Orlando (Vocals). In the studio they added the multi-talents of Dan Wistrom (Pedal Steel, Weissenborn, Lap Steel, Acoustic Guitar, Keyboards),and his presence really helps to colour the sounds on the album. Subsequently, after the songs were recorded in  stripped-down live sessions, more instrumentation was added to the mix with Brian Young (Drums, Percussion), and Dan Hochhalter (Fiddle), contributing their skills.

The album revolves very much around a central theme of love and relationships, with all the drama of people who come together looking for a connection that may last. Opening song Arms is very much a “will they, won’t they” stay together with challenges and reassurances surfacing ‘Guess that's the way that things shake out, Me in the bed you on the couch, Someday I'll wake up next to you, And I'll wrap my arms around you.’

The following song Cut A Path looks at serendipity and the  good fortune that can throw two lovers into the same orbit in the first place ‘ Oh life can be a mixed up mess, Which way the dice will roll is anyone's guess.’ Yet another song looks into husband and wife woes on The Truth with the guy being called out for spending a night on the town and the poor girl at home wanting some answers ‘Spare me the mind games you’re high as Georgia pine, You’re digging that ole hole of yours I’ll bury you in time, Oh I’m getting long in tooth waiting on the truth.’

Other songs look at losing in love, like Dear John Blues, and  there is another acoustic blues song Medication For My Heart that communicates a positive spin on how love can work out. Elsewhere we have a song that asks humankind to leave nature as we find it for other to enjoy on Leave Me the Way That You Found Me, and the deceitful dirty work of politics is tackled on Workin’ Out The Kinks.  Deceitful behaviour and chameleon shape shifters are taken down on Act the Fool and a cover of JJ Cale’s Devil In Disguise is included to spice things up a little.

There’s A Man is a take on a solitary life of a Vietnam veteran who lives on the margins and the isolation that ensues, while the opposite is the case on I’d Grow Old With You and a promise to stay committed to another through all the ups and downs. It’s a charming album in many ways with superb musicianship from all the players. Definitely an album that will get repeated plays on my personal set list.

Paul McGee

New Album Reviews

Sweet Meg Never Been Home Self Release 

At an early age, New York City-born Sweet Meg's musical journey kicked off with singing in coffee shops and small bars in the East Village and Brooklyn. From there, she relocated to Paris to study jazz vocals, resulting in a decade as a jazz singer in her home city. Her debut album, UNDER THE MOONLIGHT, released in 2020, was an indie-jazz record and one of the first albums released on the jazz label Turtle Bay Records. I'M IN LOVE AGAIN followed on the same label a year later, before she packed her bags for Nashville to test the waters there and spread her wings towards more roots-based leanings.

Continuing her prolific output and hybrid jazz/country style, CHRISTINE'S DAUGHTER, MY WINDOW FACES THE SOUTH and BLUER THAN BLUE were released in the following two years. These albums were recorded while Meg continued to tour globally with the musical collective Postmodern Jukebox, suggesting an artist who could boast little or no downtime. Her latest project, NEVER BEEN HOME, continues her exploration of a musical styling heavily influenced by blues and jazz but also subsumes country leanings and more.

The opener, My Irish Ex, goes as far as including a traditional Irish reel into an outro, and it's one of a number of tracks that address the author's wayfaring lifestyle. New York Love Song, Tennessee To Boulder and Piccadilly Line (Waiting) are others that namecheck events on the road in their titles. 

Recognising her present Nashville abode, Heartaches and the short closing track, The Button Song, are pure country, and the full-blooded Bridge and Tunnell and the breezy This Train hit the mark as instantly catchy and rootsy ventures.

Recorded at The Bomb Shelter in Nashville and co-produced by Mose Wilson and Dennis Crouch, the quality of Sweet Meg's voice alone would be worth your attention. With tender, intimate songs and cracking players, NEVER BEEN HOME is a delightfully accessible listen. 

Declan Culliton

Blue Cactus Believer Sleepy Cat

Fronted by Steph Stewart and Mario Arnez, North Carolina band Blue Cactus's latest record continues their trademark sound, combining melody-filled roots songs with a dash of modern country and twang. Unlike their previous records, Stewart, with acoustic guitar and percussion, takes lead vocals on all the songs, with Arnez adding harmony vocals, guitars and bass. Also adding their sweet voices to the mix are Erin Rae, Brit Taylor and Kate Rhudy, and among the notable guest players are Russ Pahl (Randy Travis, Kacey Musgraves) on pedal steel, Taylor Floreth (Rich Ruth, Wolf!) on drums and percussion and Jonathan Beam (J.R.Miller, Tim Easton, India Ramey) on bass.

BELIEVER is the third album from Blue Cactus, whose 2017 debut self-titled album was followed by STRANGER AGAIN in 2021. Highlights are This Kind of Rain, which delicately handles a theme of uncertainty and apprehension, and, at over five minutes long, the title track, which ebbs and flows beautifully and includes some thrilling fuzzy guitar feedback. The quietly pulsing Resolution and peppy Biting My Tongue are instantly catchy and capture the album's overall engaging and often moody theme.  

Channelling California country down a path that dips into alt-folk and psychedelic rock, BELIEVER's uncluttered sound, fronted by gorgeous vocals by Stewart, is a potent serving of modern Americana.

Declan Culliton

I'm With Her Wild and Clear and Blue Rounder

Formed in 2014 and seven years after their Grammy-nominated debut album SEE YOU AROUND, Sarah Jarosz, Aoife O'Donovan, and Sara Watkins have once more teamed up to combine their many talents as writers, vocalists and instrumentalists on their sophomore eleven-track album. The wide range of instruments employed includes mandolin, octave mandolin, guitar and banjo (Jarosz), guitar and piano (O'Donovan), fiddle, cello and organ (Watkins). JT Bates (Andrew Bird, Taylor Swift) guested on drums, and Josh Kaufman, of Bonny Light Horseman fame, who produced the album, also added pedal steel and Wurlitzer. The album was recorded in New York at The Outlier Inn in the Catskills and The Clubhouse in Rhinebeck.

If their debut album played out as a joyous coming together of like-minded artists, WILD AND CLEAR AND BLUE offers fuller, fleshed-out arrangements highlighting more intense and, at times, darker storytelling, elevated by Kaufman's flawless arrangements. Folklore and ancestral themes regularly emerge, no more so than on the stunning opener, Ancient Light. Their collective bluegrass lineage emerges in Find My Way To You and Sisters Of The Night Watch ('I was brought by I know not whom, ancient lights are still guiding') and the short instrumental Strawberry Moonrise are hauntingly beautiful. Very much a statement of its time, the emotive and slow-building Standing On The Fault Line ('Is it when the reservoir dries out and the birds stop flying south? How we gonna know it's time to flee?) is intoxicating, highlighting finely placed harmonies and layered vocals. 'Sister, sing me alive, sing mе alive,' they chant in Mother Eagle (Sing Me Alive), which is precisely what the trio do, in parallel with exquisite instrumentation, from start to finish.   

Supergroups can often be less than the sum of their parts, particularly where the lead vocals are shared. Not so with I'm With Her, whose bond, despite their busy individual schedules, is picture-perfect on this, their most accomplished project to date.

Declan Culliton

Teague Brothers Band Wish You The World Self Release

This new album again highlights the John Teague fronted band as one of Texas’ best and most interesting bands. This follow up to the critically lauded LOVE AND PEACE release in 2022 builds on that album with sterling performances all round. Teague’s vocals and songwriting have only grown and matured since then. The album was produced by Derek Hames in Edgewater Studios in their home state of Texas. There the band and new producer Hames developed the material into a diverse set that is filled with strong songs and a sense of empathy, sometimes not as obvious in some of the rowdier Texas bands. 

Sure these guys can rock out with the best of them in true Texas tradition, creating that beloved foot stomping dance floor energy that is often seen as essential. Take for instance the full on fiddle-fulled Hotel Water, courtesy of band member A.J. Hoffman. That is contrasted by the folky and tender remembrance of his Grandma in the song Tell Me Anything, that compares her wisdom and beliefs with his own failings and those of his family. In a self-revealing couplet he notes “I’m just as bad at saying goodbye, as I’m at stopping by.” Teague’s songs are full of strong lyrical concepts, revealing him to be deserving of wider credit for his observations and insights. Often these are downbeat in theme but uplifting in delivery,  which allows them to reveal their merit over a number of plays. 

The song that starts the album, Breathe, is a precursor to the overall attitude of Teague’s character portraits, who are often “holding my breathe like I’m under water.” The guitar and rhythm section fairly rock along here to underline slight desperation on offer. The title track is more mid tempo and boasts a strong chorus line. There is more of a sense of heartbreak revealed in Fire, “I was in love with a liar / so I’m going to build me a fire.” This is done in a restrained and reflective mood that makes it all the more effective and poignant. Another song that also has a message, but one that is both personal and easy to related to, is Depression. It is full of, well, depressing images of a man in distress, wondering how his relationship is lacking his basic perceived needs but conscious that this runs two ways, asking “Is there anything I could do for you to love me again?” There is a jaunty ending to the album with Smiles, wherein he is a man with no complaints, and that seems like a pretty good sentiment to end the album on.

The Brothers here are that of a band of brothers and include, from the last album, the vital contributions of Kyle Villarreal on guitar and vocals, and drummer Jeremy Hall, who are joined by a number of other players who make their presence felt too. There has been much made of certain other band of troubadours who are making some major inroads into the mainstream. The music on this album and the band themselves could easily be taking that same route, given a wider exposure to a bigger audience. The contents of this album are well capable of making the case for that. Wishing you the world with this release, as the songs and spirit here are certainly worthy of making their world a better place.

Stephen Rapid

Ben De La Cour New Roses Jullian

The recorded albums from Ben De La Cour have been, with each release, moving away from the direct simplicity of his solo live shows (though he is quite often accompanied by a female harmony singer live). The recently released live album …AND THE CROWD WENT WILD is testament to that part of his performance and recommended to those who might want to capture the essence of that on CD. However, his albums have been moving in a different direction that brings him to the place where he has produced this album himself, learning from previous experiences with the likes of Jim White to explore the deeper nature of his recording. This seems be recorded, often alone, in Nashville where he (big breath) plays guitar, bass, piano, synth, drums and something he has labeled a Dorkatron (which seems to translate as playing dorky on purpose!). If that is the case, there is a lot of playing that is also purposeful and prescient. As with the live performance, De La Cour often features a number of harmony singers such as Elizabeth Cook (The Devil Went Down To Silverlake), Gin Wife (I Must Be Lonely), Emily Scott Robinson (Christina) and Misty Harlowe (New Roses). Other guests are Billy Contreras on fiddle and the trumpet of John Klein.

Once I settled into this and listened carefully, I realise that the essence of De La Cour is at the heart of this album. That is his exceptional writing and a distinctive voice (which he  experiments with here), both mark him out as something special and an artist who is continuing to develop as time goes on and showing that he has much more to offer the world and that will see him recognised along with the best of his generation. There are elements of folk, blues and ambient auras with this recording that make for a rewarding listening, taking you on a journey from the darkness and into the light. 

There is one cover here, that of Leon Payne’s Hank Williams Sr recorded Lost Highway. It is given a harsh, shard-filled, nightmarish reading that offers another windscreen view on an individual route into a darker wisdom. That is not the only time that these songs refer to a dark underbelly of life, love and reason. I Must Be Lonely is a song that captures that sense of isolation and emptiness. “You sing about the devil / Like he's someone that you know / But they paved over the crossroads / A long, long time ago” is a warning of a compulsive allure to go and see what is will happen when The Devil Went Down To Silverlake - a journey that won’t end well. More gentle in delivery and intention is We Were Young Together Once, a song written for his daughter, offering the sense of needing to make that person safe. Which again is expressed in words that are avoid of some of the sentiment such as sing might have. “I’m so scared for my little girl / Feels like there’s nothing I can do / She's walking through a world on fire / In watermelon shoes / All daddy sees is shades of blue.” 

Another tale that has some emphatic and effective electric guitar is Beautiful Day. The song then delivers a lyric that contrasts that notion with something more oppressive but equally expressive “Little white crosses burning on the square / Cops and their friends.” Stuart Little Killed God (On 2nd Ave) has, to these ears, a slightly middle eastern tone to parts of the melody, and is sung with a different tone to some other songs, offering something that can be construed as more apocalyptic intone. The title track again refers to the highway which, given his lifestyle, is a place that De La Cour would often find himself. Though this time the song’s protagonist states “This highway runs to Mexico / Just one more place / I’ll never go.” One could quote from all of the tracks to emphasise the strength of the songwriting, yet it is never impenetrable and always open to interpretation, which allows the listener their own sense of understanding them. I might read some different from what was intended, but that is what a great song should allow.

As one might expect from an artist of such insight, the arrangements and production are sensitive to the nature of the songs and allow for some shadow and light to fall across them, as is suitable for a better emphasis of the story. NEW ROSES on first listen, for those used to the more direct performance from the live shows, might seem as though De La Cour has moved away from that, but in truth he has simply added a layer of texture that enhances them in their recorded context. All of which confirms that he is, as many who are acquainted with his previous albums will assert, continuing to grow in the tradition of those iconic writers whose work is held up as a prime example of the art of the songwriter.

Stephen Rapid

Jim Wurster Transcendental Inclinations Y&T

From the first notes, Wurster’s voice makes no attempt to hide the age that is inherent in it. He is a country/folk singer who has made solo albums in the past,  and a couple with his band, the Atomic Cowboys. It is easy to hear a variety of comparisons that could be made to his voice and direction. His songs are delivered with little effort to appeal to what might be a critical market for  a young mainstream artist. No, this is Wurster as he wants to sound, making music for himself and those who appreciate the honesty of the approach.

The album is produced by Bob Wlos and Mike Vullo in a studio down in Florida, where his label Y&T is based (and incidentally the label that released the debut Mavericks album and where I first encountered them). Both of this team also add numerous instrumental contributions throughout.  Additional to them are Mike ‘Bongo’ Hawn, something in that nickname gives a clue to his percussive contribution. Jack Stamates adds violin and Jil Wills backing vocals alongside the others.

It is a roots sound that is built around Wurster’s original songs, though a couple of covers hint at his earlier influences as well. His love of traditional country is 

outlined in the opening song where he lets us know he’s never driven a pick-up, ridden a steer or even drunk much beer, but that “I like country music … but not that kind of crap they play on the radio.” The opening track Tried and True then is given the right kind of arrangement for that sentiment, with pedal steel prominent. Wurster’s allegiances are, as you might expect, true to those of an earlier less oppressive time. The title track counts our blessings while  I Keep Rollin’ is a testament to survival and to keep on keeping on. Then the first cover Tear It Up takes us back to a classic rockabilly beat and tune, it has some nice and fitting guitar in the break. The other age appropriate choices are Rave On and Lonesome Town. All are give acceptably suitable readings and remind one of an earlier time and how the artists who recorded these songs might do them today.

Sometimes I wonder is it only listeners of a certain age who sympathise with the sentiment. Maybe, but hopefully it may appeal to a wider listenership. Wurster has performed in the past without the wider recognition of a Cash or Cohen who had an audience who were receptive to their later output. This album has an equal propensity. In songs like High Rolling Holy Roller and Black Queerie Wurster highlights some of the unwelcome things he sees around him locally and nationally these days. The latter has an old time feel with banjo and tells of a person who is about to come out and be true to himself despite authority resistance. It is delivered with a joyous singalong quality. The album finishes with Wash Me In The River and features a wistful harmonica as it moves into something vocally that hints of a gospel feel towards the end.

The sense of Wurster’s seasoned voice is in itself appealing, and is entirely as one with the featured material. There is something that is the old school troubadour/folk-singer in Wurster’s writing and delivery that makes this an easy and charming listen, one that would find favour with a listener in sympathy with the approach and arrangements and its incidental transcendental inclinations.

Stephen Rapid

American Cosmic Revival Vol. 1: Back At Home Self Release 

Not a compilation but a collective led by Patrick Cleary and Christian Parker, the latter who also helmed the previously released Sweethearts Of The Rodeo tribute. This time out, it's subtitled "A Tribute to the International Submarine Band." Who were Gram Parsons pre Byrds/Burritos band. Joining him again are veterans of the original recording Jay Dee Maness and Earl Poole Ball. Parker has immersed himself in the country rock sound of the Byrds, which was a sound that many have a love for. Not least Marty Stuart and The Fabulous Superlatives who have not only recorded original songs in that mode but have backed Chris Hillman and Roger McGuinn live playing selections from Sweethearts and other related songs (this grouping can be seen on a YouTube live concert compilation). 

This album takes all the tracks from the original SAFE AT HOME, although programming them in a slightly different running order. The album was produced by Cleary and Parker and was recorded in a number of different studios. The overall effect is pleasing and a solid reminder of the influence those albums and bands had. 'Cosmic American Music', the term used at the time, is alive and well here with this collection of musicians. The songs are all played with skill, and there is a freshness to them while being respectful to the original album. There are ten songs that include A Satisfied Mind, Miller's Cave, I Still Miss Someone and Luxury Liner. All tracks will resonate both with those who listened to them the first time out and with those who are discovering and relishing another chance to hear these tracks again.

There would always be the offhand "Why bother when the originals are out there" and similar remarks of the unconvinced, but that has long been a criticism of any such project. Because these songs are given a makeover and can also be played live, it gives them legitimacy and makes the album worthwhile. Only when played alongside the original recording, it is apparent that this recreation differs in arrangement and energy in the delivery.

All in all, it is going to appeal to those who are coming to the songs for the first time but equally to Gram Parson's fans while not forgetting the other band members from the first time out. Call it revivalist, and then perhaps it will serve as a revival that will help spread the word on a nostalgic but forceful time when country, rock and soul were blended in a new mix of flavours.

Stephen Rapid

Adam Chaffins Trailer Trash Self Release

This five-track EP offers a slice of the soulful country Chaffins has co-written with collaborators such as noted songwriter Adam Wright. Chaffins plays bass throughout (a special one, too, noting the loan from Bobby Bare Jr. of a 60's Fender Jazz bass once played by Waylon Jennings) as well as giving a very good account of himself on the lead vocals. The tracks were co-produced by noted studio master Frank Rogers along with Derek Wells, Mike Fiorentino, as well as Chaffins. He is a noted session man and side player but has lately been steeping up front and centred owning the mic. The aforementioned Wells joins him on electric guitar as well as co-writer Bryan Sutton on acoustic, banjo and mandolin, Russ Pahl on pedal steel, Matt Combs' strings and Robbie Crowell on keyboards, amongst others.

Chaffin has also played in the bluegrass band Town Mountain, though that influence is less obvious here overall, though mandolin, banjo, and upright bass are all a part of the mix here.

This follows up from a previous album in 2020 entitled SOME THINGS WON'T LAST, though on this evidence, some things obviously did. The opening song, Living' Til My Dying Day, moves in a direction that would be familiar to Chris Stapleton fans. A soul groove that leads to the title track, which is less upfront in tempo and even deeper in a soulful ballad mode. Dive Bar Moses is a nice story song with the piano to the fore and lays out its story with something of a different vocal delivery that has a lot of voices going in a la-la crowd singalong that suits its mood. The next song, Kentucky Girl, follows along from the last track in appreciation of his girl. It has a solid rhythm and pedal steel with a sense of joy overall in its message. The final track of the five is Little Bit At A Time which uses synth over a sweet combination of instruments, all channelled to enhance its genre-crossing tone that fades away before coming back with an extended instrumental outro.

It's not normally my favourite formula in Americana, but Chaffins, over these five tracks, lays out his credentials that sound like they should be ready for a bigger audience and could easily find a footing in the mainstream, too. Let's see where this particular boulevard will take him.

Stephen Rapid

Ernie Palmer A Teacher, A Preacher & A Bad Farmer Self Release

Once again, it is immediately apparent that Palmer is not a singer starting out but a man in the autumn of his life reflecting on what it has been and what it has brought him. It hits folk and old-time songs in a simple setting. However, the sound is expanded on certain tracks with pedal steel, electric guitar, and percussion. There is gentleness in the opening How Gently, which is tinged with loss. These are all Palmer's material that draw on his personal experiences and journey. The cover depicts, I believe, Palmer during his military service in Vietnam. But the title suggests he has been doing many things during his life and only started writing songs later in life. 

The album was produced by Jay Rudd and Aaron Zimmer, who are both contributors on numerous instruments. It is one of those projects that may have a limited appeal to a wider audience, but to those who may be acquainted with him and his music, this will serve as a handy collection of his homely songs. Vocally, Palmer sings in a distinctive way that may not be everyone's choice, but it is a real voice full of his life's honesty. The songs included Night Shift, Bents Creek Road and Old Trooper. Perhaps the most poignant is The Last Night At Tony's, wherein he talks about where his life is now and how, as he is now alone, he reckons he will sell his house and move away. Not wanting to be in the way even when he has been asked to move in with them. He reasons they both have their own lives to be going on with, and he'd just be telling stories to his grandkids of his wilder, younger days. He encompasses this with the song, which shows that Palmer has a way with words in these story songs.

There is an uplift in the arrangement for The Ticket, which works well with bass percussion and electric guitar. Other well-put-together tales of small towns and trying to find one's place with them is another standout arrangement in Wanderlust; again, the electric guitar effectively adds another layer to the song's truth, an early Johnny Cash vibe permeates The Truest Thing. The album finishes with a fiddle-led track, Comanche Moon, which tells of another take on a different time and a more desolate environment. Your appreciation of this album depends on your openness to its integrity. If you have liked the more recent material by the artist Mark Brine at any time then this may well be something else appreciate.

Stephen Rapid

New Album Reviews

Sierra Hull A Tip Toe High Wire Self Release

A child prodigy, playing mandolin since she was eight, Hull has achieved more in her first 33 years than most musicians will ever aspire to. Yet, on the foot of the evidence on this, her sixth album, she has much more yet to give. She joins a host of other younger musicians, originally from the bluegrass tradition, that have gone on to stretch their musical wings much further. With a voice that is only rivalled by that of Alison Krauss (an early mentor in bluegrass circles) for its sweetness and ability to convey meaning, she has also achieved an unrivalled prowess on mandolin, winning the IBMA Mandolin Player of the Year an unprecedented six times.

Hull has confessed that she was nervous going out on a limb to release this project independently (having been previously signed to a record label) but, unsurprisingly, the result is stunningly good. On top of all that, she produced the album single-handedly. Of the eight songs and two instrumentals here, most are either self-written or co-written, the advantage of being based as she is in Nashville, where there is a strong band of friends always available to call in for help.

The album’s title, A TIP TOE HIGH WIRE, is a line from Spitfire, a song for her eighty year old grandmother, who led a fascinating life of triumph over unbelievable adversity. It’s not hard to see from where Hull derives her tenacity, closing with the affectionate ‘she’s in my blood/she’s a spitfire’. Justin Moses, Hull’s talented multi-instrumentalist husband, contributes lovely dobro here, and elsewhere. More upbeat, indeed as are most of the tracks, is the high-octane Let’s Go, which reverberates with the highs and lows of the touring life - a mixture of brief late night euphoria and much daytime boredom. Several songs of positivity in the face of challenges, suggesting Hull’s disposition to be on the sunny side, include Coming out of My Blues (with backing vocals from Tim O’Brien and young Avery Meritt on fiddle on this pulsing old timey original) and the lovely slow burner, Redbird, also inspired by her granny.

She’s joined by her friend Bela Fleck on the high-octane instrumental E-Tune, which has been a live favourite for years, and her former touring bass player, Ethan Jodziewicz is called in for this complex one.

The album closer is a stand-out too - Haven Hill was inspired by the serene location chosen by her husband’s grandmother for her final resting place, and will no doubt provide solace for anyone  who mourns the loss of a loved one, ‘when we go may we have no regrets / from sunrise till the sun finally sets’. Highly recommend and bound to be in my end of year list.

Eilis Boland

Caitlin Cannon Love Addict Self-Release

THE TRASHCANNON ALBUM, the debut by Nashville-based artist Caitlin Cannon, featured highly in Lonesome Highway's favourite albums of 2020. Not easy to categorise, the album drew its content from often torturous personal issues such as alcohol and substance abuse, gender discrimination, poor relationships, family trauma and more. Just listen to tracks like Deliver, Drink Enough, and Going For The Bronze on that album for a lesson on creating gloriously catchy songs from calamity and hard knocks. 

Such were the striking melodies and wicked humour on that album's songs and Cannon's slick vocals that it often took a number of listens to take on board the depth of her songwriting. That solemnity and frankness in her songwriting continue on her latest record, although she has delivered the material in a more laid-back fashion this time. By Cannon's admission, the credit for the more chilled arrangements is down to producer Misa Arriaga (Kasey Musgraves, Willie Nelson, Lillie Mae) and his chosen musicians, who directed her sound towards 60s classic Countrypolitan, side by side with melody-laden Americana.

At over four and a half minutes long and riddled with expletives, the title track was never aimed at prime-time radio. It's a shame, as it's a masterclass in quintessential mature pop, with a melody that's harder to shake off than a summer cold. In her prime, Madonna would probably have earned pension-sized royalties from the song. On the same page is Jesus Is My Lover, which is risky but devoid of swear words, and described by its author as 'well-intended (for the well-humoured)’ My Own Company, a co-write with fellow Nashvillian Kiely Connell, is a no-holds-barred self-examination critique ('Too late for babies and 401 K's, too young to be in so much damn pain'). Dr Dealer, though expressed with dry humour, is equally self-deprecating and brutally honest, dealing with the carnage of prescription medication dependency.

Misa Arriaga has emerged in recent years as the producer most adept at creating an authentic country sound, and Let It Hurt Some and You're Losing Me tick that particular box. The former, awash with strings and dreamy pedal steel, harks back to an era when Connie Smith's singing style and arrangements were the toast of Nashville and farther afield. The latter is a beautifully performed tale of a relationship whose light is fading. The album closes with a stripped-back version of Waiting, which featured on the BEGGARS EP. It takes its cue from Cannon's brother's thirty-five-year incarceration and the lifelong devastation and ruination due to juvenile indiscretion. 

LOVE ADDICT is a body of work that does not slot easily into any single genre. Loaded with killer tracks, the results are spectacular in places, and the marriage of Cannon's writing and vocals and Arriaga's arrangements is quite stunning, and a throwback to the best Countrypolitan sounds of the late '60s and early '70s.

Declan Culliton

Esther Rose Want New West

SAFE TO RUN, the 2023 album from Esther Rose, and the tour that followed its release could have concluded the Santa Fe-based artist's music career, such became her disillusionment with the gruelling reality of an often unforgiving and unrewarding industry. Thankfully, she dusted herself down, dealt with some personal issues and, with renewed enthusiasm and an open mind, started working on the material that would become her fifth record, WANT. Describing working on the album as 'the most beautiful experience of my life', the emphasis on the eleven tracks is on candid self-examination.

If Rose's early career albums were most likely to be filed under the country genre, SAFE TO RUN more than embraced elements of folk and indie pop. This latest addition to her impressive catalogue digs deeper in that direction with a fuller band sound supporting the tracks than on her previous work. That's not to say that her unrushed and almost fragile vocals, the perfect foil for melancholia and emotional wreckage songs, are not as entrancing as ever. 

'I want to live in the desert and bake in the sun, I want to live in the city and kiss everyone…. I want to hear a pin drop in a sold-out room, I want a puppy, but I don't want a mess,' she considers on the title and opening track, suggesting that she has successfully negotiated complex emotional territory and is moving on with a positive mindset. Elsewhere, the songwriting often recognises poor life choices, unstable relationships and unhealthy dependencies, possibly reminders of demons conquered. Bemoaning the crutch that the demon drink can be, the outrageously catchy Had To is a case in point; Rose has confessed to feeling invigorated, having left her alcohol consuming days behind her. The guilt-ridden New Bad, with its thumping bass line and confessional lyrics, is prime power pop, and she also opens her heart in the gentle Scars ('Oh intimacy, strange thing, and if you try to get too close to me I'll disappear') which includes a vocal contribution by singer-songwriter Dean Johnson. The upbeat Tailspin is a co-write with Ross Farbe of the synth-pop band Video Age. 

Recorded live to tape at Nashville's Bomb Shelter, with the production overseen by Ross Fabre, the supporting players were Gina Leslie (bass, vocals), John James Tourville (pedal steel, concert drum), Kunal Prakash (guitar, piano), Howe Pearson (drums, percussion, piano, vocals), Ross Farbe (guitar, synth, organ, piano, percussion) and Dean Johnson (vocals). 

Dreams, disappointments and memories may all be aired in WANT, but this splendid album's lasting impression is one of awakening and recovery. 

Declan Culliton

Kristina Murray Little Blue Normaltown /New West

As much as anyone else, Atlanta-born country singer-songwriter Kristina Murray has played her part in Nashville’s traditional country music resurgence over the past decade. Her early years in Nashville found her playing to meagre numbers at the Honky Tonk Tuesdays at American Legion Post 17, Gallatin, and the legendary Santas Bar in Downtown Nashville. Such has been the success of the former that the event had to relocate to a larger venue to satisfy the punters that were turned on to honky tonk and two-stepping. Despite this and with two critically well-received albums, UNRAVELIN’ (2013) and SOUTHERN AMBROSIA (2018), Murray remained unsigned until Normaltown / New West got on board with LITTLE BLUE. 

Despite engaging two producers and recording at two studios, the nine songs on the record work seamlessly together. Four of the tracks were recorded at East Avalon Recorders in Muscle Shoals with Rachael Moore (Robert Plant, Alison Krauss, T Bone Burnett, Bob Dylan, Elvis Costello) at the controls; the remaining five were overseen by Misa Arriaga (Kacey Musgraves, Joshua Hedley, Lillie Mae) at his Music City Studio B in East Nashville. Both producers, leading lights in shaping traditional country, were inspired choices borne out by the end result. Murray is the possessor of a voice tailor-made for singing country songs, and she gathered a talented crew of close friends to work alongside her.  

Taking her cue from classic country songwriting, the songs were driven by Murray confronting unfulfilled dreams, grief and heartache from both personal and observational angles. The lead single, Watchin’ The World Pass Me By, outlines frustrating times (‘Time after time after time, and again and again I been left out, left behind and misunderstood’). Fool’s Gold treads a similar path (‘And I am feelin’ all the weight of the world, I am really thinkin’ I ain’t got no worth’). The latter is a standout track featuring backing vocals by Erin Rae, killer contributions from Eddy Dunlap on pedal steel and James Paul Mitchell on lead guitar. Frank Rische, the much sought-after Nashville guitar slinger and brother of Lillie Mae Rische, adds backing vocals in the gorgeous tearjerker Just A Little While Longer. Murray’s 2022 single, the Vern Gosden cover That Just About Does It, was a duet with Logan Ledger, and he contributes backing vocals to Get Down To It. Cut from the same cloth as Slow Kill from her SOUTHERN AMBROSIA record, Phenix City addresses the growth of hopelessness and desolation prevalent in numerous small towns in America, before the record closes with the title track.

This album is genuine country music, unlike much of what seeps out of Nashville these days under the country banner, and if you’re only going to buy one country album this month or even this year, get this one. It’s unlikely that there are going to be many that hit the bullseye like LITTLE BLUE does.

Declan Culliton

Brown Horse All The Right Weaknesses Loose

With gloriously loose arrangements, shared songwriting, and shared instruments and lead vocals, six-piece Norfolk band Brown Horse created quite a stir with their debut album RESERVOIR, released in 2024 on the Loose label. Very much a collective project, the band have been busily touring in the UK and Europe since the release of that album. Much of the material on the new album was road-tested during those gruelling months on the road before they returned to Norfolk and Sickroom Studios, where, recreating their live sound, they recorded this eleven-track record. 

Brown Horse is Emma Tovell (pedal and lap steel, bass, banjo), Nyle Holihan (guitar, bass), Rowan Braham (piano, keyboards, accordion), Phoebe Troup (bass, banjo, guitar, vocals), Patrick Turner (guitar, fiddle, vocals) and Ben Auld (drums). Their debut album included killer and full-on standout tracks like Stealing Horses and Bloodstain, creating their distinctive sound, and the new album follows a similar path to those tracks. Their marriage of harmony vocals and vast instrumentation, which includes guitars, bass, pedal and lap steel, banjo, fiddle, keys, drums, and accordion, creates a sound that lands somewhere between alt-country and rock. The songwriting duties on the album are shared between Turner, Tovell, Troup, Holihan and Braham without rendering the end product anything but cohesive. 

Standout tracks include Verna Bloom, which takes its title from the American actress of the same name, the unbridled and power-poppy Corduroy Couch, and Radio Free Bolinas, which references the coastal area in Marin County and its reclusive residents. The blissed-out and folk-rock-rooted Wisteria Vine also impresses. 

Brown Horse have come a long way in a short period, creating their own Norfolk-ana sound, and on the strength of this and their debut album, you’re left with a lasting impression that they are only getting into third gear and will have lots more to offer going forward.

Declan Culliton

Autumn Hollow Say No More Self-Release

Autumn Hollow is a Boston-based band led by frontman Brendan Murphy, with guitarist Mike Burke and the rhythm section of Chuck Vath on bass and drummer Ian McMillan. SAY NO MORE follows on from their 2022 EP THROW THE HOUSE.

Recorded at Soul Shop Studios in Medford, Massachusetts and co-produced by Brendan Murphy and Elio DeLuca (Craig Finn, Faces on Film), the ten-track album includes contributions from guest players Will Ellis Johnson (pedal steel), Gabe Hirshfeld (banjo) and vocalists Sarah Leveque and Peter Zarkadas. 

The band's modus operandi is best described as simply rock and roll. Fields N' Town ('And here I'm standing in these fields, where cavalries callously killed and somewhere in the truth reveals the fate, that we made a mistake') calls to mind and questions the futility of past wars. The opening track After All This Is Gone considers the aftermath of the pandemic and its often-ignored lasting impact on many. If This Keeps Up drills into the current political regime in America, particularly the events of January 6, 2021, at Capitol Hill. By way of reflection, the title track speculates on the utopian dream of a fresh start while putting past differences and conflicts aside. 

The greatest mass extinction in Earth's history, known as the Permian-Triassic event, wiped out the majority of marine and terrestrial species around 250 million years ago. This environmental disaster inspired The Great Dying and serves as a reminder of the devastation that climate change can cause, as well as the importance of protecting what surrounds us.

Brendan Murphy, a passionate writer and a school teacher in his parallel career, puts his cards on the table from the outset in SAY NO MORE. This gritty and intense collection finds him trying to come to terms with the increasingly unsettling landscape that currently prevails.

Declan Culliton

My Politic Signs Of Life Self Release

The last time we were given the benefit of music from the creative source of My Politic was back in late 2022, as the Covid crisis continued to be scaled down across the various countries and continents of the world. Given that it was a time of deep reflection and a wake up call regarding where we all saw our priorities in life, the content of Missouri Folklore: Songs & Stories From Home was very much a look back down the road from where Kaston Guffey and Nick Pankey had travelled. The two Ozark, Missouri childhood friends laid a lot of old ghosts to rest on those songs and looked forward to the dreams of the future that had seen them relocate to Nashville, Tennessee, in search of the big breakthrough with their insightful, mature music.

Having tried to make the Nashville dream become a reality over a number of years, songwriter Kaston Guffey decided that there was more to be gained by leaving the endless stream of hopeful musicians that crowd the management and agency offices along the various Music Row buildings and streets of Country Music central. He now resides in Pittsburgh, a move made back in 2023, after nearly ten years spent trying to break through those cosy walls that often block entry to the inner circle of the Nashville establishment.

Nick Pankey still lives in Nashville, and this represents the first time that the creative pair has been separated by distance for quite some time. Not that it matters so much in this age of technology where everything is a file to be sent and shared, a download to add music into the mix, or a Zoom call to trade ideas over a face-to-face session on the song creation.

So, it is with great anticipation that I received new music from My Politic, in anticipation of the release of SIGNS OF LIFE; an appropriate title, given the intrinsic changes that have been taking place in the lifestyle choices of the duo over recent years. Kaston has now married his fiancée of previous years, Georgia, a creative artist in her own space, and his new-found contentment has not in any way blunted his keen observational gift to capture an emotion or a sentiment in succinct lyrical terms.

The opening track on the new album is Two In the Morning and it captures the ageing process, anxiety with the world and the late night insomnia that results. It acknowledges the state of those troubled by current political events and the song arrangement, with strident acoustic guitar and inventive fiddle, is an echo of this thought process.

Moving away and starting over are core elements of the following track. Memories left behind and fresh perspective packed for the road that lies ahead. Such feelings are reflected in I Took All the Pictures Down - a slow arrangement and a meditation upon our need to keep moving forward ‘The things we chase are all the same, But sometimes go by different names, The impulse to fan the flames, Of that roaring fire within.’

Who Could Ask For More is a song of thanks for the simple things, such as feeling in love and sharing the vulnerable moments that we all recognise as an intimate part of any relationship. Signs Of Life is the title track and it looks at the joy of living with a free and open spirit, even if there are the consequence of lifestyle choices made and the temptation to look for validation. One of the album highlights is No Other Way with a gentle strum of acoustic guitar and a self-reflection on the relative rewards of living on the edge of melancholia ‘I’ve spent my life searching for peace of mind, Well the more you go looking, The more pieces you find.‘  Elsewhere, Kaston ponders ‘Questions that keep us turning the wheel, Somewhere between what we know and the way that we feel, We can see for what seems like forever, But it’s rare when it all comes together. ‘

Another gem is the track Drifting Around the Ocean and the subject of growing up. The past is never gone, and life is not linear, it revolves in a circle around our choices. Peace can be found in the simple process of creating a song to reflect upon such matters and the restrained fiddle of John Mailander is beautifully measured here. The dubious pleasures of living in a material society that is ruled by the gun and the lust for power is tackled in Will We Ever Make It Out Of Heaven Alive? The ensemble playing is quite superb as the musicians dance around the melody ‘Everything and everyone is for sale here, All the time, And you ain’t worth a nickel if you can’t steal somebody’s dime, Where Jesus Christ protects us all but you have to stand in line, While the wealthy choose who is and ain’t allowed to board the ride.’ Stirring invective and so much on point.

The bluegrass rhythm on From the Early Days is invigorating in the delivery before  the more serious Lonely 21st Century hits like a fist ‘Seems everybody’s looking for any way to get by, Connections everywhere fractured and frayed, So it ain’t no wonder why crooked politicians, snake oil salesmen too, Are coming up with every terrible way to fill that hole for you.’ Too many people in the USA finding themselves living frugally and forced to practice an economy in all aspects. The increased cost of trying to get by, expenses spiralling, budgets hard to set, “Folks are working on their houses all around us, The faint sound of nail guns and saws in the air, Just a piece at a time, When they can afford it; We’re doing the same thing downstairs.” Life issues repeat across our continents and it is perhaps the greatest gift of Guffey’s that he captures this in such a succinct fashion. It’s the dream and the reflection of everyman, gone up in smoke, and captured in such eloquent understanding.

A Funny Place To Find Yourself is another song of thanks, this time to the listening public that enable the duo to make a success of this crazy travelling life for a musician. House concerts and new friends found, each road trip a trove of memories for the future “The road’s a funny place to find yourself, Thankful to everyone who ever let us in.” This could be the perfect way to bring the album to a natural conclusion but Guffey moves on with Still Growing Today and a youthful remembrance of growing up in rural Missouri. Time and love resurface on the final track I’d Rather Have Some (Than Nothing At All) and inner reflections again point to learning from the past and maintaining an optimism.

All thirteen songs on the new album are written by Kaston Guffey and Josh Washam played a role as engineer on the self-produced project. Kaston Guffey (vocals, guitar), Nick Pankey (harmony vocals, guitar, mandolin ), Josh Washam (bass, piano, drums, organ, synth), John Mailander (fiddle, mandolin), Steve Peavey (dobro, pedal steel), bring the magic in the musical arrangements. This album is another musical highpoint across their growing career to date and is already a strong contender for my album of the year – a must have for all discerning music lovers.

Paul McGee

Imelda Kehoe The Colour Green Self Release

This is the fourth album from Irish Artist Imelda Kehoe who is based in Wexford. Her vocal delivery is so engaging and warm, captured beautifully on the opening track, Risen People,  and the story of Countess Markeivicz, the Irish politician, revolutionary, nationalist, suffragist, and socialist.

It immediately captures an emotion and energy for the album that is carried throughout these twelve songs that highlight the subtle talent of this singer songwriter. Her vocal delivery is perfectly captured on the title track The Colour Green which could easily fit onto an album of either Sade or Everything But the Girl.  The easy groove of the music continues on the sweetly melodic Own Story Now and perhaps a tribute to a lost friendship that still echoes across time. Glass ceilings are tackled on Best Hire Amy and the social propensity to not promote the correct candidate where the chance of pregnancy and career breaks hangs in the air. The use of strings here is not the best choice as it somehow clutters the arrangement. Better is the next track, with stripped down piano intro and a slow groove on the bluesy If I Were Me, a relationship song of longing.

Mr Lincoln is a seduction and a look into the sultry flirtation of new love when that sense of electricity is in the air. The confident vocal highlighting the sense of play in the melody. Throughout the album the musicians excel with the accomplished vocals beautifully captured in the song Monday Night Is For Elvis and the feeling that a night of karaoke can heal the problems of the daily grind.

There is an ache of longing on the track Colour A lie and a sense of something lost. Songs can come from a personal place or be simply a look into the nature of human emotion, and this is something that Imelda captures so seamlessly.  In the past, lmelda relocated from the United Kingdom to Ireland and this change is captured in the song Nothing I Miss About England, as she sings of the benefit in making positive changes.

The song Chicago looks at the fluidity of relationships and whether the place we choose to live is more important than the bond supposedly shared between the couples, the transient nature of relationships captured perfectly in the lyric and the echo of loss. All Of My Heart is simply beautiful as a sentiment of pure love, the surrender to another and the vulnerability of letting go in trusting another completely.

The final song is The Circus Came To Town and the happy sunshine vocal of Imelda wraps the arrangement in a warm melody. No matter what challenges we face, love is the absolute, the answer to all of our concerns. A fine album to add to Imelda’s growing reputation as an artist.

Paul McGee

Dave Clancy Live Our Own Dream Self Release

This album is a follow-up to the debut THE PATH, which appeared in 2020. That was quite an accomplished collection of songs, and now, having negotiated the Covid years, Dave Clancy returns with a new batch of songs.

A number of the musicians which appeared on that debut return here, and the presence again of Nicola Joyce, Matthew Berrill and Fergal Scahill adds a nice consistency. The production for the project was again trusted to the very skilled duo Eamon Brady and Liam Caffrey. There is a great sense of quiet reverie on these ten songs and the engaging vocal delivery of Dave Clancy brings an intimacy to the listening experience.

The theme of love runs though much of the album, with the clear production highlighting lovely melodies and great interplay among the musicians. The opening song What Is Love Meant To Be sets the tone for much of what follows, with the warmth of Hear Your Name written for someone who clearly holds a special place in Dave’s life. Take Your Time is a sweetly delivered piece of advice to be kind to yourself and let life unfold easily.

Maria Ryan plays strings across the tracks and the creative fiddle of Fergal Scahill is always prominent in the mix. There is so much to recommend the songs and the understated playing, the touch of a harp on one track, the use of clarinet on another, with the talents of Clancy adding piano, organ, synthesizer and pedal steel guitar. The title track is a call to stand proud and be yourself in the way that your life is lived. It is a message that repeats on tracks Follow Your Light and The Faltering Flame where the need to keep focus on the things that are important on our collective journey is so important.

Another love song is When I Walked Through Your Door and it explores the sense of belonging and the genuine commitment in a relationship. Eoin Wynne contributes on banjo and guitar, Conor McCreanor plays bass, and with Eamon Murray on drums, they complete the musicians used across these tracks. Everything comes together on the song of hope Now Is All We Need with some superb ensemble parts and the sweet saxophone of Berrill colouring the melody.

The final song is When We Say Goodbye and the harmony vocals of Clancy and Nicola Joyce deliver a gentle love song that offers a healing balm and a promise to be there for each other. These songs are certainly a welcome addition to the building reputation of Dave Clancy and the album is a strong successor to his excellent debut.

Paul McGee

New Album Reviews

Ynana Rose Under A Cathedral Sky Self Release

On her third album, Californian native Ynana Rose (pronounced 'yuh-na-na’) takes an unflinching look at middle age, facing your fears, and having some fun while you're at it. Her rootsy sound is influenced by country, folk, jazz and blues, and it’s all pulled together into a most enjoyable whole by producer Damon Castillo, in his Laurel Lane Studios in their home town of San Luis Obispo. The first thing that strikes you is Ynana’s incredible rich alto voice, and it’s a surprise to learn that she only started songwriting and performing when she was 37. Her maturity shines through in her songwriting, across the eleven original songs here, six written alone and five being co-writes.

Rose’s deep connection to nature is evident in the opening song, Redwood Holler, which also gives the album its title. Brought up in Mendocino County, where she ran wild in the redwoods, she adored the mighty Eel river as it wound its way through the dramatic redwoods and the madrone trees, and the red tailed eagle soared, all recalled by the lovely mandolin and pedal steel contributions of Wanda Vick and Damon Castillo, respectively. Midlife Walking Blues is an uptempo take on that midlife crisis that doesn’t take itself too seriously, and Tammy Rogers (Steeldrivers) adds her insistent fiddle pulse as a backdrop to the moon’s depiction as a One Eyed Ghost in a tale of unrequited love and regret. There’s a latin/jazz feel to Let Go The Day, a lullaby written in an attempt to address insomnia during the lockdown, replete with percussion from Paul Griffith and some tasty electric guitar from the producer, and there are more latin rhythms as the basis for the romantic Prelude To A Kiss.

Persephone delves into the age-old question of masculinity and femininity and Rose’s conclusion is that ‘we need new stories’. Strawberry Moon is a term used in North America for the full moon in June, not because it is pink but because it coincides with the strawberry harvest. Here Ynana Rose uses it as the inspiration for a story song concerning a man who swore he’d never marry again after being abandoned by his truel ove, who he met under a strawberry moon.

Written with David Landau during a thunderous rainstorm while they were on a songwriting retreat, The Downpour is particularly personal, coming as it did in the aftermath of the breakup of her 20 year marriage. Landau also contributes cello on this sensitive evocation of the trauma of the uncertain future, which ends on a hanging note, no doubt to be continued. It’s About Time, which is the album closer and possibly its stand out track, derives from the same difficult period, ‘now we’ve done all the damage we could do ... I gave it my all, but it was never enough.’ I, for one, am looking forward to discovering the next chapter.

Eilis Boland

Antonio Andrade Here We Go Lif Shakes

A ninth album from this experienced performer who has been delivering his music over a 25-year period, balancing his music with a regular day job in order to pay the bills. Andrade recorded his debut album Straydog back in 2000 and his second release arrived in 2007 with What Do You Want From Me, containing original songs that covered rock, folk, and pop influences in the sound.

Andrade gave up his day job in 2014 and has since released a series of albums , culminating in this generous 16-song covers project that plays out over fifty minutes in length. There is always a risk in releasing an entire covers album as invariably the comparisons begin with the original versions and across so many chosen tracks there are going to be some that work better than others. Also, the inclusion of so many different musical genres, means the results can be somewhat scattergun in hitting the target.

From Bob Dylan (Forever Young), and J.J Cale (Magnolia), to Neil Young (Ohio) to Tom Waits (Downtown Train), the arrangements are interesting with Andrade asserting his own style and take on each song. The cover of Bob Marley’s Waiting In Vain is less successful, as is the Eurythmics medley of Here Comes the Rain Again/Sweet Dreams (Are Made Of This). The version of Pat Benatar’s big hit We Belong also falls short, even though the Spanish verses add something different.

More successful is the Cars iconic Drive and the idiosyncratic Looney Tunes medley, along with Take Me Out To the Ball Game, shows the fun side of not taking everything so seriously. Not an album that will feature apart from personal favourite lists, and there is something for everyone here, in terms of easy enjoyment. No doubt Andrade will get back to the more serious side of personal songwriting for his next release

Paul McGee

Richie Lawrence Moving At the Speed Of Trees Big Book

This is a fourth solo album from a musician and songwriter based in Sacramento, California. Lawrence is well known for his talents on accordion and piano and has played with many bands over his career, including I See Hawks In LA.

It was his lifelong friend from that band, Paul Lacques, that brought the greatest influence to this new recording. In addition to co-writing two of the songs, it was the sudden death of Lacques that brought great shock in 2024. Recording was halted while the grieving process  took over and it is in memory of his great friend that Lawrence now releases the completed album.

Katie Thomas is married to Richie Lawrence and she stepped into the role of co-producer on the album, with her vocals featuring on nine of the tracks selected. Former drummer and percussionist with I See Hawks In LA, Shawn Nourse appears on eight of the songs, alongside Simeon Pillich (acoustic bass) and their steady timing is a feature throughout. Founding member Robert Rex Waller Jr. provides an additional co-write and appears here with current bandmates Victoria Jacobs, and Paul Marshall providing the rhythm section on two of the tracks.

There is a cover of the Ray Bonneville song Lone Freighter’s Wall with the pedal steel of Dave Zirbel particularly effective. Apart from this, all songs are written by Richie Lawrence, including four co-writes, and the production offers plenty to enjoy in the individual musical performances. Lawrence sings with a low key delivery that does the job of sitting easily into the restrained arrangements and gentle melodies throughout. There is some lovely violin (Giorgi Khokhobashvili) on Life Long Lived and on one of the highlights The Poetry Of Lust we are treated to superb electric guitar (Tony Gilkyson,) and the sweet accordion of Lawrence on a song that channels Leonard Cohen in the delivery.

There is a jazz swing on InFable that also includes excellent piano parts and clever lyrics, while The Wonderful Waltz is all that, and more, in the delivery. Emily Dickinson is a reflective solo instrumental played by Lawrence on piano, and the final song I Believe In You is a fine conclusion with the sentiment ‘There’s nothing I can do, Save share my love with you, And let you find your way in this, a world defined by hope.’ Both understated and elegant in the delivery, this album takes its place alongside the previous works of Richie Lawrence with great pride and no small amount of impressive songwriting.

Paul McGee

Robert Thurman Burning Daylight Self Release

Growing up in Tennessee I think that it’s fair to say that Robert Thurman was surrounded by much of the musical influences of that great State, and his interest in joining local bands grew from this immersion. The roots of country, bluegrass, gospel and blues can all be traced to Tennessee over the years and the influence of rockabilly, Sun Studios and the soul music of Memphis and Stax records is also never far away, perhaps just floating in the air. It has often been stated that acoustic blues music was at the heart of everything that was created in the early development of rural culture as the solo vocal with acoustic fingerstyle guitar accompaniment became a main influence.

Robert Thurman honed his guitar skills into his early twenties and after suffering health challenges over a number of years he turned to acoustic blues as a means of dealing with his frustrations. This album is home produced and is comprised solely of the guitar and voice of Robert Thurman. There are seventeen tracks included with very few exceeding the three-minute mark. This is a good thing in that you are moving swiftly through the various song arrangements and guitar rhythms, but the downside is that you start to suffer from a sense of sameness with relatively little variety in the dynamic. There is a basic demo-style sound to the songs and although there is no doubt that Thurman has his own particular style, it would have been good to sample some percussion as support for the tunes or some bass modulation.

There are two cover versions with Ground Hog Blues (Sonny Boy Williamson) and Who Do You Love (Bo Diddley) fitting nicely into the overall feel of the album. A number of the songs follow the acoustic blues influence and titles such as Small Town Blues, Nervous Blues, and American Jesus Blues deliver exactly what it says on the tin. Confinement Blues was clearly written while Thurman was recovering at home from the health issues he experienced and Blues This Morning also hints at the frustration of trying to move beyond serious illness.

There is an uncredited female vocal on the song Angel and the song references the largest industrial spill in United States history at the Kingston Fossil Plant in Roane Country, Tennessee. The final track One Last Breath hints at a ghostly presence at a haunted family homestead that assists people in moving to the other side of the veil. Ready For the Fire (a murder song)and Never Ending Sky are other songs that are memorable, with some fine guitar picking, and the title track Burning Daylight references the phrase for spending time uselessly. Given the challenges already faced by Thurman in his personal life I have no doubt that he now looks to the future and taking as much positivity as is possible from every single day.

Paul McGee

Rees Shad Porcelain Angel Shadville

Since the arrival of his debut album in 1994, Rees Shad has released an impressive run of sixteen solo albums over four decades, and has become a wordsmith of the highest calibre in the Folk traditions of singer-songwriters. This new project adds to his reputation with a lot of creative nous and a knowing maturity. Kicking off with Ain’t That the Way and a song which asks that we take some personal responsibility to effect real change ‘They’ll turn the screws long as you sit back, Unless you step up to the line and do a righteous act.’ It is a call to arms and marks an intention to deliver songs of lasting value.

The feel of Coda Blues has some fine harmonica from RB Stone and a self-satisfied look at a woman who treats her man right.  Great Big World sees the guy chasing his girl half-way around the world in order to catch up on the experiences she’s having, living her best life in foreign places and not missing home at all. Isn’t It A Lovely Day is a gentle song in celebration of the world we wake up to ‘See what the world sent our way, I’m happy when we sit and stay, And while away these lovely days.’

The title track looks at regret formed out of letting a loved one slip away. Perhaps hinting at mental illness challenges and the inability of others to try and assist in any way. Thumbing the Scales is a highlight with a heart worn vocal concerning the greed of others in taking advantage of the trust put in strangers that is often misplaced. A Man Like Me is an up-tempo song with horns in the arrangement and a co-vocal by Wanda Houston that delivers a soulful groove and celebrates the attraction of the opposite sex. Another groove with attitude is Pistol Whip Hangover and the guitar bites with great dynamic in the song arrangement, topped off with tenor sax solo by Marcus Benoit. Great stuff..!

Love song Brighter Daze includes a fine co-vocal with Eleanor Dubinsky, wrapping a sultry light-jazz Bossa nova beat. There is also some very tasty Spanish guitar courtesy of Dario Acosta Teich. The Right Thing is a song that takes a rueful look at mistakes made in a manner of self-deception where everything looked so different at the time ‘As I wallow in the yearn, For forgiveness never asked for, Or contrition left undone, I can’t bring myself to face you, And the woman you’ve become.’ Perhaps a father figure who wasn’t there for his child?

Your Last Straw is a song where a parent is looking at the life unfolding for a child who needs to make their own mistakes ‘It’s obvious to me that you’ve been crying once again, And I know that you won’t welcome any questions, Still I feel like such a fool sitting silent as I watch, You drive your life in all the wrong directions.’ Such poignant writing and another standout moment on this album of many riches. The lap steel of Natalia Zukerman and the acoustic guitar of Rick Ruskin feature on this fine song. Rees Shad has produced a superbly crafted album, full of great songs and superb musicianship. As someone with a long legacy of quality music this addition is well up to the mark.

Paul McGee

Turnpike Troubadours The Price of Admission Bossier City / Thirty Tigers

The most satisfying aspect of the huge success of Turnpike Troubadours - 2.2 billion streams globally and 1.7 million units already sold - is that they write and play country music and not the watered-down mainstream pop that currently dominates country music radio and charts. Seeing them land the number one spot on iTunes country charts is as refreshing as it is deserved.

Turnpike Troubadours' current line-up is Evan Felker (vocals, guitar), Kyle Nix (fiddle), Ryan Engleman (electric guitar), RC Edwards (bass), Gabe Pearson (drums) and Hank Early (steel, accordion), and THE PRICE OF ADMISSION is their sixth album. Produced by Shooter Jennings, the eleven-track album is divided into unhurried country ballads alongside their more customary raucous songs.

The mid-tempo On The Red River opens the record in fine style, with Felker speaking fondly about his late father. What follows are thunderous knees-up tracks like The Devil Piles His Trade and Ruby Ann, both complete with raging fiddle breaks by Nix, alongside outright rocker What Was Advertised and the gospel-tinged Be Here. Country ballads, such as "Searching For A Light," a melodic co-write with fellow Oklahoman John Fullbright, and "Heaven Passing Through," also impress, though it's fair to say that there isn't a weak track on the album.

THE PRICE OF ADMISSION is Turnpike Troubadours' most accomplished work to date and a continuation of their ever-engaging musical journey. Hopefully, their success and the recognition of their talents, in both songwriting and performance, will filter down to many of the next level of artists and bands that are sticking to their guns and recording genuine country music. In the meantime, hats off to these guys for the hard graft and talent that has brought them to a place they so richly deserve.

Declan Culliton

Will Worden The Only One & All The Others Self-Release

Looking at the cover of THE ONLY ONE & ALL THE OTHERS, you could be forgiven for thinking that the album was an undiscovered gem recorded by Lee Hazlewood in the late '60s under the pseudonym, Will Worden. That striking resemblance, appearance-wise, is furthered when listening to the twelve-track collection of country psychedelia.  

Very much a mystery man, possibly by choice, surfing the net will not unlock much background on Worden. His website is simply a photo of him wearing a Gram Parsons-type jumpsuit with the caption, ‘We’re cooking something up….’

My limited background knowledge of Worden is that he is a Texan living in Topanga, California. This debut and self-produced album follows his two singles released in 2020, Shut Your Eyes and Moonlit. Alongside his impressive vocal style, he also played guitar on the tracks, and the other contributors were Chris Dixie Darley (guitars), Casey Nunes and Eli Thompson (bass), Frank Lenz (drums), Joe Assef (percussion), Robert Joseph Manning (piano) and Conor Gallagher (pedal steel).

Broken Wings, a spaghetti western soundtrack-styled love song, is a co-write with Australian artist and accomplished whistler Molly Lewis, who, I can only assume, can take credit for the atmospheric whistling on the track. Other tracks play out like homages to many of the smooth country performers of the 60s. Lovin’ You Forever sounds like a Jimmy Webb composition sung by Glen Campbell and Pines In The Wind has an early career Porter Wagoner sound to it. Jerry Reed is represented with the swampy Rainy Weather Blues, and Texan Phil Hollie is credited as a co-writer on the Elvis-sounding, I Gave Her Every Reason. These comparisons are in no way a criticism. Worden nails the sounds of that era spectacularly well, and the production and playing match that retro feel.

I can’t tell where the album was recorded or where you'll likely catch Will Worden playing. I can tell you that the album highlights Worden’s impressive baritone vocals and his knack for crafting instantly catchy, well-written songs. The anonymity and mystique may or may not be calculated; either way, the album is a retro country gem you’re well advised to check out.

Declan Culliton

The Barlow High Spirits Self Release

This is a band who are likely justly proud of their roots, in both musical and location terms. They hail from Denver, Colorado and play country-rock that moves across both ends of that description (with nods to southern and outlaw along the way). This is the band’s fourth album, wherein they consolidate their rugged sound and songwriting. The album’s opening track Standing Next To Me is more in the latter rock direction while It Ain't Mine, the second track, is closer to that of a country song. And so it goes across the ten cuts, all bar one written by the band. The Barlow are essentially a four piece band, Shea Boynton being the main writer (although all the tracks are credited to him and the band) as well as lead singer and guitarist. Brad Johnson is guitarist and harmony vocalist, and the lineup is completed by the solidifying rhythm section of Ben Richter on drums, and Jason Berner on bass. They are joined here by Craig Bennington on pedal steel and banjo, keyboardist Andy Scimeider, and Wes Barlow on fiddle. This trio round out the sound and add texture in the recorded context, contributing to the collective achievement. Bennington and the band produced the album together.

This hard working band plays across many states to enthusiastic crowds who no doubt appreciate the solid nature of their sound. Nothing here will either break new ground, or fall into the usual Nashville trap. Rather it is the work of a band who know who they are and what they want out of their music. There are tracks here that are more uptempo, songs that sonically feel uplifting, even in such cases where the theme of the song itself may be about something that is a little less so. This is material that is inclined to be drawn from experience and therefore have a more common appeal. That Boynton holds his own as lead vocalist is clear throughout, especially on the title track and Backwater, which has a slower more emotive delivery, among others. In fact the band throughout demonstrate that they are not standing still and are trying to perfect their own sound while remaining in an overall context.

More twangy are Turn Tail And Run and Roping The Wind, which is another highlight with steel and banjo prominent, giving that roots feel that mixes well with the more rock leaning material such as Clean, which is built around a solid rock riff that drives the song along. The final song, Lost Angel Saloon, the one song not penned by the band, was written by Chad Price and it closes the album in a more honky-tonk barroom mode that shows that this band could easily make a full album in that context if they wished to, as easily as they could do a more southern rock focused album. However they do what they do here, and do it in high spirits, to ensure their music has a broad appeal in the venues they tour in, as well as an accomplished sounding album that is a strong calling card.

Stephen Rapid

Clark Paterson American Suburban Self Release

This is an often self-deprecating look at the life of a man who may not have achieved all he hoped in life or, at least, someone who has the lyrical ability to capture that outlook (observations from the outside or from the inside). I was reminded at times of some of the material of Todd Snider. Paterson has had a hand in the writing on all of these songs, mostly solo, but on three of the ten he is joined by a co-writer. They certainly raise a smile and also, on occasion, some pause for thought. He grew up in rural Michigan but has relocated to Nashville to ply his trade, and his lyrics draw from both environments. In recent times, it is reported that he has had some serious medical issues, a divorce, and the negativity around custody that that can raise. All, no doubt, have contributed to his outlook and world view.

Musically the album also holds its own with some fine playing from all involved, whether the song is more acoustic and folk-oriented or whether it is more country style in tone. Another feature is the use of female vocals and harmonies, which work well to bolster Paterson’s own delivery. Sierra Ferrell, Mandy Contreras and Luella Matthews are all credited in this welcome capacity. Some nine Nashville players are credited on the album, including producers Eric McConnell and Shawn Byrne - the former also plays stand up bass and the latter guitars and musical saw. Also present and very correct are Paul Niehaus, John McTigue and Billy Contreras, names that will be recognised as musicians who have worked on some of Nashville’s more independent and interesting releases.

What Keeps A Fool asks you to hang on and continue when “it all feels like I’m paddling upstream”, allowing a natural-born fool to carry on, while S-10 is about his mode of unreliable transport, a Chevy S-10, and its transmission giving out so he has to walk to work again. Small time lives are the subject of Good Ole Boy and how things are stacked against a person in that situation. “… Got me a wife, have a nice little life” was the aim and to be a good ole boy alongside the rest. “Never wanting to be the best, never wanting to be the worst” is his summation of his intentions. The final track The Deputy is more of a story song, about the way life can become an opposing situation between two people from different sides of the law divide.

Then those themes continue, such as life on the road for the travelling musician on On The Road 2 Long, while the title of the song Life’s A Bitch just about sums up its downbeat attitude. It takes a more folky route to tell its meaning of life, “you know me I like to complain, some things just never change, drinking form an empty cup, I never knew when to shut up.” Equally considering the backside of life is Man Of The Year, wherein he reckons he got too big for his britches and now he’s running for 'man of the year'. He reasons that “I’m always talking a real big game, that I ain’t feeling no pain.” Making no gain or reaching no real understanding would seem to be the protagonist's lot here.

All of the ten tracks have some quotable couplets, demonstrating that Paterson is following in the footsteps of some of those notable troubadours who can sure pen a song and sing it well. He may not be up there with them yet, but the indications here are they that he could be. This album may help gain him some further recognition after his previous releases and it’s one worth spending time absorbing the overall attributes that it has to offer.

Stephen Rapid

New Album Reviews

Lisa Cerbone We Still Have Sky Caldo Verde

The city of Baltimore is home to Lisa Cerbone and her musical talent has walked alongside her work as an ESL teacher to international students for a number of years now. Back in the 1990s she released a series of albums that received wide critical acclaim, and even if career momentum was not sustained into the new millennium, her ability as a songwriter was established in many corners. By 2008 she had released her fourth album, a self-produced collection of songs that reverberated with a sense  of innocence lost, uneasy isolation and ultimately hope that pointed towards a sense of redemption.

A number of these elements are woven through the eleven songs on this new release and the sense of space in the arrangements, coupled with gossamer touch in the playing, is superbly balanced and delivered with a quiet dynamic. Lisa Cerbone wrote poetry and fiction as a student and the discipline gained has certainly informed her sense of wordplay in these melodies and the rhythm of her songs. The heart of the poet still beats strongly and threads these vistas of self-reflection and wistful longing into the thoughtful reflections that these songs attest.

The initial assumption that the songs come from a deeply personal place is not to give due regard to the writing and the sense of observation of other lives at play. On repeated listening there are different colours unveiled and an empathy for the lost and lonely souls, disenfranchised and trying to make their way in this fractured world. Various questions arise for me, such as how do we define our individual identities and how much of our free will is determined by the gene pool that created us in the first place?

Are we perhaps no more than the sum total of our life experience, both positive and negative? The arguments will always move back and forth as we try to make sense of our decisions and our pretensions towards understanding this mortal coil and our place upon it. We can all look for connection and a sense of belonging as we sometimes grapple with feelings of depression and loneliness in the eternal search of acceptance and understanding.

The great talents of Mark Kozelek (Red House Painters/ Sun Kil Moon) are brought to this project and his innate musicianship adds so much to the songs and the overall feel on this album. His prowess on guitar, bass, banjo, percussion and vocals is richly delivered alongside Lisa and their subtle reciprocity throughout. Her central role in providing sweetly understated vocals brings much to be admired in the hushed delivery and the superbly timed guitar interplay. The songs are like short stories in time, full of atmosphere and interesting content in their delivery.

The branch on the album cover looks like a cherry blossom tree and the significance of this is in the short span of rich colour where the blossoms don’t last while the temporary beauty permeates. Lisa has stripped back everything in the songs to deliver such unadorned beauty  and the opening Tomorrow looks at the emotional distance between a couple as they embark upon a lengthy car journey. The sense of separation is palpable ‘Maybe there will come a time, When we can speak about it,’ while the closing words state ‘We’ll find a way to be,’ as if offering hope for the future.

The song Mary’s Face is beautifully structured around a tale of religious calling. A decision to forego earthly pleasure in favour of a life of service and reverence ‘You take your place, In lines of men, Who left so many Worlds behind, For golden robes, And lives of saints, And the purity of Mary’s face.’ Such beautiful sentiment in the sacrifice. Cold Dark Night is a song that circles the spectre of grief and the many forms that it takes. The passing of a loved one, perhaps a parent, and the imprint left upon a life ‘I have to let you go, Your presence lives in me.’

Another form of grief is captured in A Song For Susanna and an insight into the normal life that gets replaced by illegal immigration and the constraints of trying to define a new way to live  ‘ I may never see you again, Count the hours and miles, To your small arms.’ The Waterfront Is Safe tells of an abusive home situation and the need to flee to the city in order to attain a fragile anonymity ‘Peaceful silence can be so frightening, Not sure if you belong, Not sure if you can go it alone here.’ The humanity that pours through the delivery of these songs is beautifully balanced against the need to almost hold your breath until the song concludes.

I guess that we all find our tribes in different ways and our safe place can be letting down the walls to allow others access ‘Sometimes there are those, Who are kinder than our own families, They see you only, Understand the ache and longing’ some of the thoughts that unfold on Home For the First Time.

Do you recognise that inner voice telling us we are not good enough; we all hear it from time to time, and that parental judge can lecture the child within. The song Written In the Stars has an understanding of this internal struggle ‘ It speaks to you, In your sleep, It’s a passenger in the car, You thought you buried it deep, In the yard.’  The song I’ve Got To Get Myself Back To You speaks to that child of youth and to the need to keep that innocence alive and that spirit burning brightly ‘I’ve got to get myself back to you, Back to my favourite dream, I let too much of the world in, When I should have kept you near.’

The title track brings everything to a conclusion with the words that ‘We still have sky, The sun, the stars on our side’ so no matter how negative we may feel, there is always a ray of light to bring hope for a better tomorrow.  This is a superb album with so much to recommend it to the discerning listener. Such wonderful artistry and delivered with both grace and equanimity. An essential purchase

Paul McGee

Eric Schmitt Wait For the Night Self Release

This singer songwriter is from Baton Rouge, Louisiana and his debut album appeared back in 2014. He followed it up with further releases in 2017 and in 2021. On this new album there is a fine group of players with Clyde Thompson (violin), Denise Brumfield (bass), Chad Townsend (drums), Dave Hinson (cello, upright bass), Jodi James (vocals), Paul Buller (mandolin), and James McCann (steel guitar) adding their skills to those of multi-instrumentalist Clay Parker (bass, organ, electric and acoustic guitar, percussion and backing vocals), and Schmitt himself who also plays a variety of instruments (vocals, acoustic guitar, harmonica, piano, electric piano, electric guitar, and lap steel).

The album was co-produced by both Parker and Schmitt and recorded on an eight-track tape machine at Parker’s studio in Gonzales, Louisiana. Across eleven songs there is the strong sense of an artist at the top of his game and the creative story songs are rich in melody and rhythm. Opening track BR Blues is a look at local events and the routine of days that repeat, football games, road races and lawns to keep watered. Little Bird follows with a self-analysis of growing up in rural settings, delving into teenage influences and school days that inevitably turn into adult memories. Some well-placed harmonica and mandolin colour this song nicely.

Louisiana is a love song to Schmitt’s home state and it has all the hallmarks of a Randy Newman – styled, ironic look at the real beauty to be found in the ordinary. Story song One Of These Days looks at a relationship between a Home Depot employee and a working musician who is a drain on  their resources, both emotional and material. The song My Red Door is a standout and examines the feelings left behind when a relationship ends ‘I used to hurt but I don’t anymore, When I feel blue, I paint my red door.’ The use of cello and violin on the song bring an atmospheric melancholy and a reflective sense of closure.

Buckets is about a local guy with a crush on the girl who works at the liquor store and it channels the narrative of, perhaps, a John Prine song in the structure. Some nice fingerstyle guitar on the arrangement also. The atmospheric harmonica, pedal steel and acoustic strum of Floating is very engaging and if you pick up a sense of Neil Young in the vocal delivery then it’s no bad thing. The light touch on Fool’s Parade has a nice jazz-tinged arrangement and creative pedal steel parts compliment the Bossa Nova beat, which is nicely nuanced.

Another standout song is Tattoos, Diapers, and Pills and the country arrangement is slowly unfurled with a broken romance at the heart of matters ‘She met a stranger on a white horse, Now I’m heading for a divorce, and living on the bad side of town.’ The slow rhythm of Midnight Song builds and has some nice electric piano on a song that is a rallying cry to howl at the moon. The final track is the atmospheric Wait For the Night and the spoken lyrics resonate ‘I wake up in the afternoon, your face comes sneaking through the cracks into my room, But I can’t start drinking with the sky so bright, So I put on my shoes and wait for the night.’ One way to deal with the hurt I guess. This album is most enjoyable and comes with a strong recommendation.         

Paul McGee

Bob Bradshaw Live In Boston Fluke

It was back at the end of the 1980s that Irish-born Bradshaw found himself in New York City, after spending previous years busking across Europe with his songs. During the 1990s he released a few albums while working on the West Coast, and after a further move to Boston in 2006, he was accepted as a mature student into the iconic Berklee College of Music, graduating in 2013.

Across this winding journey Bob Bradshaw has always been a creative songwriter and his early career as a journalist and short-story writer certainly fuelled that fire. We now see his adventures turn full circle as Bradshaw reflects back on his previous ten albums and revisits a number of the original songs. The project was recorded live, on the floor, in just one day at Q Division Studios, Massachusetts and Rafi Sofer produced the thirteen tracks selected across five of his album library.

The more recent albums feature mostly, with four songs taken from The Art Of Feeling Blue (2023) and a further three songs from each of Queen Of the West (2019) and American Echoes (2017). The musicians used on the songs are comprised of Andrew Stern (electric guitar), Andy Santospago (electric, steel guitars), James Rohr (keyboards), John Sheeran (bass), and Mike Connors (drums). Bradshaw contributes on acoustic and electric guitars and sings all vocals on a bright and compelling look back through his song catalogue.

The players rock out on songs like Talkin’ About My Love For You and Hot In the Kitchen displaying a real energy and a tightly honed sound. Mid-tempo songs such as Material For the Blues and the traditional country waltz-time of Albuquerque bring their own charm and the reflective insights on The Art Of Feeling Blue showcase the talents of Bradshaw as an accomplished songwriter ‘ I’m something of an expert in the art of feeling blue, I’ve got a gift for finding hurt, Any excuse will do, For feeling blue.’

The angry guitar sound on High Horse displays another side of the studio band and the slow burn of Everybody’s Small Time Now gives way to the easy groove on The Assumptions We Make and a tale of love gone wrong ‘Here's to the journey, That was not ours to take, Oh the assumptions we make.’ There is a hint of Elvis Costello in the vocal delivery on Somebody Told Me A Lie wrapped in a crooning blues arrangement. The song Sideways is from The Ghost Light album (2021) and the noir feel in the rhythm is complimented by the atmospherics of guitar reverb.

As the album winds down, we are given the gentle Every Little Thing and the good council that ‘Every little thing that falls apart, Doesn’t have to bring a broken heart’ while inventive guitar lines are threaded through the melody. The buzz on High On Our Own Supply is reflected in the band rocking out and complimenting the lyric. One of the strongest songs is the final Exotic Dancers Wanted capturing a strip club atmosphere in all its sordid detail and the resignation of the pole dancers ‘She says: It brings me somewhere I'm someone, I need these things to cross the line, From where it stings, to where it's fine.’ Observant and touched with a sad truth. Once again Bob Bradshaw has proven himself to be a musician that warrants a wider exposure and his craft as a songwriter continues to grow.

Paul McGee

Jonathan Rundman Waves Self Release

This is the first solo release from Minneapolis-based Jonathan Rundman in ten years. He has recently been a touring member of the legendary band, The Silos, one of the leading lights in the Roots Rock scene in the 1990s. They paved the way for many bands who embraced the growing alternative country movement of the time and released a run of impressive albums that continue to this day.  There were offshoot bands such as The Vulgar Boatmen, The Setters and solo projects that came and went, but the creative core of the output centred around the talents of Walter Salas- Humara, Bob Rupe (deceased 2025), Drew Glackin (deceased 2008), Konrad Meissner and Tom Freund, among others, over the years since 1985.

Jonathan Rundman has been a professional musician for the last 30 years, playing as a solo acoustic troubadour, a hired gun multi-instrumentalist, Nordic folk ensemble player, university lecturer, workshop facilitator, and occasional rock band frontman. His multi-talented skills alternate between guitar, piano, mandolin, accordion, and synthesizers. His early output is best captured on the 2007 greatest hits release The Best Of Jonathan Rundman (available on Bandcamp) and his creative output dates back to a debut album in 1992 and also includes a duet collaboration with the talented Beki Hemingway.

This new album has fourteen songs and they are bookended by the sound of waves coming into the shoreline. It’s an appropriate way in which to bring this music into the existing catalogue as it echoes time passing over the years, where the more things change, the more they stay the same, as the sea still crowds the shore.

There is a happy, upbeat vibe to Living On the Lakeside and the good time feel continues on Veronika Ann with a rockabilly beat and girl trouble on the horizon. The slower Elizabeth Don’t Waste Your Breath is a co-write with Walter Salas-Humara and it pleads with the girl to drop corporate climbing and move into a life where she can be more her natural self and live freely.

There are a series of interludes between the tracks and the palate cleanser of Terminal, Atonement Theory Breakdown, and Lakeside Leitmotif are brought to the table in order to give pause between the more up-tempo songs.  State Line Fireworks Outlet is a straight out rocker that name checks the founder of dynamite, Alfred Nobel, and it has a really great sound. Diner By the Train is a story song that traces the life of a couple who meet, fall in love, marry and start a family while running a small business near the train station. It ends with sad outcomes and a promise for the next generations to carry on.

Hospital is a song that captures the observations of the appointed chaplain as he goes about his daily routine. Evidence has a slow groove and finds Rundman professing his love for another, while Oxygen Tank rocks out in classic Silos style with a charged guitar attack. Celebrating life and enjoying the days that we are given fill the words of Let’s Put On An Opera and the final track Atonement Theory Girls seeks out ladies with traditional values and an attractive disposition. It has a classic backbeat with call-out chorus and nice guitar groove.

There are also five bonus tracks that are different mixes and alternate takes of songs included on the main album. They play out very well without any dramatic departures from the originals. All in all, a very engaging album with plenty for everyone to enjoy. Jonathan Rundman has returned with a confident swagger and a marker laid down for future work that is deserving of your attention.

Paul McGee

Jefferson Ross Backstage Balladeer Self Release

Describing himself as a songwriter, musician and painter is an appropriate way in which to capture the creative talents of this interesting artist. Based in the folk roots tradition of America, Ross has immersed himself in the deep cultural mythology of the southern regions, and since a debut release in 2008 he has created a steady output of music that informs his artistic passion.

This album represents his eight release, including a live album and a Christmas-themed project, which, together with output from paintings/photos/portraits, identifies Ross and his creative output as both prolific and nuanced. His relative lack of a wide commercial footprint doesn’t seem to have deterred Ross in his ongoing love of the arts and this new album is yet another testament to his resilience.

Southern Currency was the last release that Lonesome Highway received for review, back in 2022, and a fine album it proved to be, with great ensemble playing across the tracks. This time out Jefferson Ross has decided to play, sing, produce, mix and record the entire album himself. The fundamental definition of D.I.Y. and a task that proves Ross to be more than equal to the challenge. The songs included here are examples of a storytelling style and religious themes run through a number of tracks such as Crooked Lines, Lion In Zion, Mary Magdelene, House Of the Lord and Let’s Start A Cult.

Serpent is another song that looks at the struggle between good and evil, while The Blues and the Blood is a morality tale that paints a vista of what may be left after the great flood. There is also the topic of greed that runs through songs like Power and I Believe What I Know with business owners and preachers alike caught up in their own sense of self-importance. On another song, narrow mindedness and rural ignorance is tackled on Travel and highlights the need to broaden our minds and our safe outlook on life.

The country rock sound of One Taco At a Time is are celebratory look at living life in the moment and enjoying each day, while another country ballad tells the tale of a dream encounter with Jerry Lee Lewis on the banks of the river Jordan. The groove on Brimstone Blues is very appealing and has a light, jazzy air in the arrangement and the title song Backstage Balladeer is a reflection upon the value of a life lived and the legacy of what we leave behind. For Jefferson Ross this is the perfect self-expression in his artistic endeavours. The album production is bright and has a wide sound in the mixes, and Ross certainly knows his way around the studio with impressive performances on these songs. Another worthy addition to his growing body of work

Paul McGee

XIXA Xolo Jullian

If you caught the most recent Calexico live shows in Dublin, you may remember the support act was Brian López, who also joined the band as their touring guitarist. He is also a founding member of XIXA alongside Gabriel Sullivan, with whom he produced this new album. As previously, with their two earlier albums, they produce something akin to a dreamscape, semi-psychedelic, desert rock vision that incorporates mythology and a clear method. It is a combination of guitars, electronics, rhythms and voice - one that is entirely entrancing and signals what is the band’s most effective and alluring album to date, recorded in Tucson, Arizona which is also the band’s homebase and one source of their panoramic-guided inspiration.

The album’s theme and title is taken from the legend of a hairless dog breed, which was sacred in both Aztec and Mayan culture. Legend has it that this dog was able to guide those who visited the underworld (know nin Aztec myths as Mictlán) and its many confrontations with fear and fate. The story then is of El Xolo guiding and protecting Arcoiris, a young girl, through the nine levels associated with Mictlán. This is related over the nine tracks on the album. The voice of Arcoiris is given its form by vocalist Mona Chambers. Vocals are a primary part of the band’s structure throughout and add much to the overall effectiveness in the story’s telling. However, even if you know nothing of the lyrical context, that will not affect the enjoyment and fortitude that is apparent in the music. Rather the nine tracks build up an audio journey that allows you to go with the emanation of this imagined world, that you can enter and appreciate regardless of a total understanding of the minutiae of the storyline.

The music is, over its duration, accessible and melodically arranged, without ever having the feeling of predictability. The elements of desert blues, Cumbia and Latin rhythms sit easily alongside its more the rock elements. In that way it manages to be cerebral and incentivising at different times. For instance, La Danza De Los Jaguares opens with an old world/new world mix of accordion, electronics and a strong beat while Waves Of Serenity reflects its title’s sense of quietude. The final song Hearts Of The World is a memorable closure, with the vocals and guitars building to a powerful culmination, ending with a simple guitar motif and spoken voice, that underlines how individual XIXA’s music is. Two members of the English band (one with some common ground) Modern English join them on It Doesn’t Matter, something that highlights the universality of the music. This is music from the underworld for what may be a particular underground audience, but one that will doubtless expand on the enthusiasm for this latest release from this always engrossing band.

Stephen Rapid

Kassi Valazza From Newman Street Loose

FROM NEWMAN STREET, the third album from Kassi Valazza, demonstrates how compelling music often results from confronting pain and life's inevitable challenges. The album takes its title from a friend's house in Portland, where Valazza took refuge during a stressful personal period in 2023. Most of the ten tracks were written during this retreat; the remainder were written in New Orleans, where she now lives, having spent the past decade in Portland.

If opening tracks are a means of capturing the listener's attention straight away, Birds Fly and Better Highways certainly achieve their goal. The former is a broody affair, giving an inkling of what lies in the writer's head ('Who can say, what happens when love ends'). A comparison to Joni Mitchell may be lazy, but it's difficult not to make that connection with the latter song. It presents the listener with an insight into the emotional wreckage and self-imposed isolation from which the album's ten songs are derived. ('I was born to better highways, calling cards and busy streets. Now I watch the sun move sideways, sleeping on my cotton sheets, listening to the wild honking of the sulking winter geese'). 

A self-confessed victim of social anxiety, the unguarded collection of songs on the album plays out like a logbook of events that prepared Valazza for moving on, both physically and emotionally, from a damaging period in her life. However, contradicting the dark and introspective content, the musical arrangements and Valazza's vocals are a delight. A point in case isYour Heart's A Tin Box, whose upbeat and addictive melody shadows the harsh reality within the song ('Walking through the airport with no money I can spend…two months of selling out most of the shows, I'd sure like to see where all that money goes'). Shadow Of Lately is equally beautiful, a classic folk offering, bathed in dreamy pedal steel courtesy of Erik Clampitt and slick electric guitar by Lewi Longmire. Echoes of Sandy Denny raise their head in Time Is Round, and the album's defining song, Roll On, finds the writer putting a relationship, or possibly a period of depression, on the back burner and moving on.

Valazza's work has consistently been from the heart, but FROM NEWMAN STREET is even more personal than she's previously ventured. Loaded with memorable songs, it's more than a worthy companion to her 2023 album KASSI VALAZZA KNOWS NOTHING. Summing up her latest project perfectly in a recent interview, she confessed, ' The album is a diary that I'm letting other people read, but it's mostly for myself.' Essential listening.

Declan Culliton

Toria Wooff Self-Titled Sloe Flower

'Chapters to dip in and out of, moments immortalised in time, bound together by nothing more than the human experience' is Toria Wooff's description of her debut album.

The self-titled album from the Lancashire-based songwriter, musician, painter, and poet is a suite of vintage folk songs that drew me in on the first listen and is one I've returned to regularly since then. Much of the material harks back to previous decades sonically, most likely due to Wooff's exposure to her father's record collection, which included Fairport Convention and Townes Van Zandt alongside Led Zeppelin. However, it's more than a reflection of an artist steeped in the 70s; it's more so of an artist who knows exactly what she is doing in creating music that connects to the past but with modern interpretations. 

Recorded at Sloe Flower Studio in Chester, the home studio of James Wyatt, who produced and contributed electric guitar, the album's overall mood is timeless as the writer probes familiar folk song themes of love, death and folklore. 

From stripped-back and delicate tracks like Estuaries, The Waltz Of Winter Hey, and Sweet William to the more animated inclusions like opener The Plough and The Flood, Wooff's graceful vocals are supported by arrangements that more than complement her voice. Particular mention is merited of the adventurous orchestral arrangements, credited to Danny Miller, which wonderfully underpin many of the tracks.   

With songs that sound like they have been around for decades and the current resurgence in alt-folk, this most enjoyable record should herald a well-deserved breakthrough for Wooff. Similarly to her peer Katherine Priddy, she is proudly flying the flag for first-rate folk music that has been created by British artists for over half a century.

Declan Culliton

Rachel Brooke Sings Sad Songs Self-Release

Ameripolitan outlaw country winner in 2023, Rachel Brooke has been a leading light in the underground country music scene since her debut and self-titled album in 2008. Her distinctive vocals and edgy songwriting have yielded several exceptional albums, my personal favourites being A KILLER'S DREAM from 2012 and THE LONELINESS IN ME released in 2020. The Michigan-born artist's early career found her drumming in a punk band, and the raw sensibilities of the punk genre have never been too far from the surface in her writing. 

Brooke describes her latest album, SINGS SAD SONGS, as 'a record I never intended to make and probably isn't gonna get any spins on the charts.' She confesses to having struggled with depression during 2024 and, by way of self-healing, went on a songwriting spree that yielded material for three albums. This recording is the first of the three, and it's deliberately stripped back to the bone, with the emphasis on the messages within the often-lonesome country songs, some of which are co-writes and covers.

It's an experimental project and maybe not what her die-hard fans were expecting, but the strength of Brooke's vocals and, in particular, her distinctive pronunciations make it an engrossing listen. There are fourteen tracks on offer, including four co-writes with Brooks Robbins and the well-chosen covers include Hank Williams’ Weary Blues From Waiting, Kurt Cobain's All Apologies and John Hartford's Gentle On My Mind. One of those co-writes, Lonely Old Bummer, fittingly opens the album, and it's not difficult to visualise Brooke playing the song in the dead of night as she attempts to exorcise the paralysing demons that weighed heavily on her shoulders. 

Listening to a number of the tracks, in particular the self-writes Bad Habit and I'm Doing Fine, it's not difficult to make comparisons with many of Hank Williams' songs when he performed acoustically, detailing the physical and mental pain that he endured.  

SINGS SAD SONGS is a masterclass in stripping country songs to the bare bones from an artist whose vocal range is the perfect conduit to communicate sadness and heartache. Closing the album on an optimistic note with Silver Lining ('Look on the bright side, my mom would say. Don't give up, child, tomorrow's a brand new day') suggests that, for Brooke, the healing effect of this album has borne fruit.

Declan Culliton 

New Album Reviews

Jaywalkers Move On Self Release

English trio Jaywalkers crisscross the Americana highways, merging bluegrass, folk, old time and country music into a delicious rootsy melange on their fifth album, MOVE ON. Together as a band for eighteen years (which in itself is no mean feat) they combine top class musicianship with impressive songwriting and three-part harmonies, all of which are on show here. Mike Giverin is the main songwriter, and also plays mandolin and guitar. Jay Bradberry is the fiddle player with the stunning lead vocals, and the essential beat is held down by Lucille Williams on upright bass.

Opening song The Radio is a tongue-in-cheek, rocky number, with the protagonist wondering how to get their song played on the radio. Jaywalkers shouldn’t have any problems like this, given the strength of this record. Two of the strongest songs, which at first glance both sound like they will be ‘broken heart’ numbers, actually concern themselves with the theme of climate change. The Longest Day opens with the unmistakeable dobro sound of guest Rob Ickes, emphasising the sombre realisation that the summer droughts are presaging the inevitable slide towards global warming. Gone Forever opens with Giverin’s sweet but mournful mandolin and features Ickes again, with Jay Bradberry’s powerful vocals channeling Mother Earth, ‘you know how you can save me/stay on this path and I’ll be/gone forever’. Chilling.

Move On is an actual heartbreak song this time, a combination of banjo (Stu Williams) and mandolin giving it an old timey feel but with a modern sensibility - it’s time to pick up the pieces and move on. The erratic flight pattern of the snipe (a waterbird in decline) is emulated in the swooping and soaring of fiddle and mandolin in the breathless instrumental Flight of the Snipe, and another illustrious Nashville based guitarist, this time none other than Trey Hensley, adds phenomenal acoustic guitar.

A couple of contrasting covers are included: the jazz standard Aint’ Nobody’s Business allows Jay Bradberry to show that her sultry vocals are perfect for this genre too, while she adds great bluesy fiddle parts, and Larry Cordle’s oft-covered bluegrass standard gets a successful outing, with more hot guitar from Trey Hensley - no ‘dialling it in’ here! Playsuit, co-written with Bradberry, is a fun whimsical number, while the album closes with a lonesome country ballad, December in the Desert.

They didn’t have to go far from their Cheshire base to find their producer - Joe Rusby produced, recorded and mixed the record in his Chester studio. Jaywalkers have produced an album that is up there with anything coming out of the US right now - seek out and enjoy.

Eilís Boland 

Tip Jar Road Of No Return Self Release

Dutch couple Bart de Win and Arianne Knegt are the central source that spins the magic dust through the songs of Tip Jar, with superb harmonies mixing with the bright melodies in creating songs about love and life. The true spirit in the music espouses a loving awareness and a code for life that is one of inclusivity. Indeed, their last album was titled SONGS ABOUT LOVE AND LIFE ON THE HIPPIE SIDE OF COUNTRY (2022), and involved many of the musicians who appear on this new collection of twelve songs. They include friends from both sides of the Atlantic with the recording process split between Austin Texas (USA) and Eindhoven (The Netherlands).

The combined talents of Bart de Win (piano, keyboards, accordion, Wurlitzer, vocals) and Arianne Knegt (lead vocals), are complimented by Harry Hendriks (banjo, guitar, ukulele, harmonies), Eric van de Lest (drums, harmonies), Joost van Es (violin), Tonnie Ector (double bass), Baer Traa (harmonies), Walt Wilkins (acoustic guitar, harmonies), Bill Small (bass, harmonies), Pat Manske (drums), John Chipman (drums), and Scrappy Jud Newcomb (electric guitars). This eclectic mix of talent from both sides of the divide come together to produce really inspiring music and the superb arrangements linger in the ether long after initial listening.

The highlights include a simple love song Corner Of Your Heart, played on piano by Bart de Win and beautifully delivered as a tribute to his wife. The opening song Road Of No Return is another stand out song with a country blues feel making an impressive statement. The soulful groove of All Good is infectious with the collective harmony vocals lifting the song to great heights, while the Bluegrass vibrancy of Standing On the Corner features some outstanding violin, courtesy of Joost van Es. The reflection on Be Someone has Arianne wanting to break beyond stereotypes and allow for a different perspective.

The love song I’ll Be Here is a declaration of devotion through hard times and Window Girl is another statement of togetherness through life’s challenges. Another song On My Way is a late night rendezvous with a warm fire and a glass of your favourite drink, reflecting upon the vagaries of love and life, with the risk of leaving yourself vulnerable in relationships stacked against the urge to remain private and closed,  ‘I will try to see it through, And in the end I’ll be someone new.’ Another example of the excellent songwriting, and the entire album is a strong statement of the joy to be found in talented musicians coming together with a shared vision. Superbly crafted and delivered.

Paul McGee

Slowman The Invisible Son Slow

The opening track The Invisible Son is a strong rocking statement for all that follows here. A song of rebellion that also features a tribute to a father who displayed his love in a quiet way, the song highlights a great dynamic that continues across the eleven songs included. Restless is another rocker that highlights the guitar prowess of Svante 'Slowman' Törngren on guitar and vocals, ably assisted by Owe Eriksson on bass, and Thomas 'Tompa' Björklund on drums.

On/Off is a great example of the fluid musicianship and prowess as the trio ruminate on relationship woes ‘It’s hard to do it right, When she’s always holding the key.’  Songs like Crying In the Rain and Best Years Yet To Come highlight an acoustic blues and a swamp groove that really captures the essence of the band.

Harvest Home is a warm tribute to a local watering hole where the local community gathers together to celebrate life and Walking Down Our Streets is a slow song that honours the past and a relationship that endures in the memory ‘I miss you darling, But I’m still on my feet, Walking down our streets.’ It is a tribute to a loved one who lost a battle to cancer at a young age and it’s a fitting tribute to end an album that includes much to admire in the collective musicianship and the heartfelt delivery of these songs.

Paul McGee

Ashleigh Flynn & The Riveters Good Morning Sunshine Blackbird

Portland, Oregon, has long since been a hotbed for alternative music. Alongside household names like The Decemberists, The Shins and Elliott Smith, more underground bands like the now defunct Richmond Fontaine and, in more recent years, Kassi Valazza, Jeffrey Martin, Anna Tivel, and Jenny Don't and The Spurs have been keeping the Portland artistic flag flying. Ashleigh Flynn & The Riveters are another talented crew that can be added to that list. 

Formed in 2017, they are an all-female Portland-based group that lands somewhere between rock and roll and honky tonk. GOOD MORNING SUNSHINE is their fourth album. It features founding members Ashleigh Flynn (lead vocal, acoustic guitar) and Nancy Luca (electric guitar), alongside artists who have been part of the band's rotating membership. Those players include Carmen Paradise (bass), Leila Chieko (drums), Jenny Conlee (piano & organ), Kathryn Claire (violin, harmony vocals), and Kat Fountain (vocals and harmonica).

The title track, named after the sun rise in the Columbia River Gorge, is more than just an admiration of those spectacular occurrences; it's also a cry for empathy and recovery. With tingling piano, thumping bass lines and crisp pedal steel guitar, its sound recalls mid-career Stones, and that rugged rock and roll is a regular feature on the eleven tracks. They also excel in raw, knees-up, barroom blues with Deep River Hollow and Little Red Wing. It's not all foot firmly on the gas pedal, and Love Is An Ember, complete with weepy pedal steel, and Shake The Stranger tick the country ballad box. A wild drunken night, most probably autobiographical, is recalled in Drunk In Ojai.

All in all, Ashleigh Flynn and her cohorts have aimed to recreate the dynamism of their live shows, and with GOOD MORNING SUNSHINE, they have hit the bullseye.  

Declan Culliton

Alison Krauss & Union Station Arcadia Down The Road

It is fourteen years since the release of Alison Krauss & Union Station’s PAPER AIRPLANE, Krauss's first number-one Billboard Country Chart album. ARCADIA finds the exceptionally talented musician and vocalist reunited with Union Station for another contemporary folk, and sometimes bluegrass, album. Those intervening years have yielded a number of projects by Krauss, most notably her solo record, WINDY CITY (2017) and a second collaboration with Robert Plant, RAISE THE ROOF (2021). 

Unsurprisingly, given its commercial success, ARCADIA follows a similar template to that which worked spectacularly well with PAPER AIRPLANE. Angelic vocals, exquisite playing and selecting and reworking carefully chosen material are once again the order of the day. The only notable variation with this record is the inclusion of Russell Moore of bluegrass outfit IIIrd Tyme Out, who takes the lead vocals on a number of the tracks, a role which was filled previously by Dan Tyminski. Moore also adds guitar and mandolin and Tyminski is also credited as contributing acoustic guitar and mandolin. The remaining players are Ron Block (bass, vocals), Jerry Douglas (dobro, guitar, lap steel), Adam Steffey (mandolin), Viktor Krauss (piano, strings), Jeff Taylor (accordion) and Stuart Duncan (fiddle).

There's so much to enjoy here. Krauss' vocals are simply divine on the two Jeremy Lister-written songs, Looks Like The End Of The Road and album closer There's A Light Up Ahead. Krauss came across the former during a pandemic-driven low point when uncertainty and confusion reigned ('Goodbye to the world that I know, looks like the end of the road'). Moore takes the lead vocal on a reworking of JD McPherson's North Side Gal and The Hangman. The latter is based on a poem by Maurice Ogden, and the musical arrangement is credited to Alison’s brother, Victor. Granite Mills tells the tragic 1874 tale of a factory fire in Massachusetts that took the lives of twenty-three workers, most of them children. 

Further highlights are the gorgeous ballads One Ray Of Shine and, Forever and the Civil War tale of a fallen soldier, Richmond On The James, although it's fair to say that Krauss and her players don't put a foot wrong across the ten tracks.

 It's business as usual for Alison Krauss & Union Station with ARCADIA. An album that lyrically and musically acknowledges both the past and the present, it will most certainly be featured when the Grammys are next being handed out.

Declan Culliton

The Slow Harvest Selections From The Sad Bastard Songbook Self Release

If your music of choice is an upbeat Saturday night type listen, you are best advised not to read on. However, if the dark and gothic Alt-Country impressions created by the likes of The Handsome Family, Will Oldham, Wovenhand and the late Willard Grant Conspiracy are in your record collection, read on. Wisconsin-based band The Slow Harvest's debut album is a haunting and often unsettling deliberation on mortality, survival and self-reproach, which falls into the masterly territory inhabited by those mentioned above. 

The album's title may be somewhat tongue in cheek, but inclusions of There Has To Be More ('I'm being haunted, an old friend he visited me. We sat together talking in my dream, just like we had for years') and This House Is Too Quiet ('The laughter is gone. A tree decked out in tinsel, but it's a week into June') are as spine-chilling as they are enthralling.

The Slow Harvest is songwriter, guitarist and vocalist Bryan Kroes, bass player Matt Villmer, Harrison Dole, who plays organ and pedal steel, and drummer Partick Tomter. Tamara Kroes is also credited as a backing vocalist.  

Despite its upbeat and groovy delivery, the country two-stepper We're Already Dead plays out like a session on a psychiatrist's couch, and the twangy Time Doesn't Matter grieves sudden and unannounced loss. On a less bleak note the album opens with the tender ode to parenthood, Evensong and closes with an anthem very much of its time, We Could Use A Little Rain. The latter questions living in an increasingly messed up world ('Every morning, there's more bad news like a plague across this town. The crazies are getting crazier while the good ones go insane') and asks if it's time to hit the reset button and start all over again. 

'Don't worry, there are a few love songs buried in there too, but honestly, there are no promises for the future of anything. Buyer beware,' warns Bryan Kroes to any potential listener. Heed the warning by all means, but be reassured, this is a body of work that is full-blooded Americana, narrated by deep baritone vocals and perfectly matched players.

Declan Culliton

Tom Dunphy Everything Was New Self Release

With his wife Tara, Tom Dunphy has fronted the award-winning Canadian traditional country band The Rizdales since 2003. Now with this solo album, Dunphy takes a step back to an earlier ethos with some stripped back late 40s, early 50s styled country. The age-worn ache in his voice is full of lonesome heartache, as well as taking as much from those experiences to start all over. The songs are all originals, which he has written as if they were obscure gems from that earlier time, with a cover of the T Bone Burnett written Song To A Dead Man, the track which closes the album and the song from which the title is taken. It is a song that deals with being young, meeting a girl and finding out what the world had (or hadn’t) to offer.

The overall disposition draws from a stripped back approach, comprised of the trio of Dunphy on upright bass and acoustic guitar, with the integrated and effective accompaniment of lap steel from Burke Carroll and Steve Briggs on electric guitar. They effectively keep things moving along without a drum beat (something that you are not particularly aware of as you listen). With that line up, the album plays almost as a live set in a welcoming honky-tonk, with the individual skills of the three players well to the fore. That, in effect, doesn’t allow for a great deal of variation over the length of the album, which will please those who appreciate music from a time when country music was often a more simple and distinctive offering, and often local to specific areas and likes, perhaps not so popular now with those who are used to more contemporary and diverse musical stylings.

The titles here often indiacte where the lyric’s direction is heading, these include Gone For Good, Leaving Train, Headed For A Fall and Big Fool - many a tear in many a beer. But the honestly of the vocal delivery is bolstered by the authenticity of the accompanying arrangements, fitting the overall intention of placing the music in an earlier (if not an easier) time frame. The track You Make Me Shake is a good indicator of the music on offer, both lyrically and musically. “Your cruel seduction’s coming / And I should be running / But the longing starts / And so I’ll let you in / And then the fun will begin / But soon I’m crying.” The material here from Dunphy is well considered and well executed, something that is not always the case on retro oriented projects. 

So there is much to like on this solo outing from Dunphy but I don’t think that means we won’t hear more from the Rizdales band again, and this release should please fans of the band as the overall aim comes from a similar frame of mind. The old is again new here, particularly for those who have not previously been exposed to the tight, stripped down sound that was so effective in the past and is again here.

Stephen Rapid

Mike Delevante September Days Truly Handmade

This first solo album from Mike Delevante opens in fine style, with ringing twelve string guitar on a harmony laden slice of roots power pop that is as accomplished as it is enticing. Initially a part of the duo The Delevantes with his brother Bob, both went on to have separate careers within the design industry. Bob has released a number of solo albums, but this is Mike’s first foray under his own name. It is produced by Joe Pisapia and Gary Tallent. Both have previously been associated with the brother’s recordings, but Tallent (best know for his work with the E Street band) has been there from the beginning. All three are based in Nashville now, having moved away from their roots in  New Jersey to further their music. Tallest co-produced the band’s Rounder debut LONG ABOUT THAT TIME back in 1995. He also added his lauded aptitude as a bass player along the way, as he does here on this album.

The unit involved in the recording include the aforementioned, along with Bryan Owings and James Dick on drums and Bob also joins in on occasion, playing harmonica. The sound is a throwback to those early recordings which bring ringing guitars and melodic structures throughout, over the solidity of the understated rhythm section. Pisapia adds guitar, keyboard and pedal steel as required throughout, adding colour and tone to those structures. There are thirteen tracks that capture an overall sound that, outside of the brother’s work - either solo or as a band - you don’t get to hear that often in the context of Nashville recorded roots music, with a more timeless and crafted soundscape. Overall Delevante focuses, in these songs, on the positive aspects that later life has brought him. There are moments that are more regretful such as the opening track The Rain Never Came and Only Sometimes, though the former musically is an uplifting gem. There are also redemptive themes as in I Wrote To You, and the more openly affectionate feelings that permeate When You’re Around, and those moments of emotional release mentioned in Good Cry. But largely this album has some sparkling arrangements that hit home. There is also a sense of contemplative meditation in the album’s closing song, Coming Home. So Delevante gives us a range of emotion and ruminations throughout the album, delivered with a sense of unruffled intent.

Delevante is thoroughly at ease here in this company, simply playing music that doubtless makes all involved feel good and it also extends that to the listener. This is an album that has an unpretentious mood, that gets better with familiarity and frequency. As acknowledged, this is an appealing sound that mixes that Rickenbacker guitar sound with keyboards, pedal steel and a solid beat. It’s a sound that seems to have been overlooked for some time, a roots rock melodic confection, that is sometimes heard in more power-pop related settings, all good omens for this writer. The last album the brothers released together was A THOUSAND TURNS back in 2021,and one hopes that there will be more from this talented pair, either together or as individuals. Given how the industry has changed and that both have alternate creative outlets, this may take a little more time, but I think an investigation of the albums under the Delevante name shouldn’t disappoint the discerning seeker.

Stephen Rapid

John Howie Jr & The Rosewood Bluff The Return Of … Schoolkids

For those with a memory for some good hardcore country from back in the mid-90s, the name Two Dollar Pistols was considered among the best bands from that era. They came from the country scene in North Carolina. During their time, they released an EP with Tift Merritt and four albums, all excellent, three on the Yep Roc label. However, despite critical acclaim, the band broke up after a number of different issues. Front man and writer John Howie Jr has now released a brand new album that, once again, highlights his love for classic country, 30 years on from his entry into the fray. Prior to that there was an album LEAVIN’ YESTERDAY with his current band, released in 2011, five years after the last Pistols album.

The opening song Who Needs The Neon? lets you know that Howie hasn’t embraced hip-hop, pop, or any current mainstream deviation from what he believes in and does best. Howie produced the album with Tim Shearer, with Shearer also appearing on electric guitar, alongside Nathan Golub on pedal steel, bassist Mark O’Connor and Dave Hartman (also of Southern Culture On The Skids) on drums. Additionally, John Teer from Chatham County Line adds some fiddle and backing vocals, as does Alec Ferrell, and there’s some cello too from Sarah Glasco to round the sound out. It is one that has an edge, authenticity and heartfelt delivery. As expected the songs deal with heartbreak, hang-ups and the expected the minutiae of honky tonk hearsay, straight-up country rock and soulful roots balladry. 

Howie’s material always has the necessary hooks to catch you and pull you in. At varying points the steel guitar, twang-laden guitar, fiddle and danceable rhythm section all mesh as they should to bring the songs out of the barroom and into your consciousness. The tales told are of losing a lover and the regret that follows, and the need to then get over the break-up and move on. If anything, over the years, Howie’s voice has some added depth and grit that add to the overall appreciation of his talents. A look at the titles tells you as much as you might need to know about their origin: Breakin’ Up, Gotta Getaway, How Can I Make You Love Me and The Only Problem I Really Have (Is You), though all the designations deal a similar set of cards.

One song runs into another, as they would if you were witnessing the band live in some appropriate venue, where the dancers are enjoying the sound that surrounds them regardless of what the detail of this particular piece of disappointment might be. Rather you just want the sound to continue to surround you. There are songs that step a little more lightly for the slower dances, like Some People or In The Back Of My Mind. Then there’s those with a little more of a broadly rockin’ roots sound, as in Never Enough. In other words, there’s more than enough here to satisfy and to really welcome the return of Howie Jr. He joins the ranks of some other more recent bands and artists who have an equal love and appreciation of a genre that, not so long ago, seemed to be on the brink of extinction under the weight of a wave of imposters and non-believers. You can believe in this though.

Stephen Rapid

New Album Reviews

Charley Crockett Lonesome Drifter Island

'There's a long, long line of country singers, singing songs about living late at night. I ain't the first one, or the best, but I'm different,' announces Charley Crockett in the song Life Of A Country Singer, one of twelve tracks on his latest album. Those simple few lines, not in any way boastful, go some way to explain the dynamic that Crockett continues to be. The description 'different' is not confined to the Texan’s self-titled Gulf & Western sound, but equally applies to his enduring work ethic and ability to essentially self-manage his career.

LONESOME DRIFTER, his fourteenth album in less than a decade, is released on the Island label and was co-produced by Crockett and Shooter Jennings. Any concerns that signing to a major label and engaging Jennings to oversee the project would signal a change in direction are thankfully unfounded. The album follows Crockett's tried and trusted template of unrushed vocals and uncomplicated storytelling, backed by fine playing. A passionate student of his subject matter, his knowledge and appreciation of the various types of country, soul, blues and roots music that inspire him is second to none in the modern country scene. This is reflected in the range of instrumentation across the album, which includes strings, horns and harmonica, alongside banjo, guitars, pedal steel, bass and percussion. 

Apparently, the first episode in a trilogy of albums, LONESOME DRIFTER, is part autobiographical and part fiction. Reared by a single parent in a Los Fresnos, Texas trailer park, Under Neon Lights recalls Crockett's impoverished and wayward childhood. The title track from his 2021 record, MUSIC CITY USA, was a subtle dig at the controlling music industry, and that sentiment is addressed again in Game I Can't Win. Bill Bailey, tells of the notorious 19th-century Texan cowboy and gunfighter's last stand. Two cover songs are also included, the Bobby Borchers and Mark Vickery written Jamestown Ferry and George Strait's Amarillo By Morning.

It's business as usual with LONESOME DRIFTER, as Crockett continues to reach a wider audience with each passing year and recording. His days as a lonesome drifter are long behind him, and I'm interested in learning what the second and, more importantly, third instalment of this trilogy will unveil. For the time being, this is an intoxicating starting point.

Declan Culliton

Susto Stringband Volume 1 New West

Given Justin Osborne's back catalogue as the frontman of indie-rock band Susto, a collaboration with North Carolina folk/bluegrass outfit Holler Choir may seem like a curveball. However, Osborne has abandoned the spacey guitars, orchestras, and layered vocals of his band Susto and replaced them with acoustic arrangements, and the result is admirable. VOLUME 1 is a collection of seven reimagined Susto songs and two new songs specifically written for the album.

While listening to reworked Susto compositions like Friends, Lovers, Ex-Lovers: Whatever, Acid Boys, and Life Is Suffering, the realisation is how well the new-found treatment works. Osborne's leathery vocals and the dark confessional tales in the songs remain, but the stellar musicianship that supports them is refreshing. The screeching guitars of the original version of Mt.Caroline, which opens this album, are replaced by lively fiddle and mandolin. The acoustic reworking of the Susto favourite, Homeboy, and their adaption of the God Of Death are equally impressive. The latter's original spacey sound is reeled in and replaced by a jaunty background, without lessening the song's deep exploration into mortality. The mood lightens somewhat on the two warm and consoling originals, Never Losing Me, written for Osborne’s young daughter, and a co-write with his wife Caroline, Double Crown, which sings the praises of the Asheville music bar of the same name.

Osborne's connection with Holler Choir came about during a period of reflection as he worked his way through some personal life challenges. In 2022, he was living in Asheville, North Carolina, and attended some open mic sessions. There, he came upon the local old-timey band, led by singer and guitarist Clint Roberts and featuring banjo player and vocalist Helena Rose, upright bass player Norbert McGettigan, mandolinist and guitarist Jackson Grimm, guitar, banjo, dobro and vocalist Ryan Stigmon, and fiddle player James Schlender.  That open mic connection between Osborne and the band led to the realisation that a creative partnership was worth pursuing. Ryan Stigman was called on as producer, and with the support of the New West label, the recording took place at Mitch Easter’s Fidelitorium Recording Studios in Kernersville, North Carolina.

Osborne has consistently displayed the skillset to lay bare his vulnerabilities in his songwriting and these uncluttered interpretations work exceptionally well. 'Some of the reimagined songs feel like they found their true soul in this project, and I've rediscovered a piece of my own soul, too,' confesses Osborne. The album's title suggests that there may be more of the same on the way. Let's hope that this marriage is more than a one-off.

Declan Culliton 

Carter Sampson Live at The Blue Door Horton

'I play a lot of solo shows as well as with a band; and wanted a stripped-down recording to highlight the songs and me singing them,' explains singer-songwriter Carter Sampson about her latest album. Recorded at the leading listening room in her home state, The Blue Door in Oklahoma City, the album features seventeen songs from Sampson's extensive back catalogue, taken from two performances in November 2024.

Commencing with the autobiographical Home from her 2023 album GOLD and closing with Wilder Side, the title track of her 2016 album, her deliveries are interlaced with honest and often humorous storytelling. She speaks of getting the bus to The Blue Door while she was still in high school and asking to play the venue by way of an introduction to Gold, a defiant song which details the plight and issues facing a working musician ('I've got scars and I've got lines, they are souvenirs from harder times…. I won't be bought I won't be sold, I'll be alright mama cause you made me out of gold'). The song is given added context by the presence of her mother in the audience. Ten Penny Nail is introduced as a co-write with Jason Scott, inspired by a Guy Clark tale where he nailed a door closed in his house following a row with his wife Susanna and close friend Townes Van Zandt. Other favourites that feature include Rattlesnake Kate and, not surprisingly, her signature song, Queen Of Oklahoma. 

Sampson has gained a large following on this side of the pond, and the album's release coincides with her extensive U.K. tour, with her band on this particular visit. The quality of her voice alone is worth your attention, and the bare-boned arrangements of her songs, coupled with her impressive guitar work, draw the listener into the heart of her impressive lyrical descriptions and heartfelt tales. It's a hugely enjoyable listen.

Declan Culliton

Ned LeDoux Safe Haven Self Release

This album was made as a testament to love, faith, and loss. It is Ledoux's fourth album, showing him continuing with his blend of country, western, and country rock. It is his most mature and realised release to date. It is pretty much in the palette that his father, the much-missed Chris LeDoux, worked with. The album was produced by the renowned Mac McAnally with several players who were a part of the Nashville studio musician A team for a long time, like Greg Morrow, Jim Hoke, Stuart Duncan and Glen Worf, amongst others. Mac McAnally not only produces but also plays several instruments. He certainly has the right feel for this album.

The album opens with a reflection on how boys growing up do so with something of a more premature outlook on their lives. While girls, on the other hand, are already more grown-up and just "rollin' their eyes" at the boys' behaviour. But the boys will get there in time as they wrestle,  as the title intimates, to be Boys Growing Up. 

There is an affectionate remembrance of his relationship with his dad in My Father's Boots. Knowing that "there's something in the soul that is leather and truth" and how "they're on my feet and he's in my heart" is a very genuine testament to family and its ongoing family history. Many of these songs are mid-tempo, with Rob McNelley's rock-driven electric guitar leading the way. There is substantial storytelling here of the life of a working cowboy and rodeo rider. One Hand In The Riggin' (a song that is a poignant posthumous duet with his father), Workin' Man's Dollar, Story Of A Hired Hand, Legend Born, Long Ride, Traveling Man and Six Bucks A Day, to varying degrees, focus on the blue-collar working man's trials and tribulations. These songs have the added bonus of coming from a source that has been around since childhood to the music, ranching and rodeo life to have a deeper understanding of its methods and madness. 

The ballad Story Of A Hired Hand tells of a man working his life of hard work as a hired hand since joining a ranch at a young age. Though he's just a hired hand on the ranch, when the job "requires an expert, it's a cowboy is what they require." It is a slow-paced tale, an acoustic-based song with the accordion of Michael Rojas, adding to the overall atmosphere. His epitaph is a picture of this unknown man on horseback that sits on many walls as a symbol of that way of life.

His faith and belief in God, perhaps sometimes tested as he recently tragically lost a daughter, is apparent in the ballad Real As I Believe and the instrumental Haven's Lullaby. The former speaks of that conviction for himself (and for others): "When I'm gone, and they lay me down / It'll only be my body in the ground / There'll be no need to cry a tear for me if heaven is as real as I believe."

Given the popularity of "Yellowstone," at least in the way that it portrays a cowboy's working life as opposed to the bullet-laden mayhem, means there is a greater interest and exposure to this western-related music's subject matter. One that is based on a lifestyle that many of us will never experience first-hand, but we can find something of a theoretical affinity within these tales and tributes and their sense of the life-affirming attitude. SAFE HAVEN is a positive album that has the music to attest to that, as well as making you feel pretty good as you listen to Ned LeDoux and his reasons to believe in the future, as well as the past.

Stephen Rapid

Jim Stannard Magical Manatee

After a successful career as a reinsurance expert in financial services, this Connecticut singer songwriter decided to place greater focus on his musical talents having reached his seventh decade, proving that it’s never too late to follow your dreams. Stannard originally played as an emerging musician during the 1960s and into the 1970s, but he chose stability instead of the uncertainty involved in being a professional musician, and his career choices certainly paid the bills by more accepted norms.

Now on album number three, there is always going to be the question of what could have been achieved were there a more prolonged focus on the music and the development of his craft. The fingerstyle guitar technique and the insightful writing are right up there with anything I have heard in the post-Covid landscape, and with a vocal that hints towards Gordon Lightfoot in the storytelling and tone, there is much to recommend this artist.

The album kicks off with some clear perspective and a positive outlook towards the future, with Lookin’ Back a statement of what life can hold in store ‘Some call this world a veil of tears, But I’m enjoying being here, Seems like new adventures are everywhere to find.’ The songs vary from lost love and the sentiment expressed on Hard To Keep , to relationships on the slide and the grim reality on Waking Up Dead.  There are story songs such as Kansas and When the West Was Won is a song about outlaws and ranchers trying to survive the challenges of frontier living.

Bluegrass mixes with Country on You Turned Red and the witty song juxtaposes politics and troubled relations that include the lines ‘My heart began to race, My thoughts were getting raucous, When I harvested her ballot, In a private caucus.’ The song incudes some great fiddle from Wanda Vick, who also stars on dobro, mandolin and banjo. A number of the players here also appeared on a previous album from 2020, with Jon Skibic (guitars), Mike Rojas (keyboards) and producer Kip Winger (bass, acoustic guitars, vocals) adding to the studio dynamic and complimenting the strong song arrangements.

The loose vibe of Hard Of Hearing Heart is really enjoyable and includes some great guitar lines from Jon Skibic, while the workout on Too Much Fun is another tune that rocks out.  Overall we are given ten songs that paint different colours with all the different hues most worthy of your time. Jim Stannard is handling the transition from the financial instruments into the world of creative artistic freedom with perfect ease.

Paul McGee

Sam Bergquist Racing Down the Valley Self Release

Based in Boston, Massachusetts this interesting artist balanced his passion for music with a career as a public school teacher over many years. He previously played in a local-area band Loose Change where he featured as lead vocalist, guitarist and song-writer over a lengthy period. In between these activities Berquist also released a number of solo albums and this new project follows a return to recording following the release of a 4-song EP, titled WISER THEN back in 2023. The first two songs carry a celebratory message, with Steppin’ Out looking at a contented love and how it burs brightly, while Lucky is a touching tribute to his father, who has passed away.

Mountain Boy looks at a rural lifestyle where the familiar nestles along the rivers and roads, a slow pace to life, and surrounded by family, friends and home fires burning. The musicianship on the album is of a high standard and the guitars feature brightly in the clear mix. Co-production is courtesy of Bergquist and Dave Westner, who also plays drums and keyboards on the songs. Here and Gone is a story song about a drifter who calls the road his home and a character who needs to fuel a restless spirit ‘My name is Ellis Turner, And I gotta’ go, I’m here in Santa Fe, And it’s starting to snow.’

Environmental issues, global warming, and our lack of social awareness are tackled on Earth On Fire with the words ‘It was an ominous day, In the commonest way, Just like every day, Another once in a century catastrophe.’ The song Get Gone shakes things up with a great up-tempo arrangement about getting out of town and starting over. The traditional country blues of Mama’s In Jail is wrapped by the bass and pedal steel guitar of Jason Altshuler, and the easy groove is superbly delivered. Makin’ It Up is a song about false friends and hollow characters, selling themselves for short-term gain.

The final song Mornin’ features some fine picking on a message to love each day and embrace all that nature offers. Sam Bergquist features on mandolin to great effect and his ability on lead vocals, acoustic guitar, and harmonica is flawless throughout. There is much to enjoy on this album.

Paul McGee

Marc Miner At the Creek: Secret Session Vol 1 Between

Vienna, Austria is home to Marc Miner and his debut studio album SMILE WHEN YOUR WASTED appeared in late 2020. A second album LAST HEROES was released in 2023 and there have been quite a few accolades along the way which highlight the mix of Americana, Country, and Roots music that define his sound, all delivered with a deep resonance in Milner’s rich vocal tone.

He is also a producer, publisher and label owner at Between Music, and this EP is written, played, recorded, produced, mixed and mastered by Milner himself.  Impressive stuff from this singer songwriter. The six songs included are very enjoyable and the opening track Down By the River is an instrumental that highlights the confident guitar prowess on display. Included also is a kazoo on Get Up, and both hand claps and lap slaps on Ol’ Well. Another tune, Rum Sugar and Me looks at vices that are best treated with respect, introducing a dangerous and heady mix.

Better Man is a song about learning from past mistakes and trying to forge a brighter future where, this time, the lady might stay. Rowboat follows a similar theme and looks to hold a steady course in negotiating the choppy waters that life can send our way. A very strong set of songs from an artist that is making a real statement from his Austrian base.

Paul McGee

Nolan Neeley After Hours Self Release

Southern Indiana is home to this songwriter and during the summer of last year he played a show at the Newburg Music Festival which was released as a live album in July 2024. On that album he performed almost all of the songs that appear on this debut solo release, and the arrangements are very much stripped down to basic instrumentation with Neeley playing all instruments.

The studio album runs just short of one hour in listening time and therein lies the challenge. There is a lack of nuance and variety across the songs, with the structures sounding somewhat similar. The result is that the listener can find the repetition somewhat uniform. There is always that risk when an entire album is recorded in a home setting, in this case featuring just Neeley and his guitars. There is an after-hours, intimate feel to the tunes but the overall defining atmosphere is that of a demo-recording throughout the fifteen songs.

Opener Dog House is a quiet electric strum that captures a ‘morning-after’ blues and includes an attempted falsetto in the chorus which doesn’t really hit the register. Next up is Red Desert Highway with more energy from electric guitar but the busy chorus does no favours. Galena then comes along with a more reflective arrangement and a song of lost love. The city of Galena in Illinois saw the closure of mines that were at the heart of the regional mining economy – the mineral galena being a constituent of the ore in lead mining.

Two Hands introduces some percussive sounds and electric guitar, a combination that repeats into See You Tonight which is a relationship song. American Dream looks at the burst bubble of idealistic principles and the reality of the divided society which exists in America today. The next song is Roman Candle and its gentle acoustic strum overdubbed with electric guitar parts looks at the loss of innocence and growing out of adolescence.

The second half of the album follows very much along the same train tracks as the first. The songs are mirrors in that they reflect inner thoughts and feelings in stripped-back atmospherics. There is a sing-along quality to Everybody Sings the Blues Some Days and Mediocre At Best trips along at a nice pace. There is no doubting the talents of Neeley when it comes to his guitar skills and Everything’s Fine is a good example of his ability.

However, I find myself increasingly asking how these songs would present themselves with a full band involvement and the dynamics that colour arrangements when musicians play off each other. Plenty of marks for effort and for the decision to release fifteen songs in this format. As a DIY independent approach, the talent to write, perform, record and mix this project has to be applauded. Maybe next time however, shake things up with a more varied dynamic.   

Paul McGee

Peter Gallway Laura Gallway Bay

As a member of the 5th Avenue Band in the 1960s Peter Gallway met Laura Nyro, and like many young musical artists of the time, he was put under the spell of her individual playing style and soulful vocal delivery. Nyro was an iconic figure in NYC during the early 1970s with her confessional songs covered by different artists and groups from across the spectrum of Pop, R&B, Folk and Jazz leanings. A deeply personal approach to her songwriting made Nyro a difficult artist to imitate, and Columbia signed her to a four album deal in 1971 that saw her most compelling creative output. If I were to look for a modern comparison to her singular muse, then the work of Tori Amos comes to mind. Idiosyncratic and intimate, with themes of loss and death in her songs, embracing the search for love and the push towards some redemption. Nyro exuded an ethos that was immersed in Gospel influenced truisms.

Her singular path was one that burned brightly and saw many in the music industry try to capture her fire. The 5th Dimension, Three Dog Night, Blood, Sweat and Tears, the Supremes, the Four Tops, Linda Ronstadt and Barbara Streisand all covered her songs and her legacy continues to run deep. So now, all these years later, Peter Gallway has an urge to honour the memory of Nyro by putting his own interpretations on eight of her songs. The chosen titles all come from just two of her releases, Eli and the 13th Confession (1968), with three tracks, and New York Tendaberry (1969), providing the remaining five tracks.

There is a soulful atmosphere on the recording and the sparce delivery, with a male lead vocal, presents the greatest challenge in the attempt to reflect Nyro’s essence. Gallway has a distinctive vocal tone but it can never get close to the three-octave mezzo-soprano voice of Nyro and thus the renditions, lovingly delivered by Gallway, just lack that raw emotion of the originals. Most successful are New York Tendaberry, Gibsom Street, and the closing Time and Love with its endearing skip-along melody and optimism. Peter Gallway plays everything, from guitars and bass, to keyboards and percussion. He also produced and recorded the project and, as a love letter to an inspiring talent from the past, this is worthy of your attention. It will remain, at best, a bucket-list pleasure for the talented Gallway who continues to both inspire and innovate with his own musical output and unique creative muse.

Paul McGee

New Album Reviews

Joachim Cooder Dreamer’s Motel self release 

When your father is Ry Cooder, and you’re taken on tour with him from early childhood, it’s probably inevitable that you’ll become a musician. In Joachim’s case, he spent a lot of time with and idolised his father’s go-to drummer, Jim Keltner, so it was always going to be drums for him. From playing on the famous Buena Vista Social Club project when in his teens, Joachim has worked as a drummer, both in the studio and on tour, with artists like Taj Mahal, Mavis Staples, Dr John and Ali Farka Touré. He has also produced several albums for his father, and for Sam Outlaw, Carly Ritter and Mavis Staples, among others. Film music composition has been another avenue he has pursued, but it has only been in recent years that he realised that he could sing. The discovery of a lesser known instrument, an electric mbira (a variation of the African thumb piano) allowed him to start to write songs and this latest seven track mini-album is his fourth solo release. 

The opening and title track, Dreamer’s Motel, sets the tone for most of the record, a hypnotic, dreamy beat, evoking memories of times past. Led by Cooder’s slightly fragile vocals and his Array mbira and drums/percussion, he is joined by Ry on guitars, co-producer Martin Pradler on bass and a subtle brass ensemble. The song was inspired by his memories of a seaside motel north of LA where they used to go as children, but it was subsequently gutted and now lies decaying by the side of the road. Sight and Sound is another softly soothing soundscape, the backdrop to reminiscences of old love, ‘was that heartbeat yours or mine?’. The touching God Speed Little Children Of Fort Smith Arkansas speculates on the fate of children from an archetypal decaying town in Middle America. It introduces the sweet vocals of his wife, Juliette Commagere (a recorded artist in her own right), and his touring companion, Rayna Gellert, on viola. Cool Little Lion is a sheer joy, fondly remembering their rescue Chow, who had to be shaved in a ‘lion cut’ when they first found her. 

In a slight contrast, there’s a definite gospel vibe throughout Let Me See My Brother Walk, with guest Kieran Kane contributing banjo, the soft vocal harmonies and layers of pedal steel (Ben Peeler), Ry’s guitar and Gellert’s viola swelling to a crescendo ending. Sea Level Man is the most dynamic number, with Ry Cooder this time switching to woozy electric mandolin. 

A chance remark from his daughter was the catalyst for the most affecting and cinematic, extended, closing track, Down To The Blood. Deliciously dark, brooding and discordant, with more than a hint of Dr. John’s New Orleans voodoo ambiance, it is achived purely by Cooder’s own chanting vocals, layers of drums and percussion, and Ry on distorted electric banjo.

Overall, it’s an interesting and unique album well worth checking out, and try to catch Joachim on his upcoming tour of the UK.

Eilís Boland 

Pug Johnson El Cabron Break Maiden / Thirty Tigers

Growing up in Beaumont, Texas, close to the Louisiana border, Pug Johnson was exposed to a wide range of music. Alongside the classic songwriting of his fellow Texans, influences that range from honky tonk to Texas swing and Cajun to swamp and Southern rock all surfaced on his 2022 debut full-length album, THROWED OFF AND GLAD, which was credited to Pug Johnson & The Hounds. That record addressed a number of thorny matters such as mental illness, infidelity, and alcohol abuse, some of which were personal sores that fortunately were healing by that time. Although dealing with quite dark subject matter, Johnson managed to cloak his messages in wicked humour, a ploy not uncommon in prime Texan songwriting. That playfulness also surfaces in EL CABRON, which may in some ways be a confessional lifestyle update from Johnson, since abandoning some of the less salubrious activities detailed in his last record. 

The songs Last Call and Change Myself Today play out like a continuation of the thread on Johnson's debut album. The former harks back to living on the edge and seeking out the next high. The latter is a pledge to finally clean up or end up in the gutter. With a cool Memphis soul vibe, the gentle Believer salutes his wife for believing in him and applauds her trust and confidence in him. On a lighter note, Johnson also directed the tongue in cheek, and Cajun-influenced, Buy Me A Bayou towards his wife. The wild times and equally menacing men and women in the writer's former life emerge in Waxahachie and Hole In Me is a ‘'tears in your beer' full-on honky tonker. Raising the tempo to full throttle, Pipeliner Blues, borrowed from Moon Mullican (known affectionately as the King of the Hillbilly Piano Players), is a blast and a worthy reworking of the original. 

Translated from Spanish to English, El Cabron has a number of definitions. The kindest, and most likely Johnson's priority is, affectionately, ‘badass’ or ‘dude’, the most severe being ‘bastard’. Whether semi-autobiographical or otherwise, that title track goes a long way in defining the album's direction. Johnson has abandoned some of the rockier edges of his debut album this time around and replaced them with classic Texan singer-songwriting, alongside toe-tapping honky tonk. 

Recorded at Fischer Studios, Four Eyes Studios, Orb Studios, and Spectra Studios in Texas, the production is credited to Pug Johnson, Ryan Johnson, and Paul "Sweet P" Walker. Working with a talented crew of Texas’ finest players, EL CABRON is a further episode in Pug Johson's journey which offers the listener a collection of memorable songs. 

Declan Culliton

Hudson Mueller Welcome To Earth Self-Release

The dilemma regarding what you want from your art is a factor for many artists. Is personal satisfaction simply their goal, or is commercial return their primary objective? Some are fortunate to achieve both but are in the extreme minority. Others find that commercial success can drive a wedge through their ultimate goal: to have their art recognised and appreciated by their peers and a fan group. Hudson Mueller's opening track, Money vs. Fame, on his debut album, WELCOME TO EARTH, dwells on this conundrum. The song is one of a number on the album that finds the writer deep in thought and tussling with often thorny subject matter, albeit with a degree of optimism. 

Mueller is an Austin-born singer-songwriter who, in previous lives, played in the folk band The Hudsons before forming the southern soul outfit, The Gold Magnolias. His debut solo record finds his foot firmly on the slow-burning singer-songwriter pedal. WELCOME TO EARTH was recorded in winter at The Creamery in Brooklyn, which did not have a working heating system at that time. Mueller fondly remembers playing drums for thirty minutes before a recording session to warm up. 

The eleven-track album criss-crosses from country rock tracks like Love Is Love and Xanthippi's Blues to the John Prine-styled Pull Up A Chair. With an uplifting gospel choir, Maintain recalls Bob Dylan's Christian trilogy albums and Never Loved No One Like You, with layered vocals and acoustic guitar, is a poignant break-up song. The title track cleverly plays out like an instruction manual to newborn babies ('Sun's gonna shine, wind's gonna blow, welcome to Earth, please enjoy the show'). In Quarantine Waltz, Mueller recalls living in Brooklyn, overlooking a hospital during the pandemic, and how the residents cheered and applauded the essential workers as they left work, after they finished their shifts.  

Three decades into his career, Mueller's debut solo record is an open-ended affair, many of the songs are unalike but fit extremely comfortably alongside each other. From an artist who knows how to write and record hugely impressive songs, WELCOME TO EARTH is well worth your investigation.

Declan Culliton

Jason Boland & The Stragglers Last Kings Of Babylon Thirty Tigers

Back in the day an album called PEARL SNAPS was one that resonated with me and it became a firm favourite, as did the subsequent releases from Boland and his band. Now some twenty six years later they are releasing an album, that in some ways brings them full circle. As with the debut album it has been produced by Lloyd Maines, and the band then as now includes longtime compadre Grant Tracy on double bass. Naturally over the years the band has changed and members have moved on for a variety of reasons, yet the central essence of the band has remained the same.

Joining Boland and Tracy are Andrew Blair, AJ Slaughter, Jake Lynn and Nick Cedar, who have recorded a solid and satisfying album that delivers on many fronts. It has a purposeful energy, having been tracked essentially live in the studio. It is, somewhat naturally, a summation of more than twenty five years of travelling, playing, living and learning. This time out there is a selection of Boland’s own material, as well as some material from outside sources such as the Jason Eady/Jamie Lin Wilson/Kelly Mickwee co-write Drive, Ain’t No Justice from Randy Crouch and they close the album with a telling cover of Jimmy LaFave’s Buffalo Return.

The steel and fiddle are appropriately to the fore on the opening The Next To Last Williams, about the life of a hard travelling musician playing every club and county fair, but in the end wondering will anyone really care when he goes. Every generation has a figure that links to the past and a tradition that was true in the past, but now notes that in the middle of the game the rules are changed. It feels good to have this team making and continuing to make their music again.  

They are able to make the changes to the songs as it requires. Drive has a mix of instruments, with mandolin featured over a solid beat, and keyboards that add to a mood which emphasises the need to drive where no one can find you. Take Me Back To Austin is about a wish to return to that city as against “going crazy In the woods”. The fiddle and steel interplay is again paramount. Living on the edge is something that it seems can be relived a little, by having some soothing substances, in High Time. 

One of the album highlights here is One Law At A Time, a reflection of slowing down and taking life from a different perspective and coming to terms with no longer breaking one law at time. “I’m under the radar so I don’t have to hide”, and his relationship and marriage is “a contract between us, which we both abide.” He’s also resigned to the fact that now “I pay my taxes as there is no way around”. A slow paced acceptance of fate.

More uptempo, if downbeat in lyric, is Ain’t No Justice, which has a strong southern roots rock delivery that burns and notes that “the rich get richer” as they have always done. Farmall is a tale of a daddy driving “that thing” which is never really explained, but was apparently a noted event in the locale. It has a folky feel that complements its tale. The parting of ways is celebrated in Irish Goodbye, in the traditional Irish ‘wake’ style. Again there is a folk ballad element in its arrangement of piano and fiddle over a slow funeral rhythm.

Written some time back, the lyric of Buffalo Return has a relevance to these times, wishing to return to values that previously existed in less material times. As elsewhere Maines’ production is a perfect realisation of what this band have been searching for since they formed in 1998. That they remain this potent is testament to Boland’s vision and his continuing search for something that may not readily be defined, and yet is captured here in this decisive album.

Stephen Rapid

Grey DeLisle The Grey Album Hummin'bird

My journey with the music of DeLisle began back in 2000 with the release of THE SMALL TIME; that album introduced a unique voice in country/folk that was immediately identifiable. It was not one I found that had across the board admiration but one that I was immediately taken with. Now, some twenty-five years later, comes a self-titled album known as 'The Grey Album' as reference bit to her name and to The Beatles' own similarly-titled ‘White’ release. In a comparable essence, it offers twenty songs covering almost all aspects of her musical vernacular. There are stripped-back folk arrangements, some country-orientated material, some more up-tempo rockin’  tracks, and even more to discover.

Like me, if you are a fan, this is a totally diverting release that never fails to engage or make me feel that it would have been better with fewer tracks. Many of these songs originated in the lockdown pandemic, a prolific time for DeLisle. During this period, she began to record the songs  often with her former husband, Murry Hammond (of The Old 97s). There was a sense of, perhaps, a loneliness running through some of these largely relationship-based songs. But they are also, at times, defiant and realistic. That DeLisle wrote all but two of the tracks, which she also was co-writer, which is in itself a testament to her overall abilities.

That sense of exploration can be defined by a diverseness that such tracks as Reach For The Sky, as one example, wherein the protagonist reacts to a two-timing man because “She caught him in the bathtub at a house of ill repute / He wished he hadn’t taught her how shoot shoot shoot.” This track was recorded with the excellent backing of just two multi-instrumentalists, Greg Leisz and Marvin Etzioni - who is perhaps the MVP through his production and instrumental prowess. These stalwarts are joined on different tracks on the album by such as Tammy Rogers, DJ Bonebrake, Deke Dickerson, and Stephen McCarthy, amongst others. They recorded the songs over a period of time and with different combinations of the artists and engineers involved with the recording, arrangements and production. The result is a roadmap of DeLisle's talent as a singer, writer, and musician as well as in picking the right confederates to work with.

That range, as mentioned, goes from the soft spoken entreaty of Daddy, Can You Fix A Broken Heart?  In this DeLisle plays the autoharp, which she has often used on previous recordings (and also on second track here), this time using it over pedal steel and a subtle string arrangement. 40 Something Runaway is a song about seeking something new adventure later in life and the problems that can bring because of trying to survive on the move means "The soles of her boots wear thinner and thinner / She's skipping stones / She's skipping dinner / This hitchhiking life ain't going her way." A chance meeting with ex-Runaway singer Cherie Currie provided the opportunity to have her join DeLisle for a duet. The upbeat backing was again all provided by long-term collaborator Etzioni. Long Rider member, Stephen McCarthy, duets on Didn't We Try, another song where the backing belies the lyrical sense of trying but not succeeding. A summation of a perceived state of mind is the genesis of the rockin' I'm A Wreck. This contrasts again with the gentle request for a close intimate in Don't Let Go Of My Hand, with steel and strings underpinning that frame of mind.

And so, it goes on over the length of the album, one that never found me wanting to skip tracks but allowed me to remain within this individual musical world's different realisations of romance and revenge and all in between. Those who have already been captivated by DeLisle in the past will need no further encouragement to immerse themselves within its heart. This is the perfect starting point for new listeners to be introduced to the mind and music of an artist who has always remained true to her vision. Which, despite the album's title, offers something a lot more colourful and contrasting. She can be demure and dangerous but never mundane - this is the living proof.

Stephen Rapid

Ron Pope American Man, American Music Brooklyn Basement

This album kicks off with real attitude and the southern boogie of Nobody’s Gonna Make It Out Alive illustrates the superb band interplay along with the great dynamic in the production. Those of you who are familiar with Ron Pope will know that this is very much familiar territory across a career that has seen a steady flow of albums since a debut release back in 2008. Pope started recording with his college buddies and formed The District for a run of three albums before he branched out on his solo career. It’s safe to say that he has been running in the fast lane ever since. Prolific is one attribute, but when you couple this with consistently top-quality output, then you have a real winning formula.

The second track on the new album, I Gotta Change (Or I’m Gonna Die), is an insight into the curse of prescription drugs and their toll upon so many folks who have developed dependency issues across the USA ‘I used to never take an Advil, But if  I don't earn we don't pay bills, Inside I'm screaming like an anvil, When iron and hammer meet.’ The travails of blue collar America continue on Klonopin Zombies and a song that again highlights prescription medication that is used to prevent and treat anxiety disorders, seizures, bipolar mania, agitation associated with psychosis, OCD and other symptoms. Certainly no panacea here.

With a strong work ethic of touring and writing, Ron Pope has regularly travelled across our continents, and his reflections hold a power that propels his songs to growing acclaim. This music is heartland America in all the ways that prior acts like John Mellencamp and John Hiatt mirrored the lives of ordinary people whose dreams and hopes are compromised by the simple act of trying to make an honest living. Pope is certainly the real deal and knows exactly how to echo the emotions of the everyman.

In the Morning With the Coffee On is a love song about treasuring the moment and slowing life down to the point where the little things become everything. Equally, the following song I Pray I’ll Be Seeing You Soon is a love song from the road to his wife and the need to keep her close while he travels with the music ‘You’re in my dreams until you’re in my arms, I pray I’ll be seeing you soon.’

The Queen OF Fort Payne, Alabama looks to the past and captures a time when being young and living free were everything and when experience and maturity lay in the distance ‘Come on, strap in boys, we're drinking like it's two thousand and five, I know that we'll crash tomorrow but tonight we're flying high.’  Another rocking song that shows off the great musicianship on the album.

Pope delivers slow songs with an ease that is also impressive and I’m Not the Devil is a relationship song that captures the breakdown of love, with co-vocals from Taylor Bickett and the restrained playing adding a layer of regret to the words ‘Broke down Chevy, grease on my hands, I didn't know we were counting, what's the measure of a man? I might've led you to water but never made you drink, I'm not the devil no matter what you think.’  A youthful memory is captured on Mama Drove A Mustang with fiddle and keyboards lifting the song arrangement ‘I was a sinner in the hands of an angry God trying to figure out who I was.’ Harmonica cuts thought the melody and drives the guitars along.

The love song Where You’re Kept has a gentle acoustic touch and captures a real connection between two people, while everything comes together on the last track The Life In Your Years and the hard-found wisdom reflects ‘And when I'm gone, please recall all the good I saw here, It's not the years in your life, it's the life in your years.’ Pope’s recent European tour in support of this album was a great success in capturing new audiences and there would appear to be nothing stopping the increasing momentum of this gifted artist towards ever greater recognition. Get on board now.

Paul McGee

Dan Raza Wayfarer Valve

With two critically acclaimed albums already to his name, Dan Raza has been referred to as one of the United Kingdom’s best-kept musical secrets. Those who have feted his talents over the years include Neil Young, Tom Paxton and Rodney Crowell and it seems somewhat unusual to be talking of his talents as still largely undiscovered. He is a new artist to me and this latest release delivers a powerful example of what I have been missing.

Having spent a lot of time gigging around England in previous years, Raza reflected upon no marked career progress on the horizon and decided on a fundamental change, moving to America and settling into the new challenge of facing life in a different environment.  Over recent times he has continued to hone his talents in new territories and it is out of new perspectives gained that this third album now appears. The title gives a strong clue as to the direction taken in these songs and the urge to explore new inspirations provides the driving energy for the recording.

The over-riding impression across these tracks is one of an accomplished musician and at a level of craftmanship that is of the highest order. Self-produced by Raza, the twelve songs emerged over a few years and the list of musicians included in the creative process totals twenty-plus. It is great credit to Raza that he pulls all the strands together with such élan and in such a seamless fashion. The Greek philosopher Heraclitus is credited with the saying “You can never stand in the same river twice” and the central focus of the songs is that of learning from past mistakes and moving on in the knowledge that some growth has been achieved from the flow of life.

Behold the Night opens up the album with an invitation to feel hope and to be at peace with any self-doubt that may surface. Wasn’t That Enough For Me follows with a look back at life paths taken and a sense of gratitude. Water Reflects (What It’s Shown) is a soulful reflection on learned behaviour and the way in which we take for granted what is considered socially acceptable. The country feel of In My Own Time is a song that speaks of enjoying the passing days and the combination of mandolin, piano and violin is beautifully delivered.

Me and My Lady is a love song that reflects on the key to happy relationships and the need for openness ‘ Me and my lady…We’re catching fire, we’re taking flight, We’re making up for lost time.’ Raza sings with a very engaging and warm vocal tone and his sensitive and emotive phrasing adds greatly in delivering these songs as something approaching classic tunes that embed themselves into the sense that you have surely heard them somewhere before. I find myself singing along as if they are already timeless classics. Nothing Like A Woman has a sense of being very auto-biographical with the presence of a lady in the life of Raza sparking a search for change and leading to the adventure of new beginnings in love.

Only A Stone’s Throw Away speaks of the plight suffered by illegal immigrants into the USA  and the necessity to leave for new beginnings in the hope of another chance ‘ But you only leave your home if your home won’t let you stay.’ It’s a sad observation on the cruelty that exists in the world today. The Truth Will Heal You has a soulful delivery and a message of enlightenment dropping slow, ‘The truth will heal you, If it don’t kill you.’ There is a Springsteen vibe in the essence and articulation.

New Born Man is a story song of endurance and perseverance, fighting illness and bad luck, the inclusion of tin whistle in the melody adding a poignance ‘So don’t write me off or look through me, I’m more than just these bones you see.’ On the song Like Strangers Again there is the thought that our natural state is one of separation and comfort in reverting to a state of being outside our need to feel close. Facing the truth and lost dreams populate We All Have To Dream Alone, again giving that sense of isolation and separation ‘Peel away the mask Amanda, and see what you find, do you recognise a man that’s left behind.’ The final song Still Got A Song To Sing is one of looking for direction with that sense of self-doubt circling and a wish to be able to see ourselves as others see us. Dan Raza has achieved something very special here. Call it classic Americana or an essential addition to the Folk troubadour tradition, on every count this is already a strong contender for album of the year. An exhilarating experience that inspires at every turn.

Paul McGee

Kris Delmhorst Ghosts In the Garden Big Bean

A new album from the gifted Kris Delmhorst is something akin to having an old friend visit and pull up a chair by the fireside for an evening of catching up and sharing warm conversation. It always seems like too long since she last visited and yet we are all the more pleased for her presence once again. It’s been five years since the release of LONG DAY IN THE MILKY WAY and the time between has not dulled Delmhorst’s keen sense of questioning our place in the order of things and the manner in which we negotiate this crooked journey of life.

The eleven songs included on the new album explore a world of impermanence and vulnerability, seeking answers and solace when it comes to the challenges of facing our mortality.  The meditative atmosphere of Summer’s Growing Old opens the treasure trove that lies hidden, awaiting discovery, and the song uses the metaphor of the changing seasons to herald the ageing process, from the summer of our youth into the autumn of our days ‘Something in the air like a hinge is turning, corner of your eye like a shadow thrown.’

In keeping with this theme, Wolves brings a sense of foreboding as the future draws near, the uncertainty of days that we cannot control, the passing of loved ones and the spectre of feeling isolation. The metaphor of wolves gradually getting closer to the fire, burning brightly but attracting unwanted reality is perfectly formed ‘Just outside the edge of the light, they know how to wait, how to sit tight.’ The title track captures this same sense of foreboding and looks at death and bereavement as a burning internal fire, with ghosts present in everything that reminds us of a life that has now gone.

Won’t Be Long is a restless urge to break free and rocks out in a manner that highlights the superb ensemble playing of the studio musicians, lifting the melody and complimenting the words ‘They say it won’t be long, I wanna blow my cage, I wanna slip my skin, Leave behind these walls I’m in.’  The grief of living with loss runs through Not the Only One, the slow tempo echoing the frustration and incredulity at the way in which we can treat each other ‘Not the only one here with a broken heart…reading the news about flowers piled up in the schoolyard, Can this be the world, can this be the time.’ When everything seems out of control, all we can do is look to each other.

The song Age Of Innocence also runs with the idea of the human race on planet earth as a parasite, killing the host through our collective stupidity. Running down the planet resources with no regard for the future ‘Once we were innocent and unashamed, now we’re the only ones to blame, We never even knew we were living in the garden of Eden.’ It also echoes memories of youth when innocence was our only excuse.

Lucky River catalogues the life of someone fallen on hard times and fishing down by the river while an uncaring world speeds by on the highway above. The pain of losing out to fate and circumstance, and a brief encounter with unrequited love informs Beyond the Boundaries with a longing and a deep regret ‘Every desolate lover, every lost valentine, Would give their last breath, they would spend their last dime, to write more of the story somewhere down the line.’ Another love song is Dematerialize and the thought that sending a message to the universe can be reciprocated ‘ So tired of the apocalyptic grind, Let’s find a space to occupy, Point a finger close your eyes, let’s make a world we recognise and fly away.’

The entire album is a great testament to the creative muse of Kris Delmhorst with so much to immerse yourself in. The atmospheric production puts you by that fireside with a toast to old friends and  hope for the journey that lies ahead in the distance.

Paul McGee

Edie Carey & Sarah Sample Lantern In the Dark: Songs Of Comfort and Lullabies Groundloop

Released in October 2024 and one that got away in the hustle and bustle of last year. This album is a healing balm in these times of uncertainty and increasingly mounting fear, which saw skilled artists Edie Carey and Sarah Sample come together for a second helping of sweet succour to the soul. Their combined talents are of a standard that guarantees real quality with songs that invite themselves into the heart of the matter and rest in the centre of all that stands as important in our days. The album is a follow up to the 2014 release TIL THE MORNING: Lullabies & Songs of Comfort which proved to be a popular collaboration between the two artists. It was a perfect example of a crowdfunding exercise with many supporters pledging funds in order to achieve the finance required for the recording process. Such trust from the fan base is returned here with lots of love and soul.

Opening song, I’m Here is the perfect introduction into the sense of having safe harbour when everything else is out of control. We all need reassurance in times of struggle and there is a generosity of spirit at play here that runs through the songs. There are a number of cover versions included, with the choices reflecting what resonated most with both Edie and Sarah.

The string arrangement on the Wilco song My Darling is superbly devised and delivered. It appeared on the SUMMERTEETH album of 1998 and is an inspired selection here, full of loving sentiment to a new born child. The Bob Dylan classic To Make You Feel My Love is superbly interpreted with the fiddle of Ryan Sharpe particularly effective. The list of musicians that add their talents to this project is very impressive and too many to list in this review, and the overall production of Scott Wiley is both sensitive and compelling in the gentle touch and delivery of all concerned.

Shine is a song from Sarah and is a reflective look back at the years that see a child leave the family nest and strike out on their own. ‘I looked up and you had grown, Turned around and you had flown.’ Beautifully realised. There is an elegant intimacy in the  song All the Ways You Comfort Me, written by Edie, and the sense given of having a safe place to land when all the plates are spinning. It is a real highlight here among many great moments. The cover of Time After Time by Cindi Lauper is interesting in the arrangement even if it could never capture the longing in the original song.

Heaven Now is another example of the superb songwriter that Edie has evolved into, such nuance and subtlety in the creation. Perhaps it should have closed the album, but the final track is a cover of the James Taylor classic You Can Close Your Eyes and it captures the essence of immersing yourself in a sense of community where human connection is the key. We all share in one big group hug that captures the emotion and spirit of this album. An essential purchase. Bravo!

Paul McGee

New Album Reviews

Sunny War Armageddon In A Summer Dress New West

Sunny War (born Sydney Ward) is very much a fighter and survivor. Her 2023 album, ANTICHRIST GOSPEL, was a statement of endurance and rebirth for the Nashville-born artist. It was also a powerful project which raised her profile immeasurably and led to tours and opening slots with Bonnie Raitt, Iron & Wine, Mitski and Sarah Shook & The Disarmers.  

A recoveree of alcohol and substance abuse, Sunny's survival kit has been to launch herself into her art ('If I'm home and not touring, either I'm going to play music all day or I'm going to get drunk. It's really one or the other. I'm just obsessively trying to work on something so that I'm making healthier decisions that day'). That passion has resulted in a body of work that presents powerful messages and ARMAGEDDON IN A SUMMER DRESS is another melting pot of political statements, dispatched by a gifted vocalist whose songs refuse to be framed by any one genre. 

As was the case with its predecessor, the recording took place at The Bomb Shelter in Nashville, with the production duties carried out by the studio’s owner, Andrija Tokic (Hurray For The Riff Raff, Alabama Shakes, The Deslondes, Wreckless Eric, Ian Noe). It opens at breakneck speed with the punky One Way Train, which is a statement very much of its time, a prayer for sanity in a messed-up world ('When there's no one left to use and no police or state and the fascists and the classists all evaporate. Won't you meet me on the outskirts of my left brain'). The sweet and soulful Bad Times follows. It's a gorgeous sound that could easily be playing over the airwaves on your local radio station. However, the happy and chirpy sound can't disguise the song's painful thread ('I make the least you can in an hour, I've got no money so I've got no power, back pain and rotting teeth, gets written off as working-class grief'). 

A pointer towards Sunny's influences are the guests who contribute vocals on the album. Veteran punks John Doe and Steve Ignorant both lend a hand. The former, ex-founder of LA punk band X, adds vocals to Gone Again, and the latter and member of UK Anarcho-punk band Crass, duets on the politically charged Walking Contradiction. Other vocal contributors include California singer-songwriter Tré Burt, who adds vocals on Scornful Heart and is also credited as co-writer on that song. The final contributor is vocalist and multi-instrumentalist Valerie June, who joins Sunny on Cry Baby. The album signs off with Debbie Downer, which may or may not constitute mirror gazing by the author. Either way, it's a call to arms, asking that we should keep fighting, despite the mayhem and disorder that surrounds us. The uplifting Rise particularly emphasises that sentiment ('Rise babe, up like the sun, might not shine again. Bad days go and they come, but the good do too, my friend'). 

ARMAGEDDON IN A SUMMER DRESS will no doubt be filed under the 'land of plenty' that Americana has become. In truth, it's much more than that; it's from an artist and poet who fuses soul, blues, and roots to create a unique recipe that few others can match. Indeed, I'm scratching my head to identify any other current artist with the vocal and musical skill set to create such beautiful music while primarily commenting on social injustice. 

Declan Culliton

The Devil Makes Three Spirits New West

Twenty-three years into a career that kicked off in Santa Cruz, California, The Devil Makes Three have not frittered away any of the high energy and raw emotion that has established them as one of the hardest working groups in the roots genre. Alongside their hectic touring schedules, they have released seven studio albums and three live recordings to date. The Devil Make Three is Pete Bernhard (guitar, vocals), Morgan Eve Swain (upright bass, vocals) and Cooper McBain (guitar, tenor banjo, vocals).

‘There’s a theme of ghosts and death running through this album,’ explains Bernhard, which may account for the recording location of their latest project. Recorded at Dreamland Studios in Woodstock, New York, the studio is a converted church in a wooded landscape, which proved to be a suitable setting for an album whose thread focuses heavily on spirituality and anguish. SPIRITS was produced by Grammy winner Ted Hutt (Old Crow Medicine Crow, Violent Femmes, Dropkick Murphys, Jesse Malin). 

Given the grief that Bernhard suffered during the making of the record, he lost his mother, brother and close friend at the time, it’s little surprise that mortality raises its head on a number of occasions. Bernhard is credited as writing eleven of the thirteen tracks, one of which is a co-write with Boaz Vilozny. McBean wrote the remaining two. The title track ponders torment, death and its aftermath (‘I want to go back but the page has been burned. When are you coming home I won’t ever learn’). That questioning and sense of isolation is also at the heart of Lights on Me.

The current rampant economic and political divide that threatens the livelihood and dreams of ordinary people is also given plenty of commentary. The Dark Gets the Best of You is a reminder of the political cunning and controlling tactics at play and a plea to see through them (‘Put down your torches, don’t you know what a mob can do. They just want to see what it looks like when the dark gets the best of you’). Addressing the same subject matter are Divide and Conquer and Half as High.

With one eye on their live performances, The Devil Makes Three excels at creating material that, although it has a playful sensibility, combines that with clever and observational lyrics. It’s an effective formula that has kept them at the forefront of gritty, acoustic roots music with a punky attitude for over two decades. On the strength of their latest record, that chemistry is unlikely to lose any momentum.

Declan Culliton

Juliet McConkey Southern Front Soggy Anvil 

In our review of Virginia-born Juliet McConkey’s debut album, DISAPPEARING GIRL, in 2020, we described the songs as ‘sounding if they were composed by a veteran rather than being the first recordings of a novice.’ Recollecting scenes both joyful and distressing from her rural upbringing, the album showcased not only a proficient songwriter but also the possessor of a classic country voice, which did justice to her compositions. Her latest project, SOUTHERN FRONT, more than lives up to that debut effort, although the content has shifted from the nostalgic memories of its predecessor to more immediate adult issues of uncertainty and commitment. 

The title and opening track unveils the album’s theme of darkness into light and meditation on life’s challenges. Drenched in pedal steel, beautifully melodic, and with vocals that crest and dip, I hit the replay button on the first listen. A sense of insecurity and uneasiness raises its head in Drifting and Another Time and Place. Both songs address dreams, memories and anxiety, typical concerns that visit during sleepless nights and often seem of lesser concern when morning arrives. The dream for simplicity and a carefree existence is at the heart of Horses Around, and McConkey is joined by her partner James Steinle for their Emmylou and Gram inclusion with When I Say I. Quiet Moments, which bookends the album and features only McConkey’s vocals and guitar, acknowledges the past and present of a relationship and the security that a loving bond can offer. 

Produced by James Steinle, who is also credited with writing four of the eight tracks, the couple have created something lovely with SOUTHERN FRONT. A mature suite of songs that tackles vulnerability head-on, with fine playing and a vocal purr by McConkey that nods in the direction of Kelly Willis, the result is a tender and splendid country album.

Declan Culliton

Mike Farris The Sound of Muscle Shoals Compass

‘Country and gospel music is in dire need of some pure heartfelt soul right now. He’s like a secret weapon, he’s loaded with soul,’ says Marty Stuart, speaking about Tennessee native Mike Farris, whose chequered life is the stuff of fiction movies.

Farris’ teenage years were a minefield of alcohol and substance addiction, drug dealing, homelessness and imprisonment. Cleaning up his act, he moved back to Nashville from Knoxville, where he had been living rough, and moved to his father’s house. By way of distraction, he began playing his father’s guitar and writing a couple of songs. That eventually led to the formation, with Rick White, of blues rock outfit, the Screamin’ Cheetah Wheelies. With ongoing substance abuse issues and a lack of focus, Farris left the band. In an attempt to remain sober and with a newfound obsession with American gospel singer Mahalia Jackson, he turned his attention to gospel music. His first solo album, GOODNIGHT SUN, soon followed in 2002 and five years later, SALVATION IN LIGHTS earned Ferris a record deal with Sony. That set in motion a career in gospel music that earned him a Grammy Award for Best Roots Gospel Album with SHINE FOR ALL THE PEOPLE in 2015. 

It’s hardly surprising that Farris would eventually end up at Muscle Shoals to record, given how that soulful sound has been a key influence on his own output. The eleven-track album was self-produced by Farris and recorded at Fame Studios, Studio A, Muscle Shoals. Employing Alabama’s finest session players, vocalists and horn section, and fronted by Farris’ billowing vocals, it’s more than a worthy tribute to the setting where Aretha Franklin, The Staple Singers and Wilson Pickett, to name but a few, recorded some classic soulful songs.

The album opens with the autobiographical Ease On. A commentary on Farris’ early years growing up in Franklin County, Tennessee, it paints a picture where struggles were plentiful but simple life was bliss (‘Mama’s in the kitchen with the light on inside, makin’ us biscuits before the sunrise. Ignorance is sometimes its own reward, Mama never told us we were poor’). The futility of fretting about things outside our control is the message in Sunset Road, and the highs and inevitable lows of the artist’s life are told in the somewhat sardonically titled Bright Lights. Triumph and overcoming emotional wreckage is the order of the day in Bird In The Rain. 

Two well-chosen covers are included. The Steve Cropper and William Bell written Slow Train, previously recorded by both The Staple Sisters and Marty Stuart, is beautifully delivered, and Tom Petty’s Swingin’ is given an impressive country-soul makeover. The addictively melodic I’ll Come Running also sounds like it could have been borrowed from Tom Petty’s songbook.  

THE SOUND OF MUSCLE SHOALS is an album that pays homage to the music that was very much part of Farris’ upbringing, from the WCDT-1340AM radio station of his young years and his father’s record collection. It proudly celebrates all that is so vital about 

Muscle Shoals and the eclectic mix of blues, rock, soul, country and gospel that was born in that space over the past sixty-five years. However, more than simply an exercise in nostalgia, it’s an effort that reaches the sweet spot between soul, blues and country and is a powerfully emotive body of work.

Declan Culliton

Ian M Bailey Lost In A Sound Kool Kat Musik

In years to come, if the printed press still exists, a music magazine is likely to feature Ian M Bailey in an article under the heading ‘Undiscovered’. Bailey is an artist who lives and breathes music but who is more at home creating and recording albums that are full of jangles, melodies, and hooks than he is peddling his wares in a live setting. LOST IN A SOUND is the fourth album he has released in five years, all recorded using basic equipment in his home studio, Small Space Studio, in Preston, Lancashire.  

This album follows a similar trajectory to Bailey’s previous work. Aside from the signature sun-kissed and 60s West Coast sound, the songwriting is credited to Bailey and his co-writer, Daniel Wylie, of Cosmic Rough Riders. The artwork, always an impressive feature of his records, was designed by John Washington and the album is supported by the boutique record label Kool Kat Music, which can boast some other excellent under-the-radar artists on their roster. The vocals and backing vocals, Rickenbacker, acoustic guitar, bass, drums, piano, Mellotron, and percussion are all credited to Bailey. His regular collaborator, Alan Gregson (Cornershop, Badly Drawn Boy), working from his West Orange Studios, Bioussac, France, added the orchestral arrangements, lap steel, clarinet, percussion, Texas guitar, synths, vibes and dulcimer. Gregson also edited and mastered the record.

Kicking off with a powerful anti-war anthem, Rooks (‘Killer, maimer, life debaser, an officer no less. Fresh from university, but who’ll clean up your mess’) is brimming with horns, syncs and guitars. Shifting tempos, the gentle, piano-led I’ll Be There To Save You (‘A river runs right through this town, who’ll survive and who will drown?’) follows a thread of holding on to life despite hardship and the mountains to climb. The tender and intimate White Whale’s dreamy pace and layered vocals explode beautifully mid-song with a Bacharach-styled kaleidoscope of strings. 

The lyrics support the music rather than the reverse in the otherworldly Deep Blue Waters, and Desert Star is a fully charged instrumental that lands somewhere between Hawkwind and The Grateful Dead. The power poppy Welcome To The Desert (‘To the signals we are sending out where everyone’s pretending there might be a happy ending now’) takes a stab at indifference and apathy during increasingly disorderly and anarchic times. That sentiment of positivity and optimism is further addressed in Don’t Let The Garden Die, which offers the most profound inkling of the writer’s frame of mind throughout this fabulous collection. 

Sunburnt, blissed out and breezy summer sounds that hit the spot regardless of the season, LOST IN A SOUND is classic pop/country music of the kind that Gene Clark and The Byrds created many decades ago. Bailey has delivered a record that is a worthy companion to his previous recordings and should herald a well-deserved breakthrough. Either way, I’ve no doubt that he is already writing and composing his next entry into his catalogue of albums that are loaded with positive energy and, for this writer, a delight to spend time with.

Declan Culliton

The Clayton McMichen Story CMH

Recorded in 1981, eleven years after his death, this album was a recognition of an artist who was a leading light in country and bluegrass music in the early to mid-21st century. Born in Georgia in 1900, McMichen was the grandson of a banjoist and the son of a fiddler and began playing the fiddle at an early age. As with many of his peers in those times, his professional career covered a broad base of styles. Country ballads and traditional fiddle tunes may have been his calling, but his repertoire and performances also embraced jazz and dance tunes.

This twenty-six-track recording, performed by a host of bluegrass and country household names, represents the music that was very much a part of McMichen’s musical life from his early career to his passing in 1970. The players are Merle Travis, MacWiseman, Joe Maphis, Jackson D. Kane and Fiddlin’ Red Heron. A collection of instrumentals and traditional classics are reworked, including Fire In The Mountain, Carroll Country Blues, and In The Pines. Blues standards like Lightnin’ Hopkins’ Trouble In Mind and Georgia Turner and Bert Martin’s timeless House Of The Rising Sun are also included. The latter was immortalised and introduced to a broader audience by The Animals in 1964. Further evidence of the diversity of music covered by McMichen is the inclusion of dance hall standards, I’m Looking Over A Four Leaf Clover and Dancehall Waltz. 

A member of Gid Tanner and the Skillet Lickers in the 1920s, McMichen’s first hit as a solo act was Sweet Bunch of Roses, which sold over one hundred thousand records in 1927. He retired in 1955, but as the folk music revival in the mid-1960s became a popular movement, he was invited to perform at the Newport Folk Festival in 1964, which relaunched his career. He continued to perform regularly from then until his passing in 1970. 

McMichen may not be a household name outside the bluegrass, country, and old-time music community and its supporters. However, thanks to CMH Records (Country Music Heritage) and the artists working on this worthy reissue, now available on all digital platforms, one of the forefathers of American roots music should reach a much broader audience.

Declan Culliton

Tobacco City Horses Scissortail

Here’s an album that will clear out the fumes with some well placed cosmic country grooves, placing the Chicago-based band among those who draw elements from a earlier time, creating something that is in fact more timeless and well-placed for a contemporary audience who have a interest in that particular mix of sounds. What you pick up on from the opening track Autumn is the blend of the vocals of Chris Coleslaw and Lexi Goddard, along with the pedal steel guitar smoothing gliding around them, setting out largely what Tobacco City is about. Andy ‘Red’ PK is the man to credit with his important contribution to the sound throughout the album. There is an immediate connection to some Gram/Emmylou moments, though that is not to diminish how good this pair work together. The other ten players listed also bring much to the proceedings on an album that I liked on first listen and has only grown more since then. There are also some immersing songwriting, strong arrangements and production involved, however none of these elements are credited (that I can find). 

The voices also take you back to some sibling-like harmonies, especially on the three versions of the title track that are included. The three versions are ambient in nature, with a feel throughout that infuses some slow and atmospheric instrumentation, enhancing the semi-psychedelic and cosmic principles at work over the arrangements. All are bolstered by the use of backing vocals from several of those involved in the recording. Both Coleslaw and Goddard have voices well capable of taking the lead on some tracks and can hold that position well, but there is no doubting the overall support that is given by the others. 

There are a number of highlights here including Fruit From The Vine, and the evocation of the western plains and an earlier history on Buffalo. It features some sterling guitar and steel playing too and ends with the chorus of a traditional cowboy song ‘Home On The Range.’ Other songs tend evoke life in a small town and how that experience can change over time in terms of recollections that soften the thoughts. Blue Deja Vu is a slow consideration of some memories of past moments. Mr Wine is a vibrant pulsing song that appears first in a ‘radio edited’ version, then a longer version that ends in an extended instrumental workout, that runs well beyond the initial song structure before bringing it back at the end with its “bye, bye blues” refrain. This has a feel that is reminiscent of the Everly Brothers that is effective and pleasing. Bougainvillea is perhaps the single most potent track, reflecting how youth allows you to get away with things that in later years would not be that easy, but the perspective of those days remains a clear insight and retention.

The third version of Horses closes the album. Another short meditation that, like much of the album, remembers an innocence that has since given way, that we often have to lose that sense of liberation to deal with the realities of growing older, and having more solid responsibilities overall. However, throughout the album’s playing time, you can close your eyes and drift into another consciousness, floating along on its vision and validity.

Stephen Rapid

Kevin Stonerock Party Of One Self Release

Like many of his contemporaries, it is likely that in terms of making his music Kevin Stonerock is essentially making it for a ‘party of one.’ First and foremost, it is a labour of love, but one that is there to reach out to a wider audience of like-minded listeners. As with his previous six albums, this falls neatly under the country/Americana category. It is easy to like these songs, with Stonerock’s lively vocal presence and melodic sensibility. He has assembled a set of supportive players, including Gabriel Stonerock on guitars, fiddler Shane Guse and Ed Ringwald on pedal steel. They have a driving rhythm section that includes Stonerock himself on bass, with drummer Derrick Carnes. Stonerock also adds acoustic and baritone guitar. His songs tell tales of small towns, past memories and those, seemingly large, problems that everyone of a certain age faces. 

Summer Time, for instance, looks back at a time when it seemed there was a simplicity to how the pace of life was, back as one was growing up, a time when “dreams overcome reality.” Then, conversely, with Down Home Ain’t Down Home Anymore, he sees the other side of that coin as he faces the changes that are happening, with people who used to leave doors unlocked no longer having that sense of community. That may seem a slightly rose coloured view but is never-the-less a common one when looking back. This theme continues with This Old House, which reminisces on the home and house he grew up in and where his recollections of family began and remain. Equally he recognises that things are never without complications or issues, noting that “in this world there will always be trouble” in North Of November, in a time that he never remembers feeling colder. 

That sense of nostalgia tinged with uncertainty pervades the themes. The title track takes the satisfaction that lies in being comfortable within one’s own skin and company, something that comes across over the album. Here he is the master of ceremonies, making the album that this time in his life demands, something that can easily be understood, even if the references largely relate to his Midwest upbringing. Neither is he unaware of times that might’ve been forgotten but were undoubtedly not without a sense of distraction and devilment. In  I Heard That I Had A Good Time has him recalling that although things might not have gone to plan he was left “standing on the corner of Misery and Wine / I’m walking in the rain / I’m walking in the rain / But I guess I can’t complain ‘cause I guess I had a good time.”

Within the same mind-set is the gentle love song, All Those Years Ago, where he asks that he be forgiven for all the mistakes he made, but declaring that he won’t forget the love they shared. The final track kicks up the dust with the swing of Sidewinder, which it seems is a train, a car and a love interest, all delivered with the enthusiasm that is shared throughout the album. Kevin Stonerock is undoubtedly a talented player, singer and writer who has made an album he must feel happy with, and one that could easily please others. It is undemanding but leaves the listener feeling uplifted and knowing they have spent the time in good company.

Stephen Rapid

Helene Cronin Maybe New Mexico Self Release

It’s always good to hear new music from Cronin as it is likely to be a collection of thoughtful songs, finely balanced playing and a vocal delivery that is imbued with life, love and loss - something that comes with time and telling observation. This time out the album has been produced, engineered and mixed by Mitch Dane and recorded in Nashville. Also in the team were Bobby Terry on all things stringed, and Charlie Lowell on keyboards who, along the other team players, are understated but entirely effective. 

This is no more apparent than on Power Lines, a tender evocation of understanding that in a relationship one partner might feel that their emotions are not always reciprocated. “Oh, the one who's more in love is at the mercy of / The one who doesn't feel it as strong / And that's how the power lines are draw.” The fate of a small town where copper mining was once the employment mainstay is the subject of the song Copperhill. Co-written by Cronin and Lydia Simonds, it evokes, with a solid swampy groove, a particular time and place. Many of the songs here have been written with sympathetic fellow writers (including a number with Scott Sean White), but all fit easily with the overall sound that Cronin summons. The title songs is an example, largely a clever use of place names, written by the three composers, about moving around to different states and towns in an attempt to forget a lost liaison. “I spent a month in Oklahoma / Still felt too close to Tennessee / Started heading west and I'll just keep going / Till I'm over you and me … or maybe I'll get lost in Las Cruces“ There is much to highlight within the stories that will resonate in a way that is insightful and understandable. Rifleman is a moving telling of the post-war stress suffered by a close relative, who still suffers its long term effects. It is a perceptible portrait of a person going from the small farm to a foreign war, and coming back having withdrawn from that former life. It points a picture that is true to life.

The song Switzerland takes that country’s unaligned status as a, perhaps, unreal reality, suggesting that there’s no place that is without conflict, collateral damage with neutral ground, and therefore no such place as Switzerland. If you were told at birth the day you would die, but not the actual year, is the premise of Not The Year, a meditation on that very consideration. The storyline is very much in the title of Ain’t That Just Like A Man, a man who makes her glad to be the woman she is. He is a loving, protective companion who is able to help carry the weight when she can’t. Leaving your mark in life, no matter how small, or how difficult is what Maker’s Mark aspires to, leaving a place in a better place than it was found. It has an anthemic quality of purpose. Similarly in Dear Life, an open letter to the way that things never seem to work out as might have been planned, but allows finding “beauty in the mess.” A slow piano and cello ballad, it has hope in its heart. 

Another stand out is the acoustic song of faith, or lack of it, that is outlined in God Stopped By, which features some plaintive dobro playing. It has that thought held by many in the lyric “Why He lets the bad things happen if He's really good.” Further thoughts on that overall theme is central to Visitors which shows that, in fact, in this life we are just visitors who are “passing through the same revolving door.” As with much of the album, there is a gentleness to these questions, maybe not the answers but open enough to allow opinion. This all marks out Helene Cronin as a singer and songwriter who allows these possibilities to be openly discussed in a musical setting, one that is as rewarding as it is accomplished, and part of a body of work that has seen some equally enriching releases.

Stephen Rapid

New Album Reviews

Kenny Kosek with Tony Trischka Twisted Sage Shefa

Veteran Bronx native and bluegrass fiddle legend, Kenny Kosek, has finally got around to producing his second solo album, twenty eight years after his first. Both old time and bluegrass enthusiasts will welcome this lengthy album as an important record of fiddle-and-banjo duets, recorded with his long term friend and musical companion, Tony Trischka, the banjo maestro.

In the planning since 2010, when Peter Rowan invited them to perform a duet as part of their presence in his road band at that time, that tune, Texas, by Henry Reed, is included here along with fourteen other tunes, many obscure. 

Kosek has been collecting tunes since his youth in New York, when he visited Loy Beaver, a collector of fiddle-band 78’s. Kosek regularly hauled his reel-to-reel tape recorder up the four flights to Beaver’s apartment, where he recorded by holding the mic up to the record player. Over the intervening years, Kosek further expanded his old time repertoire greatly, while also performing with the likes of David Bromberg, Jerry Garcia, newgrass bands like Country Cooking, and artists like Willie Nelson, James Taylor and Leonard Cohen. His fear that these songs would be lost forever, if not recorded, prompted him to finally put them down for posterity.

Trischka and Kosek’s friendship started around 1970 at a bluegrass festival in Virginia. Both players since have a history of honouring the legacy of traditional American folk music, as well as pushing out the boundaries and this is evident in this unique offering. They kick off with a lively version of the standard Streak O’ Lean Streak O’ Fat, and close with a very different take on another standard Bill Cheatham, here reimagined as William Cheatham. In between, there is a wealth of original tunes, interspersed with more old favourites from the old time canon. There’s a track called Turkeys in the Straw, three different takes on that ubiquitous old time standard. Extensive liner notes accompany each tune, and the woodcuts and b/w photos contribute to a lovely overall package. 

As well as the two main players, they are joined by guest Andy Statman on mandolin for several cuts, and by guitarist Mark Cosgrove and banjoist Marty Cutler for a few more. The title track is an original tune, and Twisted Sage can have one of several meanings: it’s a seated yoga position; a deranged wise man, the dried herb burned in Native American purifying ceremonies; or a simple wreath of sage. It’s also a metaphor for the twists and turns of Kosek’s career, the tunes he plays and also the rootedness that he revels in.

Co-produced by Kosek and Ed Haber, and released on Haber’s Shefa Records label, this album is highly recommended for anyone who either appreciates or plays American folk music.

Eilís Boland 

Cowboy Junkies Whites Off Earth Now!! Cooking Vinyl

Recorded in 1986, this debut album by Cowboy Junkies would no doubt have disappeared without a trace had it not been for the remarkable success, two years later, of THE TRINITY SESSIONS. The brainchild production-wise of Peter Moore, that album was recorded around a single microphone two years later at Toronto's Church of the Holy Trinity. The venue for this debut album was also quite unorthodox when, also under the watchful eye of Moore, they rented a house on Crawford Avenue in Toronto and converted the garage into a makeshift recording room, which was to become known as Studio 547

WHITES OFF EARTH NOW!! was a precursor of what was to follow for Cowboy Junkies, establishing the band on both sides of the Atlantic as one of the most innovative bands of that time and one of the forerunners of what was to become Alt-country. With the exception of the self-written Take Me, the album consisted of cover versions and was an introduction to the band's stripped-back, hypnotic and atmospheric sound, fronted by Margo Timmins' haunting vocals and featuring her brother Michael's ghostly guitar. Their approach had more in common with The Velvet Underground (they would cover Lou Reed's Sweet Jane on THE TRINITY SESSIONS) than the overblown sound of the popular bands of that time, Van Halen and Metallica. The covers were mainly blues numbers with three John Lee Hooker inclusions (Decoration Day, I'll Never Get Out Of These Blues Alive, Forgive Me) and two Robert Johnson compositions (Me And The Devil Blues, Crossroads). State Trooper, borrowed from Bruce Springsteen's 1982 album NEBRASKA, was given a spooky and meditative makeover.

Unlike THE TRINITY SESSIONS, which offered a sound that drifted more towards folk and country, this album made little or no commercial impact at the time of its release. However, it was the blueprint for Margo, Michael and Peter Timmins, alongside bass player Alan Anton, to further develop their modus operandi and to record a follow-up album that would kickstart a career path that, four decades later, remains formidable. WHITES OFF EARTH NOW!! will never match the lofty heights of what was to follow, but it is an insight into a band whose vision was unparalleled at that time. 

Declan Culliton

Miss Tess Cher Rêve Self Release

My first encounter with singer-songwriter and multi-instrumentalist Miss Tess was in 2018 when she was a member of her fellow Nashville resident JP Harris' touring band, The Tough Choices. Tess played bass when the heavily bearded and tattooed Harris and his accomplishes played a sterling set of full-bodied honky tonk at the appropriately named Nice' n' Sleazy in Glasgow.

Subsequent attendances at her shows in Nashville and reviews of her music revealed an artist with many other strings to her bow alongside her presence as a hired hand. Those encounters also introduced me to an artist with wide-ranging influences from Cajun, jazz, swing, R'n'B, doo-wop, 60s classic pop and country. Indeed, her 2020 album THE MOON IS AN ASHTRAY (great title!), where she shared production duties with her partner Thomas Bryan Eaton and Andrija Tokic, struck a chord with me as to how seamlessly she could blend so many of those influences in twelve tracks. That tenor is repeated with her latest offering, a nine-track record produced by Eaton, that suggests that her record collection stalled somewhere in the late-1960s, and all the better for that.

This album was spawned from the author's adoration of the South Louisiana region, Acadiana, where she visits regularly both as a performing artist and as a tourist, embracing the local culture and cuisine. Saluting what was once known as 'Old French' rural music in the area, the accordion-driven tracks Ride The Train and Take It Easy celebrate that swinging Cajun vibe. Even more impressive are two of the tracks beautifully dispatched in French. La Lune, C'est Un Cendrier, transports the listener to Parisienne food halls of yesteryear, where ladies in elegant evening wear and men in tuxedos dined or moved gracefully across a highly polished oak dance floor. The second inclusion in French, La Valse D'asteur, creates an image of a less salubrious but equally striking setting, possibly an outdoor Cajun wedding where adults drank brandy and waltzed alongside barefooted and animated children.

Kris Kristofferson's Nobody Wins gets a slightly more up-tempo treatment, and the tear-jerker Lord, I Need Someone Bad Tonight has its origins in classic early 1960s pop. Country ballads also feature, the Bobby Charles-written Tennessee Blues and the gorgeous album opener Louisiana ticking that particular box.

Cher Rêve translates as 'Dear Dream', and this splendid collection alludes to an artist whose motivation appears to be to simply follow her dreams, creating art that reflects her influences rather than following any mainstream signpost.

Declan Culliton

Chatham Rabbits Be Real With Me 24 Carrot

North Carolina duo Chatham Rabbits are husband and wife Austin and Sarah McCombie and BE REAL WITH ME is their fourth album, following on from ALL I WANT FROM YOU (2019), THE YOKE IS EASY, THE BURDEN IS FULL (2020) and IF YOU SEE ME RIDING BY (2022). 

Commenting on their latest and most mature album and its title, Sarah explains, ‘We got married so young. We are simply not the same people we once were because playing music for a living has consumed and transformed us. This lifestyle has presented us with exhausting tour schedules, vulnerable songs that force us to talk about our marriage, difficult business decisions, and the ever-complicated dilemma of mixing art and money and friends and employees. Ultimately, though, it has been a net positive experience.’

That positive experience is articulated on the opening track, Facing 29. Supported by banjo and pedal steel, the lead vocal is taken by Austin as he contemplates the strength of their relationship, ‘You are the reason I go on living this way, driving town to town acting like I got something left to say.’ That track is the opening statement on a nine-song collection that openly addresses a relationship that could have been emotional wreckage but has been held together by devotion and gained maturity. It’s followed by Sarah’s remembering challenging times on the aptly titled Matador (‘I had more red flags than a matador, I look back now, I see what for I lit myself on fire to keep us warm’). 

Chatham Rabbits are easy to listen to, but not to be confused with easy listening. Their shared vocals and harmonies are crystal clear, and the instrumentation that accompanies them is pin-sharp. Their sound is best described as folk-rooted, and standout tracks, Childhood Friends and the old-timey Collateral Damage are masterclasses in songwriting and musicianship. The quality of their playing also comes to light on the acoustic instrumental Big Fish, Small Pond, where Sarah’s banjo and Austin’s acoustic guitar are joined by Casey Toll on bass and Ryan Stigman on mandolin.

Declan Culliton

The Reverend Peyton's Big Damn Band Honeysuckle Family Owned

A leading light in front-porch country blues, The Reverend Peyton's Big Damn Band live shows have entertained audiences in thirty-eight countries as well as forty-eight states in their homeland. Recreating on vinyl the intensity of Reverend Peyton's finger-picking guitar style, his wife Breezy's washboard, and Jacob "The Snakob" Powell's percussion may be challenging, but it has been successfully executed over nearly a dozen previous studio recordings. They do so once more on a number of tracks with HONEYSUCKLE. However, the cover artwork, depicting Rev. Peyton seated alone with a guitar in his lap surrounded by wildwood, signals a slight change in direction, which is advanced by the writer in the PR notes accompanying the album, 'This record is a bit of a return to my roots, a very personal mix of old and new songs that shaped me or that I'm currently shaping. There is a smattering of Big Damn Band thrown into the mix to spice things up, and a short list of legends that I've always dreamed of collaborating with.'

As a result, the twelve-track album features seven self-written and five cover tracks. The title track and album opener feature only Peyton's rasping vocals and smoking guitar. A similar treatment applies to reworking Robert Johnson's If I Had Possession Over Judgement Day. Elsewhere, acclaimed Gospel quartet The McCrary Sisters add backing vocals on Looking For A Manger, and Billy Branch plays harmonica on the Blind Lemon Jefferson written Nell (Prison Cell Blues). Other contributors include Michael Cleveland, who plays fiddle on Freeborn Man, and Colton Crawford from The Dead South, who adds banjo on The Good Die Young.

Produced and recorded at home by Rev. Peyton and mixed by Grammy winner Vance Powell (Chris Stapleton, Jack White), HONEYSUCKLE is not a radical shift in style for the band and without straying from the intensity and fervour of their previous recordings is simply a sideways step from a combo immersed in traditional Delta blues.

Declan Culliton

Thea Gilmore These Quiet Friends Self-Release

'THESE QUIET FRIENDS is an album of songs that have seen me through dark times. The 2 am confidantes that you can reach for when no one else is around ‘explains Thea Gilmore, addressing her twenty-second studio album.

If LOFT MUSIC, the covers album released by Gilmore in 2004, was a signpost to the artists that set her on her musical career, over two decades later her second full covers album, THESE QUIET FRIENDS, is equally significant for the Oxford-born singer-songwriter.  

In conjunction with her razor-sharp songwriting, Gilmore is one of the most outstanding female U.K. vocalists of her time, often being name-checked with the legendary Sandy Denny. That analogy led to her recording DON'T STOP SINGING in 2011, which, in collaboration with Denny's estate, was an album based on Denny's writing. Other accolades included Gilmore's single, London, being included in the BBC's coverage of the 2012 Olympic Games. Other career high points were being asked to open for Joan Baez in the run-up to the 2004 U.S. presidential election and her music being used in numerous films. She recently recorded AFTERLIGHT (2021) and her self-titled record in 2023. 

Aptly titled THESE QUIET FRIENDS, the selections are reconstructed a number of notches below their original formats and, by doing so, draw the listener into the lyrics rather than the melody. A prime example is Child of Mine, whose agile lyrics transform a full-on rocker into a sublime folk song, and the same could be said of a gorgeous delivery of Damon Albarn’sEnd Of The Century. Gilmore even matches Mike Stipes' emotional outpouring on a stripped-back take on Everybody Hurts. Wrecking Ball, somewhat surprisingly the Miley Cyrus recording rather than the Neil Young one, also benefits from Gilmore's 'less is more' version. Sunday Morning remains true to Nico and The Velvet Underground's representation, and two possibly unexpected inclusions, although worthy choices, are the John Kander-composed Cabaret and the Billy Rose and Lee Davis song Tonight You Belong To Me.

Much more than simply a self-indulgent nostalgic exercise, Gilmore breathes new life into this compilation of pared-back adaptations, allowing the listener a chance to enjoy the inclusions from an altogether different place than the originals. In doing so, she has, over twenty years later, matched the excellence of LOFT MUSIC.  

I'll leave the final words to Gilmore, 'These songs have been like mates to me," Gilmore says. "They've marked important moments and provided warmth, strength, or even just fun. I hope I've done them justice.' 

Declan Culliton

JD Clayton Blue Sky Sundays Rounder

The 2023 debut full-length album by JD Clayton, LONG WAY FROM HOME, was actually recorded before the Arkansas native toured solo or with a band. In fact, the majority of the time that Clayton spent on the road before that album was released was his temporary work with a landscape contractor, travelling for projects from his home in Nashville, where he relocated to further his artistic career. 

Quite a lot has changed for Clayton since then. He moved back to his home state and has spent the last few years on the road with his touring band, revelling in the experience. That experience has also led Clayton to take the reins as producer on BLUE SKY SUNDAYS and record with his bandmates at Sound Emporium Studios in Nashville. Seven-time Grammy winner Vance Powell then completed the mixing duties. 

If LONG WAY FROM HOME was an introduction to an artist with obvious potential, Clayton has raised the bar quite a number of notches this time, and it is little surprise that Rounder Records has supported his latest record. Delving further into the music that influenced his debut album, Lynyrd Skynyrd's Mississippi Kid is unashamedly readdressed as Arkansas Kid, and Slow & Steady gives a thumbs up to Bob Seger. That Southern Rock vibe also raises its head in the sardonic Dirt Roads of Red. Shifting the tempo down, High Hopes & Low Expectations, co-written with Kendall Marvel (Chris Stapleton, George Strait), is an autobiographical tale of arriving in Nashville with expectations of a whirlwind of success, only to discover a crowded and obstacle-filled marketplace. The melodic Dance Another Dance, which was performed as the first dance by Clayton at his cousin's wedding, brings to mind The Beatles' I Saw Her Standing There. Other tracks that impress are the tear-jerker Madeline and, on the other side of the coin, the sentimental, Goodnight. The former pines for a lost love, the latter is an expression of love for his daughter. 

As was the blueprint with Clayton's debut album, BLUE SKY SUNDAYS has its foot firmly in the early to mid-70s. Why leave that comfort zone when you're left with the impression that it is precisely the sound he was born to make? A body of work most likely to attract many more devotees from an artist just beginning to get into his stride. 

Declan Culliton

White Rose Motor Oil Pre-Owned Songs (The collection 1955-1995) Self Release 

A collection comprised of a number of songs released individually over the last year from the duo White Rose Motor Oil. They are Eryn DeSomer on guitar and vocals and partner Keith Hoerog-DeSomer on drums. You could perhaps lazily describe them as a cowboy White Stripes. But equally there’s something of the Flat Duo Jets in there too. The tracks were produced, recorded and mixed by Brian Hunter and the whole thing is a big bag of fun.

The tracks chosen come from a number of different sources that all work in context of the simple delivery that connects with the essence of the songs. The collection opens with their version of the George Jones/Elvis Costello covered Good Year For The Roses. It starts with a voice and guitar intro similar to the latter’s version, and builds with the bass and drums, but remains a sombre take on a failed relationship. In a different mode, with a distorted vocal, is their version of a theme from a 1964 very B movie ‘Santa Claus Conquers the Martians’. Hooray For Santa Claus captures something of the aesthetic at play. Next up is I Want You To Want Me, their account of the extremely catchy Cheap Trick song. Then back further in time for a rendition of, Making Believe, a song recorded back in 1955 by Kitty Wells and also recorded by Social Distortion. This version is closer in spirit to the latter than the former - a full on hot to trot take.

Another track picked from a film soundtrack is Nowhere Fast from the 1984 movie Streets Of Fire, a nice punk pop feel prevails, with a touch of Joan Jett in the air. Post punk is also the source for Vaseline, originally released by Elastica, again this is done in a stop-start singalong way that works for them. An old favourite up next that has been recorded many times and, while it may not surpass the original, their interpretation of Werewolves Of London prowls along at a pace. It has to be said that Eryn exhibits a vocal prowess that manages to capture a little of the original and, as such, this is her most soulful outing. You Got To Sin To Be Saved dates from 1993 when Maria McKee recorded it and it allows Eryn another opportunity to show she can sing as well as she can play. Letting the object of her displeasure know what she thinks of him is the subject of their rendering of the Dee Dee Warwick/Betty Everett classic, You’re No Good. That’s definitely not something that can be levelled at this powerful duo, who take their garage country out for a spin and show off how the engine of their enterprise still has some good mileage to go as this collection of songs, chosen to suit their dynamic, shows. These pre-owned songs have been be given a new home and a new lease of life in the hands of WMRO.

Stephen Rapid

Miss Georgia Peach Class Out The Ass Rum Bar

This is the latest release from the lady known as Miss Georgia Peach, who is the beating heart of this fine sounding album of (mostly) covers. Very early on she recreates the foot tapping favourite Baby Ride Easy, a perennial favourite written by Richard Dobson and known by the version recorded by Carlene Carter and Dave Edmunds, their new version takes a similar path and still sounds vibrant. The album opens with the admonishment to a bar fly in Shut Up And Drink Your Beer. There are some originals that stand up with the covers too, such as Dusty and Honey wagon, written by Peach, that offer a certain allure to a prospective partner. What is apparent straight away is that the production by Travis Ramin delivers a twang-laden country infused confection that is as tasty as you might require. 

The vocal performance of Peach has got the power and passion to pull of a bunch of songs that have a pedigree. Her versions of The Buck Owens written I Don’t Care (Just As Long As You Love Me) and Ira Louvin penned Who Threw Dat Rock? take you back to the good old days of cow punk. There are a number of duets that hold their own, such as Sweet Thang with Scott Luallen that tells two sides of the tale with equal acclaim.

Another is their take on the Conway Twitty/Loretta Lynn confrontational and acquisition fuelled You’re The Reason Our Kids Are Ugly (that and many other things), though it’s one of those relationships wherein despite it all they still love one another! The duet partner here is Blaine Cartwright and both have a lot of fun with the exchanges. That theme is continued in the title of the track Take Your Guitar And Git - “I’m tired of hearing you try to play those hillbilly songs.” Of course there are pluses and minuses in life and the protagonist in Let Me Be There wants to be there for everything that might happen, no matter how mundane that might seem. Somewhere Down The Line sits in the middle and realises how things can change. It is another example of the collective band’s love of playing these songs, with the passion that was apparent in the late 80s take on injecting new life into the ghost of traditional country.

Another well-known song that the team takes and bring their talents to is the Mike Nesmith classic, Some Of Shelly’s Blues, which is given a solid restrained reading that shows just how good a singer Peach is. They take all these songs on their own terms and sing them with a passion and motivation. The album closes fittingly with Gram Parson’s Luxury Liner, a song that motors along the tracks to a destination that offers some sense of arrival. So let’s hear it for Blain Cartwright (rhythm guitar), Ruyter Suys (on lead guitar, mandolin and keyboards), Earl Crimm (on acoustic and lead guitar), Mark Hendricks (on bass) and A.J. Srubas (on fiddle and pedal steel). All also add vocals, as do Scott Luallen and Heather Parrish. Finally, producer Travis Ramin also provides drums and percussion. 

This is a studio team that are the equal of many found in the Nashville studios and they do a great job of giving Peach the musical platform to perform from. They have class and is an entertaining album that should gain Peach the exposure she should have outside of her own locality, and I’m sure they provide a pretty damn good live show too, with their mix of classic and contemporary country music.

Stephen Rapid

The Third Mind's Live Mind Yep Roc 

What started in 2018 by Dave Alvin as an experimental supergroup intending to breathe psychedelic life into selected songs, continues to grow legs almost seven years later. It's hardly surprising, given the creative mix of talent that Alvin recruited to join in his adventure. Bass player Victor Krummenacher (Camper Van Beethoven, Cracker, Monks of Doom, Eyelids) was the first to come on board and was followed by drummer Michael Jerome (Richard Thompson, Better Than Ezra, John Cale) and guitarist David Immerglück (Counting Crows, Monks of Doom, Camper Van Beethoven). The final piece of the jigsaw was to recruit a suitable vocalist to complete the band's vision, and Jesse Sykes (Jesse Sykes and The Sweet Hereafter) proved to be an inspired choice.

Two studio albums followed, THE THIRD MIND (2020) and THE THIRD MIND 2 (2023), alongside some memorable live shows, the first of which was at 2023's Hardly Strictly Bluegrass in San Francisco's Golden Gate Park. The success of that performance led to a ten-date West Coast tour, which featured guest players Mark Karan (RatDog, Planet Drum, The Other Ones) on guitar and Willie Aron (Ricky Lee Jones, The Bangles) on keys.

This one-hour live album was adapted and recorded from their 2024 shows at the Troubadour in Los Angeles, Ventura Hall in Ventura, California, and The Kessler Theatre in Dallas, Texas. Featuring mainly material from their studio albums, the versions highlight their masterly improvisation prowess, as noted by Mark Karan ' We re-interpret the songs nightly, never playing anything exactly the same way twice… staying true to the musical approach I've loved for so many years playing in the Grateful Dead family.'

Sally Go Round The Roses, a hit for all-girl group The Jaynetts in 1963, weighs in at a lengthy thirteen minutes plus, exceeding the studio recording version on their 2023 album by a few minutes. It's the optimal album opener that defines precisely the band's vision, with woozy guitar breaks in front of a fine rhythm section and, of course, Sykes's haunting vocals. It's not the album's most extended statement either, and it is exceeded time-wise by the jamming instrumental East West. It's fitting that a song composed by Jesse Sykes is included, and Doralee, previously featured in RECKLESS BURNING, the classic 2009 record by Jesse Sykes and The Sweet Hereafter, is beautifully performed without straying too far from the original version. Morning Dew, written by Tim Rose and Bonnie Dobson, kicks off on a similarly low-key tempo before shifting into high gear spectacularly mid-song. Also included is a reconstruction of Groovin' Is Easy, written and performed in the late 1960s by the Mike Bloomfield-led band, The Electric Flag and also from the same decade, the Fred Neil written, A Little Bit Of Rain.

At a time when mind-expanding jam bands are a rarity, THE THIRD MIND are torch carriers for the underrepresented genre. Forget about dusting down your Grateful Dead albums for a blast of cosmic psychedelia, slip on your headphones and check this album out. Satisfaction guaranteed. 

Declan Culliton

Horsebath Another Farewell Strolling Bones

Listening to ANOTHER FAREWELL, the debut album from Canadian band Horsebath, you could be forgiven for thinking that you had stumbled upon an undiscovered band from the late 1960s. EXCLAIM! magazine, who hailed this album as ‘one of the most anticipated Canadian albums of 2025’, made comparisons with fellow countrymen, The Band, when referencing their style. That likeness includes the four-piece band members (Daniel Connolly, brothers Dagen and Keast Mutter, and Etienne Beausoleil) sharing songwriting and vocal duties and their tendency to switch instruments from one song to the next.

Having won the approval and support of Strolling Bones Records, the sister label of New West Records, the self-produced album was written and completed in a whirlwind ten days. The recording took place at The Treatment Room Montreal, with the mastering completed by Rufus van Baardwijk at Hidden Gem Studio in Amsterdam.

The comparisons to The Band ring true in the deep grooves of Hard To Love and Another Farewell, and those themes of lost love and dejection, whether self-experienced or fanciful, reoccur with regularity on the album. Long and Lonesome recalls Lee Hazelwood’s COWBOY IN SWEDEN material, and that 1960s vibe also holds up on the haunting In The Shade, which nods its head toward The Doors. Really Did A Number On Me and Turn My Lover Loose are weather-beaten and bluesy barroom numbers, and Only In My Dreams is a toe-tapping slice of bubble gum pop.

Musically, ANOTHER FAREWELL may reach back to an earlier time and place, but it’s much more than a tribute to the band’s influences. A reflection of a quartet having the time of their lives in the studio while making a profound statement, it’s also an exciting introduction and gateway into a band with endless potential.

Declan Culliton 

Dean Owens Spirit Ridge Continental Song City 

THE RIDGE TRILOGY EPs, released by Dean Owens last year, provided a sneak preview of what to expect from SPIRIT RIDGE, the latest addition to the hugely impressive and growing back catalogue of Edinburgh, Scotland artist, Dean Owens. The three EPs included demos of songs recorded for this record alongside a number which did not make the final cut.

A globetrotter, continually in search of new inspirations to fuel his creative juices, Owens travelled to Tucson, Arizona, to collaborate with Joey Burns and John Convertino of Calexico fame to record his 2023 album EL TIRADO (The Curse of Sinner's Shrine). During a casual conversation, Owens, whose great-great-grandfather was born in Italy, expressed an interest in recording a project in Italy. With that in mind, Convertino facilitated an introduction to Italian musician, producer and filmmaker Don Antonio. That contact led to SPIRIT RIDGE being recorded in a four-century-old farmhouse in Crinale, Emilia-Romagna, Italy, with Owens and Antonio sharing production duties. A common interest for the two was their fascination with the American-Mexican border, both in geographical terms and the music it inspired. 

The warm-hearted and gentle Eden Is Here, which opens the album, pays homage to Emilia-Romagna's stunning landscapes. The exquisite My Beloved Hills, which featured in the first instalment of last year's trilogy GHOST WALKING, finds Owens recalling loved ones who have passed away. Charged with strings and horns, it's a majestic affair and, for this writer, one of the standout songs of last year. Sinner Of Sinner is a sinister tale of a bloodthirsty and menacing orphan. The funky Burn It All explores the plight of the expelled and powerless, and that border-related concept is also at the heart of the short but explosive horn-driven instrumental, Spirito. 

There is also space for a romantic and optimistic ballad, and Spirit Of Us ticks that box. Continuing on that thread of positivity and longevity, that song is followed by the album closer, Tame The Lion, inspired by Owens' great-great-grandfather's occupation as a lion tamer and how his spirit lives on in this sacred location.

SPIRIT RIDGE continues Owens' exploration of a broad canvas of issues, from loved ones passed to the quandaries facing the less privileged. Working with a talented crew that included Don Antonio (guitars, lap steel, piano, mellotron), Luca Giovacchini (guitars, dobro), Piero Perilli (drums, percussion), Danilo Gallo (bass) and an ace brass section, it's a continuation of Owens' ever engaging musical journey. Highly recommended.

Declan Culliton

The Delines Mr. Luck & Ms. Doom Décor 

Country-soul band The Delines has been recording and performing Willy Vlautin’s narratives of hapless, out-of-luck and destitute characters and couples for over a decade, since he disbanded his band, Richmond Fontaine. Passing the baton to Amy Boone (formerly of Texan band, the Damnations) to add her silver-tongued vocals to his words, the band’s impressive back catalogue consisted of five albums before releasing this latest one. 

Much as Boone is the perfect foil to bring Vlautin’s stories to life, the consistently depressing themes and references in the songs led to a simple request from her to Vlautin, ‘I’m just a normal girl. Can’t we have a song where the good guy gets the girl, and they fall in love once?’ Taking on board the not unreasonable request, Vlautin wrote the album title and opening track, MR. LUCK & MS. DOOM. Not exactly a classic romantic commentary, it tells of a chance encounter by two hapless characters, a failed criminal recently released from jail and a house cleaner. Finding solace in each other’s arms, the couple drift from town to town, their lovemaking passionately wearing out hotel mattresses before moving on. Of course, the story has no happy ending, but its fundamentals of drifting and luckless lovers are at the pulse of the album’s eleven songs. Vlautin’s further attempts to pen love stories with happy endings may have fallen flat, but he did, tongue-in-cheek, inject a degree of romance into the project by scheduling its release for Valentine’s Day.

Tragic train-hopping hobo teenage runaways (Her Ponyboy), a short-term relationship doomed by mental illness (JP & Me), and a series of abusive affairs (Left Hook Like Frazier) continue the theme of dead-end liaisons. Other powerful tales include a teenage bride controlled by a towering pimp who successfully plans her exit (Nancy & The Pensacola Pimp) and a woman on the run after helping herself to the proceeds of drug dealers (Maureen’s Gone Missing).  

Since its formation, The Delines have perfected a quite unique country/soul crossover sound that fits ‘hand in glove’ with Vlautin’s chapters of impending doom and unfulfilled dreams. Those dark sentiments are aired flawlessly on MR. LUCK & MS. DOOM, bringing together Boone’s deeply felt vocals supported by exemplary musicianship.

The album was recorded at Bocce in Vancouver, Washington State and produced by their regular collaborator John Morgan Askew (M.Ward, Margo Cilker, Howe Gelb). Band members Amy Boone (vocals), Willy Vlautin (vocals, guitars), Cory Gray (keyboards, trumpet, flugelhorn), Freddy Trujillo (bass) and Sean Oldham (drums) were joined by guest players Tucker Jackson (pedal steel), Mark Powers (percussion), Noah Berstein (saxophones), Amanda Lawrence (violin, viola) and Colin Oldham (cello). 

The Delines play their only 2025 date in Ireland at the Kilkenny Roots Festival on Sunday 4th May.

Declan Culliton

Cristina Vane Hear My Call Self Release

Italian-born singer-songwriter and multi-instrumentalist Cristina Vane has not been sitting on her hands since arriving in Nashville six years ago. Integrated into the bohemian musical community in East Nashville shortly after her arrival, HEAR MY CALL is her third studio album following the release of her debut record, NOWHERE SOUNDS LOVELY, in 2021 and MAKE MYSELF ME AGAIN, which followed a year later. 

A student of both the technical and lyrical aspects of music, Vane has been writing songs and playing guitar since her teens. Her teen years saw her studying classical vocals, music theory, piano and flute. From there, she progressed to the art of slide guitar before moving to Los Angeles, where she studied and perfected the clawhammer banjo technique. Next up was a self-managed tour of over twenty states in America, where she absorbed and learned the various musical traditions as she travelled. Armed with those skills and still eager to widen her musical horizons, she settled in Nashville, where she continues to record and perform.

It's hardly surprising that the playing on the thirteen-track album is top-notch. Alongside Vane's bluesy guitar skills and crystal-clear vocals are guest slots by Kenny Vaughan on Telecaster, guitar contributions by JD Simo and Molly Tuttle, bass guitar by Geoff Henderson, Ty Bailee on organ, mandolin by Karl Smakula, and drums by Roger Ross. Tuttle, Bronwyn Keith-Hynes, and Brenna MacMillan also contribute backing vocals. 

Although blues emerged as the dominant musical direction in Vane's previous albums, there were also nods to her eclectic influences, with splashes of roots and rock also incorporated. She does not veer too far from that template this time around and continues to fashion what has become her own quite distinctive Americana strain.

Two co-writes are included, the raunchy blues track Shake It Babe, composed with Mike Harris (Old Crow Medicine Show), and the swampy Do You Want To Lose, which was written with singer-songwriter, Silas Lowe. She cuts loose on the full-on rockers Little Girl From Nowhere, and Everything Is Fine. Getting High In Hotel Rooms, the first single from the album, is a gorgeous, road-weary, love song showcasing Vane's exquisite vocals. The title track is a lively bluegrass affair with slick instrumental breaks and sticking with that country vibe, You Ain't Special and My Mountain also impress. 

Signing off with the explosive Lost You In The Mountains, the lasting impression I'm left with is one of an artist whose fusion of musical styles works to perfection. 

Declan Culliton

Joe Ely Love & Freedom Rack 'Em

A force of nature in so many ways, Joe Ely is a performer who had an eye for the future and a foot in the past and who forged his own blend of hardcore country, folk, border music and renegade rock. He was equally at home playing the honky-tonks as he was the bigger stages that came his way. He has more than 25 releases under his name and is also an accomplished artist and author. In 2007, the AMA conferred him a Lifetime Achievement award. However, Ely is far from done. Even though there have been recent reports of ill health, he continues to work on the many songs he has recorded in recent years.

He built a home studio (Spur Studio in Austin) in the 80s and was able to record finished tracks and demos there. These recordings form the foundation of many of these recent releases. To bring some of these songs to life, he worked with Lloyd Maines, who was able to add additional instruments to the existing tracks. Following on from last year's DRIVEN TO DRIVE comes this collection of material, written in the main by Ely, but as with the last album, featuring a number of songs written by fellow troubadours such as Guy Clark and Townes van Zandt. Perhaps the biggest takeaway here is the physical presence of his voice; it has power, passion and personality. Allied to his writing, which covers many aspects of his writing themes from relationships and real-life stories to thought-provoking social issues - hence the overall title.

The opening track, Shake' Em Up, finds a solo Ely playing synth, electric drums and guitars in an effective collage over a message of what life can do to you and what you need to do to your life. More in line with previous recordings is Adios Sweet Dreams, and a feature of a number of the cuts here is the material cut with accompaniment by longtime accordion player Joel Guzman, which again also uses an additional rhythmic element to fill out the track. Guzman's contribution is fundamental to that border feel that underlines the lyric's wish to return to a lost love but is perhaps unable to the ongoing issues of crossing a border.

A story that rings true, Sgt. Baylock is about an officer of the law (given a pseudonym here) who delights in arresting Ely and how they meet again much later in different circumstances. It is delivered with a certain humour on fondness. It features Guzman and Lloyd Maines and is a stand-out track. Today It Did with a lyric that contemplates how a single day can change many things - "His car never started on the very first time / But today it did … He never thought that the truth would ever do him in / But today it did." It, as do many of the songs, shows that there is much to admire in Ely's skill as a writer. Band Of Angels sings of the freedom of riding on a horse of solid steel, of leaving those left behind, heading for the border, and hoping to get there alive.

The four songs that close the album all touch upon a wider theme of intolerance, misunderstanding and mistakes. They are Here's To The Brave, What Kind Of War, Surrender To The West and No One Wins, the latter written following a visit to Ground Zero in New York. All reflect the man Ely is and his concerns for the way the world is turning.

As an interpreter of others' material, Ely is also a master with another highlight in his reading of Clark's Magdalene, the Woody Guthrie classic and oft-recorded Deportee, which benefits from a duet vocal from Ryan Bingham, whose rough-hewed delivery fits well with Ely's own. Townes van Zandt has two of his better-known songs covered, Sake Of The Song and Waitin' Round To Die; Ely captures the spirit and poignancy with understanding and ease in both cases.

All of this means we should celebrate the talent and tenacity of Joe Ely in being true to himself, his music and the path he has chosen. May he continue to bring us his music as he has over the years, with the undoubted respect of his peers. Love and freedom are both needed right now.

Stephen Rapid

Philip Rambow I’m An Artist Fretsore

An artist with a history of being a solid singer/songwriter, Philip Rambow was born in Canada. He moved to London during the pub-tock phase (an era often reflected in the songs here). He was a member of the short-lived band The Winkies, who released one interesting album. They were chosen by Eno as his backing band for some days to tour the ex-Roxy's star debut album. Following that, he worked with a number of artists contributing songs, perhaps There's A Guy Down The Chip Shop Who Swears He's Elvis is the best known, but the fact that he has had a three CD compilation released shows that he kept pretty busy in the intervening years. His last album, CANADIANA, in 2019, indicated his current direction.

This album delivers another ten new songs written, or in two instances, co-written by Rambow. Produced by Malcolm Doherty, it features Rambow on vocals and guitars, with Doherty adding additional instrumentation. Bill Clift added backing vocals here and there. There's a lead guitar from Luke Edney, some violin, and additional vocals from Bob Loveday. But it's pretty much Rambow and Doherty's show. The songs were written during the Covid lockdown, and then the ones Rambow felt worked best were sent to Doherty.

These included the r’n’b influenced drive of A Dollar Short, the country-tinged The Road To Hell, and the rockin' swagger and energy of Mother F*Kazz (you know what he means there). The Man In The Iron Mask considers his place in the scheme of things with a hint of a non-folk-focused Dylan. The musical direction of his last album is also here in a couple of tracks, Roots And Wings and Bus Stop. While more grounded in current world affairs is The Emperor's Clothes, written during the first term of the current US president and is as valid now as it was then. The closing song, Lost Without You, has an engaging light touch of New Orleans jazz swing.

All of these factors show the diversity of Rambow's range and the natural survival nature of his ethics. This is not an album that will change a great deal in terms of creating something you haven’t heard before but is one from a performer who has not lost his ability to deliver his songs with an overall satisfaction. It's an album that will keep you engaged with its high points, which may well change from track to track for each individual listener.

Stephen Rapid

Joel Timmons Psychedelic Surf Country Self Release 

This is a multifaceted album that touches on the genres mentioned in the title, as well as other influences. Timmons is a guitarist, songwriter, producer, and collaborator; it says on his website and on this album that he is all of those, as well as a vocalist of some accomplishment. He was a part of the band Sol Driven Train and, more recently, a member of Sally & George with his partner Sally Means. This time out, he’s releasing his debut solo album under his own name. One that draws on his love for city and seashore (but never really becoming a Buffett-like entity).

The album was produced by Maya de Vitry, with whom he has worked in the past, so the two undoubtedly knew what they wanted from the album and its inherent diversity. The opening song is a tribute to his father, a song that begins to emerge from a swirl of ambient sound to reveal a tale of a person who was ‘just a man’ with simple aims who was a good Christian man who did what was necessary to have his family grow within set parameters. Just A Man uses some striking fiddle from Jason Carter in a strong instrumental bridge. Turbo is a more straight-up rock with a Hammond B3 featuring prominently on a tale of life on the road. Cary Ann Hearst adds a striking duet on the pedal steel loaded (from Brett Resnick), The Bullfighter, an album highlight with an “I am the greatest” boast. Another guest, Jason Carter, is featured in the tale of the American way, or at least one of them, that is Guitars, Guns And Pickup Trucks. 

End of Empire is more of a solidly built-up piece that grows into something more anthem, one of the more textured soundscapes here.  Cottage By The Sea is more laid back, a folky tune with some pedal steel adding to the effective vocal choruses. As well as some more serious messages, there is a sense of humour at play here, too. Perhaps best exemplified by The Swimming Song and East Nashville Cowboy. The former is an upbeat surf twang outing about the joys of learning to swim and the recklessness that might ensue doing so in various locations and using different strokes. With the stand-out line of “this summer I swam in a public place and a reservoir … at the latter I was in formal and at the former I wore my suit.” The latter is the straightest country song about a man who dresses for the occasion of playing a bar. Who will sing you a song or make you the best cappuccino you ever tried. It also features a small bit of yodel and mentions icons Haggard and Jones in the lyrics. It could be taken as a send-up, but I think it’s, while tongue in cheek, a warm tribute and probably a true depiction of a character for many.

Some thirteen people (and one dog) are credited on the cover, which points to the variety that their contributions brought to the multiplicity of sound these eleven tracks have. It, therefore, may be too diverse for some tastes. Still, Timmons has himself (as mentioned above) come from a wide musical background and manages to blend these elements into an enjoyable and assorted mix with many stand-out and memorable tracks that are worthy of returning to.

Stephen Rapid

Hola Texas! The Mexican Standoff  Self Release 

An EP featuring the voices and musicianship of Hola Texas! has some very Tex-Mex accordion-fuelled up-tempo dance music as its calling card. This all-female band takes such border influences as country ranchero and mariachi to create music with a lot of attitude and authenticity.  Produced by Fernanda Ulíbarri, Max Bacca, and Joe Treviño, it has contributions from the legendary Flaco Jimenez, amongst others. One track, El Pantalón Blue Jean, is a spirited female reinterpretation of a 1950s classic by Flaco Jimenez’s father, while Amor Bonito is a tribute to a trailblazing fellow female musician, Lydia Mendoza. So, there is an understanding of a strong heritage here as well as a way to keep the music relevant and real.

Hola Texas! is a four-piece band led by founder Fernanda Ulíbarri, who formed the band some years back and will shortly release this debut of six tracks, all but one in Spanish. The other one, In Heaven There Is No Beer, is an amusing song partly sung in English and Spanish. It tells us that in heaven, there is no beer; that’s why we drink it here! It is performed in a manner appropriate to that good time sentiment.

Truthfully though, other than for a specific segment who find a lot to enjoy in that particular combination of cultural influences, you won’t hear much of this genre of music on the radio (or live) in this part of the world. If, on the other hand, the accordion, with its overall sense of place when played in this distinctive style delivered with energy and attitude, appeals, then Hola Texas! It is going to be worth checking out.

Stephen Rapid

New Album Reviews

Jim White and Trey Blake Precious Bane Fluff & Gravy

Author, producer, singer-songwriter, and with former parallel careers that included taxi driver, male model, professional surfer and dishwasher, Jim White's life pursuits continue to intrigue (track down a copy of his 2022 autobiography, Incidental Contact, for verification). After his last solo album, MISFIT'S JUBILEE, in 2022, White turned his attention to producing fellow gothic country singer-songwriter Ben de la Cour's excellent 2023 release, SWEET ANHEDONIA. He has followed that project with this equally absorbing collaboration.  

Like many episodes in White's colourful world, this latest one came about unorthodoxly. The connection with Brighton, UK, resident and artist Trey Blake was made when she, a fan of White's work, gifted him with a copy of Mary Webb’s 19th-century historical romance novel, Precious Bane. That contact set in motion a long-distance correspondence between the two for a number of years. Having grown up with undiagnosed autism, Blake's artistic endeavours through song, prose and poetry were fuelled by her management of rollercoaster emotional highs and lows.  

What began as a communication between the two eventually led to a sharing of songs across the ocean and this intriguing ten-track album, which runs over the one hour mark. Engineered in the States by White and in the U.K. by Joe Watson, a member of the avant-pop band Stereolab, the final mixing and mastering are credited to John Keane (REM, Hard Working Americans, Billy Bragg). A number of guests are credited alongside White's vocals and instrumentation (he plays guitar, banjo, keys, marimba, percussion, woodwinds, harmonica, and melodica) and Blake's vocals and guitar. Among them are Robert Exon (guitars), Marlon Patton (drums and bass) and a regular companion of White's when he tours in Ireland, guitarist Clive Barnes. Collectively, they weave atmospheric and cinematic landscapes, very much in keeping with the themes of infatuation and passion within the songs. 

As you might expect, the meeting of two somewhat unconventional minds brings about a gothic, mythical soundscape and a lyrically challenging outcome. From the opening track, Ghost Song, to the album closer, The Ballad of The Gunfighters, sagas of life, love, desire, and death unfold. The former, with White taking the lead vocal, broods upon the pursuit of peace of mind. The latter, a poem voiced by Blake, tells of a gunslinger's last stance. White has described Trey Blake as 'U.K's undiscovered Patti Smith,' and that comparison raises its head in the explosive tale of uncontrollable desire, Rushing In Waves. 'Love comes when it ain't called, goes when it's still wanted,' Blake sings in the timeless tale of a chance, lust-ridden encounter. A sense of fleeting and unhinged love also emerges in the gorgeous Tumbleweed Time, and His Lady tells of a brutal, loveless encounter. 

Like the classic novel that inspired this album of the same name, White and Blake have created a timeless body of work with this project. The lyrics are pure poetry, the musicianship quite stunning, and the vocals equally striking. White has flirted with collaborations in the past, including working with Aimee Mann, M Ward, Victoria Williams, Ane Diaz, and the Packway Handle Band, to name a few. With this treasure chest of songs, he has found the optimum, like-minded artist with whom to trade lyrics and music. 

On a final note, credit goes to John Shepski at Fluff and Gravy Records for supporting this project, when most labels shy away from anything potentially non-commercial.  

Declan Culliton

Willow Avalon Southern Belle Raisin’ Hell Atlantic/Assemble Sound

If COUNTRY NEVER LEAVES was an impressive debut EP for Willow Avalon in 2024, her debut full-length album SOUTHERN BELLE RAISIN’ HELL has raised the bar for the Georgia-born artist tipped by Holler Country Music as one of the ‘Upcoming Country and Americana Artists You Need to Know in 2025.’

The fourteen-track album, seven of which appeared on last year’s EP, is particularly impressive in that it merges elements of traditional and modern country without ever descending into the bland pop/country crossover dominating country music radio these days.

Currently living in New York, Avalon grew up playing piano in church at an early age and eventually started trying her hand at songwriting. She is the daughter of singer-songwriter, and much loved at Lonesome Highway, Jim White, which goes a long way to explain her talent as a wordsmith.

SOUTHERN BELLE RAISIN’ HELL is a suite of stories that gives the listener a tour of life in a small Southern town, tales most likely triggered by Avalon’s personal experiences and observations growing up in that environment. Busted-heart songs may sit comfortably alongside high-spirited ‘badass’ statements, yet behind those sentiments also lies a sense of pride in the Southern heritage and personal self-esteem.

The short opening spoken intro, backed by Avalon’s dad on banjo and delivered in a natural Southern drawl, tells of the musical history of her family. It’s swiftly followed by Something We Regret, which bears witness to the mixed signals between the opposite sexes and the likely car crash that can follow (‘I love you like sugar, you love me like sex. Put us both together, we’ll do something we regret’). The instantly catchy and melodic Country Never Leaves and lyrically slick Getting’ Rich, Goin’ Broke visit small-town customs, the latter advancing a reality check on the ‘haves and have-nots.’

The like-minded artist Maggie Antone, whose slick wordplay on her 2024 album RHINSTONED also blended witticism and cutting reality, joins on backing vocals in Yodelayheewho. It’s a fire-spitting affair aimed at a former beau who didn’t last very long (‘And if I’m honest, Lord knows I am, you were a momentary lapse of judgement I’ll never understand’). Avalon is also firing on all cylinders and warning off pretenders on the grungy title track, before speaking of a more heartfelt separation in Tequila and Whiskey. Awash with weeping pedal steel and bookending the album is the piano-led tear-jerker Good Morning, Goodbye.

With fifteen million streams of Avalon’s two recent singles, Tequila and Whiskey and Homewrecker in two months, a string of sold-out shows in The States last year, and tours of the UK and Ireland scheduled for spring of this year, 2025 promises to be a breakout year for Avalon on both sides of the Atlantic. It may be an overcrowded market and all the more difficult for women to earn deserved exposure. Still, Willow Avalon ticks all the boxes to suggest she will significantly advance her career with this project. She possesses industry-savvy, astute and quick-witted lyrics and sparkling vocals that will appeal to broad audiences and lovers of both classic and modern country. Watch this space.

Declan Culliton

The Weather Station Humanhood Fat Possum

Performing as The Weather Station since 2006, Canadian Tamara Linderman's blend of experimental folk music has resulted in seven albums, including the latest HUMANHOOD, articulating a dark period of uncertainty and confusion for her. Unsettling as the Covid enforced lockdown was, the aftermath of returning to what had previously been the norm, alongside her deep-felt feelings on climate grief, brought its pressures, resulting in a state of near burn-out for Lindeman. Admitting that it's an album and project that she would not create at the present time, it’s one that needed to be given life in 2023 when she began working on the thirteen-track record.

The victim in many ways of her success and in particular that of her two previous albums, IGNORANCE (2021) and HOW IS IT THAT I SHOULD LOOK AT THE STARS (2022), her available budget for this project was far more than those previously available to her. Despite pressures to record in Los Angeles with suggested producers, Lindeman bravely and not without risk decided to record in Toronto and use those available funds to engage her favourite players, tour band members and friends. The recordings commenced at the Canterbury Music Company in Toronto, where she was joined by her co-producer Marcus Paquin and the rhythm section of Kieran Adams (drums), Philippe Melanson (percussion) and Ben Whiteley (bass). Karen Ng (saxophone, flute) and Ben Boye (keys) were also contributors.

The album continues the departure from Lindeman's more accessible early career recordings and follows her more experimental leanings in recent projects, blending elements of free-form jazz and electronics alongside her folk leanings and gentle soprano vocals. At the core of the songs is a personal rebirth, and the lengthy time required to complete the material reflects her recovery. 'I've gotten used to feeling like I'm crazy or just lazy. Why can't I get off this floor?' she asks herself on the first single Neon Sign, her pleading vocals in front of swirling flute and edgy piano. Equally questioning and frantic is Windows, where she seeks to be cast free from her demons, 'My heart is racing as a window opens, somewhere to let me out.' Irreversible Damage returns to the theme of reckless climate change and destruction that dominated the aforementioned album IGNORANCE. Linderman's quietly spoken word is all but drowned out by freeform and pulsing percussion, drums and horns. Body Moves is an exercise in self-questioning and detachment, with the author addressing herself, 'Your body fooled you; your body moved you, yes. Now, what you had to do was figure out why it had to fool you.'

The album closes with Sewing, proffering a note of acceptance and pressing on. 'Too late for perfection, to clean up the mess…..all I can do is sew it in,' Linderman admits as she continues her self-healing journey that might not have yet reached its intended destination.

Linderman has consistently tussled with despair, and emotional and environmental wreckage in her musical output. However, equally consistent is how delicately and wholeheartedly she handles that subject matter. HUMANHOOD may be her most ambitious project to date, both lyrically and sonically, to date but it's a triumph for an artist who is never afraid to take risks rather than be market-driven.

Declan Culliton

Lilly Hiatt Forever New West

The sixth album by Lilly Hiatt reflects the sweeping changes that she encountered since the release of her last album, LATELY, in 2021. Since then, the Nashville-born artist, and daughter of acclaimed artist John Hiatt, married her fellow artist Coley Hinson and they moved out of the hustle and bustle of Nashville to a more rural setting. Hiatt also references that getting a rescue dog completed the trilogy of events that left her in a more relaxed headspace. The newfound romantic relationship is referenced in the title track ‘Nice to be a loner, no one knows your hurt. But I wanna be by your side, I wanna be by your side forever.’ 

Hiatt’s songwriting has always been profoundly personal, and FOREVER is no exception. If her pandemic album LATELY was often stripped back and lonesome, her latest guitar-driven offering finds her in an altogether more buoyant mindset. Written and recorded at home, the nine-track record was produced by her husband Coley Hinson, who also played most of the instruments.

The blistering opener, Hidden Day, signposts the raw and rocky sonic trajectory that follows. Her foot also remains heavy on the gas with Shouldn’t’ Be, Ghost Ship, Somewhere and the previously referenced title track. It’s not all blood and thunder either; Man is an optimistic and gorgeous ballad, with backing vocals by Hinsen and enriched by ambient pedal steel. 

Memories of carefree and youthful freedom feature in the instantly catchy album closer, Freedom. It includes a wicked guitar break by Hinson and signs off with a warm-hearted voicemail from John Hiatt, offering best wishes to Lilly’s dog! 

FOREVER is very much a declaration of Hiatt’s current state of mind. Hopefully, the album’s title is a prediction of lasting contentment for an artist who seldom wastes a line, and is rocking out at her best here. It’s more than a worthy addition to her most impressive back catalogue.

Declan Culliton

Rose City Band Sol Y Sombra Thrill Jockey

There is something instantly rewarding about the recordings of Ripley Johnson's band, Rose City Band. Nothing changes dramatically, yet on each subsequent release, new delights unfold. The band's fifth album, SOL Y SOMBRA, continues where Johnson left off with GARDEN PARTY in 2023, with ten trippy tracks of pure cosmic country. 'One of my takeaways from making this record is that I spent a lot of energy trying to do things a little different, but ended up back where I started in many ways,' admits Johnson on this latest record.

Recorded at his home in Portland, Oregon, Johnson played guitars, bass, piano, mandolin, and percussion. He was joined by his regular players Barry Walker (pedal steel) and Paul Hasenberg (keyboards) and also engaged John Jeffrey (drums).

The album title translates in English as 'Sun and Shadow', and tracks like the opener Lights On The Way, Seeds Of Light and Sunlight Daze emphasise the band's sun-kissed and cloudless-sky signature sound. Radio Sound, the first single released from the album, nods toward the youthful escapism of country rock that poured out of California in the late 60s. The short instrumental La Mesa pays homage to the San Diego County city of the same name, before the album plays out with The Walls. Awash with trippy pedal steel and keyboards behind unhurried vocals, it bookends a striking body of work.

Rose City Band works spectacularly well as a relaxing project for Jonhson alongside his other two projects, the more psychedelic and experimental bands Moon Duo and Wooden Shjips. Drawing inspiration from his love of private press records from the mid-70s and groundbreaking band The Grateful Dead from the decade before, Johnson is a dedicated and unabashed torchbearer for a musical genre that seldom disappoints.

Prepare to be transported into a dreamy and quite wonderful sonic space; headphones are recommended for maximum return.

Declan Culliton

Massy Ferguson You Can't Tell Me I'm Not What I Used To Be North & Left

Alt-country band Massy Ferguson entrusted the production duties to their Seattle neighbour Damien Jurado for their latest and seventh album. Spanning almost two decades, the four-piece outfit of Ethan Andersen (vocals, bass), Adam Monda (vocals, guitars), Fred Slater (piano, keyboards), and Dave Goedde (drums) have earned many plaudits for their dynamic live shows. If their previous studio albums aimed to replicate the energy of those fully charged shows, YOU CAN'T TELL ME I'M NOT WHAT I USED TO BE, , is a change in direction, by their standards.

The choice of Jurado to oversee the project was a pointer toward something less conventional for the band. Very much an experimentalist, whose output has ranged from lo-fi to folk and indie rock, Jurado was an inspired choice for a band prepared to work outside their comfort zone. 'We're getting out of the bar, we're expanding other rooms,' explained Andersen.

The recording took place at Soundview Analog Studios in Seattle, where the band recreated the tried-and-tested pattern of their live shows, recording the eleven tracks live to tape. Guest players included Micah Hulscher (Margo Price, Emmylou Harris) on drums and percussion, Craig Curran (Fleet Foxes) on bass and guitar, and Bradley Hawkins (Seattle New Music Ensemble) on cello.  

Lovely Lad and You Were So High are tracks that particularly highlight Jurado's input and the band's newfound orientation. The slow-burning former is stripped back to piano, cello and vocals. The latter, directed at a loved but drug-fuelled and wasted sister, is a hazy and sonically astounding affair. The druggy tale, I'm Almost There, driven by a drum machine backbeat and Anderson's hoarse vocals, also signals a well-executed and fresh sound. The soulful and almost gospel So Long, Carry On, complete with handclaps, features billowing backing vocals from Zan Fiskum and, not entirely abandoning their signature raw and raucous output, When You're Not Around, is vintage Massy Ferguson. 

The more adventurous arrangements and production are winners on this album. Veering down a fresh musical path can be either rewarding or alienating for a band whose signature sound has been relatively unchanged in the past. In this case, Massy Ferguson's venture to new pastures is a resounding success.

Declan Culliton

Sean Thompson's Weird Ears Head In The Sand Ears Over America / Missing Piece

Nashville-born and bred Sean Thompson has been recruited by a host of his neighbours, both in the live setting and in the studio. Emily Nenni, Teddy and The Rough Riders, and Erin Rae have all benefitted from his extraordinary guitar skills and his ability to employ them across genres from country to rock. Thompson is also a member of pedal steel player Spencer Cullum's band, Coin Collection. 

Co-produced by Thompson and Jake Davis (Emily Nenni, Margo Price, Nathaniel Rateliff), the album follows Thompson's debut record, WEIRD EARS, from 2022. Recorded at Huge Planet Studios, Thompson was joined by a collection of class musicians, including Alec O'Connell and Ryan Jennings on bass, Erin Rae adding backing vocals, Jo Schornikow on keys, Ben Parks on drums, Michael Ruth on synths, guitarist Jack Quiggins and steel player Spencer Cullum.

'Mind in the clouds, head up my ass, I'm stuck living in the past,' considers Thompson in the song, New Memories, summing up his state of mind while he worked on the material during a difficult time. Written during the trauma of the passing of his mother, a long-term relationship breakup, and the death of his dog, the ten-track album's title and opening track is a self-critical statement born out of those events.

Sonically, the record is a genre-hopping collection, straddling the writer's influences that travel from Frank Zappa's improvisation (Riding In The Van) to the eclecticism of Grateful Dead (Storm's Coming Tonight, Saying The Quiet Part Out Loud). More conventional roots /rock win out on most of the tracks (Roll On Buddy, Not In The Clouds, Sweet Taste of Tennessee), and given the quality of the players, a short, woozy instrumental jam also features (Fizz).   

'I just want to sing from the heart,' Thompson repeats on the album closer, Song From The Heart. He has more than achieved that in HEAD IN THE SAND, confronting emotional wreckage head-on and, by way of release, creating an admirable body of work that combines playful sensibilities with self-deprecating truthfulness.  

Declan Culliton

The Doohickeys  All Hat No Cattle  Forty Below

This is a collective name for a band fronted by Haley Spence Brown and Jack Hackett, a partnership who set the overall musical direction, write the songs and deliver the vocals. They discovered a love of traditional country while attending the University of Southern California. They wrote a song together (I Wish My Truck Was Bigger) soon after they discovered a mutual appreciation of that genre and that was the start of their musical relationship. Their music has both humour and heartbreak at its core, with both taking the lead on certain tracks and harmonising on others. Their output has many of the hallmarks of that California take on country music, with echos of their antecedents from the past as well as many of their contemporaries. That list runs from The Maddox Brothers and Rose through to Dwight Yoakam.

The album was produced by noted blues and roots music producer Eric Corne, who previously worked with acts like John Mayall and is, in fact, behind the label Forty Below. He gives the music the drive and context that delivers it its foundation, from which the songs emerge fully formed and fit for purpose. Part of that is attributable to the rhythm section of Adam Arcos and Matt Tecu, over which there are notable contributions from the likes of Jordan Bush’s pedal steel, Aubrey Richmond’s fiddle and Yoakam-related guests Eugene Edwards and Skip Edwards, among others. Both Brown and Hackett are also contributors to the sound, with both adding guitar (acoustic and electric), but it is their vocals that are central to the arrangements which, alongside their writing, set the tone for a tongue-in-cheek, twang-laden roustabout. 

That translates into songs like Rein It In Cowboy, about a too close encounter in a bar with such a purposeful protagonist. Brown takes the lead vocal and, as is sometimes the case, she was the lead writer on the song. Hackett’s Can’t Beat My Ol’ Beater is about his love for his beloved but beat-up truck that, despite considerations for a newer form of transport, he wasn’t inclined to part with his original mode of transport. This Town Sucks is a summation of a locality that seems to offer little beyond the usual list of outlets and activities. Another forthright declaration is detailed in I Don’t Give A Damn About Football, an attitude that goes against the largely prevailing perception. Hackett again takes the lead on the likely metaphor-laden message of I Wish My Truck Was Bigger.

The plight of the hard pressed farmer faced with a possible forced sale of their land is the subject in Farm Lawyer. There are nods to the family orientated lyrics and delivery of Dolly Parton in this one. Mr Fix It is about just that while Too Ugly To Hitchhike is a duet that offers similar viewpoints from both perspectives.The title track is a familiar theme about trying to find a path in the overcrowded music business that chooses looks over passion. Perhaps the track that will make you laugh out loud is Please Tell Me You’re Sleepin’, about visiting a grandpa and being trepidatious about what one might find in the circumstances - what he did find was not expected and left an indelible impression! You Can’t Dance has a nice dance/swing feel as befits the subject, on another light-hearted duet. 

The album closes on a stripped down rumination on city life that has both vocalists give their reasons as to why they might not want to be there. “Just because we’re in the city don’t mean we ain’t country”, guitar and banjo giving the back porch feel over a background of traffic noise. It ends the album on a more restrained but equally effective note. As mentioned earlier there is some finely balanced and vibrant playing to be found on this album, lifting it beyond parody, and reminiscent of the music they admire, which in the past has often been laced with humour to get a sometimes more serious message across. Either way, put on your hat, forget about the cattle and enjoy it for its own merits.

Stephen Rapid

Dave Murphy A Heart So Rare Self Release

Murphy is a roots-rocker who recorded this album in Brooklyn, New York and it comprises a selection of songs that are largely easy on the ear, with a penchant for melody. This is exemplified on the opening song, October Skies, which features some appealing 12 string guitar over the solid driving beat, on this reminiscence of a place and time where a relationship is recalled for its choices and for the location, time of year, as well as for some less favourable memories. It features backing vocals from James Maddock, who also appears on two other tracks. Another contributor, in that role, is a singer/songwriter who should be familiar to Lonesome Highway readers and that is Mark Erelli, who adds his backing vocals to the remainder of the cuts. Both add a harmonic but unobtrusive presence behind Murphy’s lead. The album was co-produced by Murphy and Chris Tarrow - who contributes all the guitar parts, significant  to the arrangements and effectiveness of the songs. There are keyboards used on many tracks too, to enhance the overall feel. The foundation is laid solidly by Shawn Pelton and Richard Hammond.

Josephine and After The Hurricane both also touch on the liaisons of the heart from both sides of the line. There’s is also a longing in the notion of being free and seeing things from a different perspective in what If I Could Fly, noting that “If I could fly, I would surely try, no questions asked, no long goodbye,” with an accordion used persuasively on what is another strong song and vocal delivery. In a similar mode and mood is Take A Ride With Me, which asks for a companion to simply be there to take a chance on a ride together to see what might emerge. While the inability to often voice an expression or indeed “read the writing on the wall” is what I Wish I Could Tell You expresses in a low key way, the darker side of all this is what Planet Of Pain 11 recalls in a convincing downbeat way, with Murphy delivering a vocal that ably underscores that emotion. The more atmospheric Red opens with a sound that approximates a morse code message, the longest song on the album at over five minutes. It uses the code as a  descriptive metaphor and does it in a telling way that makes it a standout track among the ten self-written songs of Murphy’s. As “red is the colour we all bleed”, it also seeks some redemption and vision. One More Time, with Erelli on harmony vocal, is stripped back to just guitar, harmonica and voice and is forceful in its own way because of that setting.

Murphy is a survivor of cancer, something in itself which is likely to have given him some moments to reflect deeply on life, love and lasting memories. He has supported many of his contemporaries in recent times, and while he may not immediately have that outright distinction that would separate him in a fairly oversubscribed arena, A HEART SO RARE shows that he is well capable of writing and singing his own enjoyable material, written and sung from his heart.

Stephen Rapid

New Album Reviews

Boy Golden For Eden Six Shooter

‘Easy, breezy, warm & gritty’ is how Canadian artist Liam Duncan, aka Boy Golden, describes his current musical output and his second album under this moniker serves up big dollops of exactly that. With strong roots in Winnipeg, Manitoba, Boy Golden became the darling of the Americana movement on the release of his first album, CHURCH OF BETTER DAZE, which also serves as the name of a secular movement which he founded, dedicated to being ‘a spiritual and musical home for anyone seeking a better day’.

When the relentless pressure of his longed for success became difficult to deal with, he took himself off to his grandparents’ cabin in the woods in Manitoba on a writing retreat, and this became the basis for the new album. In contrast to his debut recording, he reverted to much simpler technology and recorded all ten songs direct to cassette, with just his vocals, his trusty open backed banjo and an acoustic guitar. He called on a few friends from his beloved Winnipeg music scene to flesh it out later, adding just some harmonies, hand claps and drum machine.

FOR EDEN continues in Boy Golden’s signature poppy folk-country style, but the themes involve more soul searching and nostalgia than on his debut, probably a function of his growing maturity as a person. 

Open about his sexuality (he is openly queer), his use of weed (which he credits with driving his creativity) and meditation, all of these fuel the sentiments and themes of the record. On Mesmerized, he wishes that time could stand still and that he was forever back in his youth, where nothing had changed, ‘fuck being famous’. There’s more nostalgia in the frequent references to his trusty steed, a ‘95 Toyota Previa minivan, which also adorns the front cover in a moody b/w photo taken on the prairies of his native Manitoba. The same vehicle is the subject of Toyota, beautifully evoking the heady days of youth and road trips, ‘I changed all the spark plugs, fixed all the leaks/but I ain’t got a window for the passenger seat’. There are three beautifully crafted love songs in Boy, The Way and Never Have 2 Leave, while Burn is a different sort of love song, an ode to his road band, who always ‘burn the place down’ when they get on stage, no matter how hard the day has been.

Boy Golden’s innate optimism blazes throughout the album, but no more so than on the closing track, Untitled. Honestly detailing his path from the early days bartending, playing guitar as a side man, always hustling for a dollar, through to his current life as a full time musician, he admits that he still believes in ‘music before language/love before profit’. He’ll be alright, this boy.

Eilís Boland

Red Idle Rejects New Striped Shirt Self Release

Steve Bowling is the creative source behind this interesting band. They formed in 2014 as a reaction to the original band, Red Idle, turning away from the country-influenced songs that Bowling presented to the members. It’s a fun story and the original release of music as the alternative Red Idle Rejects, WHERE THE LONELY RESIDE (2105), was not an inappropriate title given the circumstances. This is now album number five and proof positive that the original decision to develop a separate vehicle for alternate creative output was an inspired move.

The nine tracks run for thirty-six minutes which seems the perfect length for an album that is very enjoyable and which leaves a positive impression. The country sound was created by a tight group in the studio that includes Steve Bowling (acoustic guitar, lead vocals), Steve Ferguson (electric guitar, lap steel, dobro, piano), William Brock (electric guitar), Kurt Kaufman, Mick Waltrip, Derek Johnson (drums), , Daniel Parker Ferguson (bass guitar), Justin Bridges (fiddle), and John Hicks (banjo). The album was co-produced by Steve Bowling and Steve Ferguson and a fine job they make of it. All songs were written by Steve and his home base in  Cincinnati, Ohio  was where all the magic happened.

The album title is an homage to early American slaves who were brutalized by bullwhips, leaving scars on their backs, a "new striped shirt."  On the song both Rachel Bowling and Grace Bowling Dixon share lead vocals and the added fiddle of Justin Bridges brings a poignancy in the delivery that captures the inhumanity of the times. The banjo on Don’t Dip Your Toe In the Water adds a bright element to the melody and the more rock sound on It Burns allows the band to tune everything up into a fine groove on a song about the travails of being a coal miner ‘my lungs are gone and they won’t return, every time I breathe - it burns.’

It's Not What I Want is a twisted love song where the urge for intimacy can only be found in the arms of another, while My Hands Are Rough is a classic country song dedicated to the rigours of manual labour. Cracked and Mirrored Haze has a nice melody line with some cool guitar parts, with an almost-Irish blessing ‘May your glass never lower, may your eye ever gaze, on an image so reflected through that cracked and mirrored haze.’

Sag is an up-tempo song about bitter lives spent bemoaning the travesties that life can dish out, and a plea to not let things get so bad that you give up trying. Some fine guitar playing on this one also. Elsewhere the instrument mix on Endure brings a nice counterpart to a song that questions a strained relationship and asks ‘will we choose love or just endure.’ The final song 'Til She Fell for Fidel is a fun swipe at social niceties and the prospect of a sorority girl falling for a communist revolutionary. It displays a nice sense of humour, and the overarching style that exists on the album delivers a listening experience that will bring continued rewards.

Paul McGee

The Sensational Country Blues Wonders! If I Stop Moving, I’ll Fall From the Sky Self Release

The lengthy band title is one that singer songwriter Gary Van Miert created in order to highlight his fascination with the psychedelic music from the sixties. Back in 2020 Van Miert released an American roots album, The World Will Break Your Heart,  that drew from his inspirations, gleaned from both country and gospel music  traditions. In 2022 he released another album, The Adventures of a Psychedelic Cowboy, this time influenced by the psychedelic art and music of the sixties. It was to place this artist on a new path of discovery and that journey culminates with a new album that is filled with references to the joys of expanding your consciousness.

Whether he has dabbled himself with the various hallucinogenics that populate these lyrics is something that will no doubt be interpreted differently by listeners, but songs such as Why Did I Eat the Whole Bag Of Mushrooms? and One More Cup Of Mushroom Tea tell their own tales and point towards a certain ‘train of thought.’ The specific direction is certainly that of a trippy musical journey.

Van Miert also sings of having a pair of Magic Glasses that allow him to see things as they truly are. Perhaps Head In the Clouds sums up the central focus better than any other description ‘ I've got my head up in the clouds, I’m rising way above the crowd, I haven’t heard a thing you said, I’m soaring too far overhead.’ Whether singing about the sky, the universe as a whole, or altered states of consciousness, Van Miert exists comfortably inside his own world.

The title track is a song about flying and the idea that we cannot afford to slow down, while the dream-song I Rode the Bus With Joey Ramone includes the lyric ‘Things aren’t always as they seem, And I don’t always recall my dreams, Thinking about it makes me glad, It might be the best dream I’ve ever had.’ Whether its dreams or hallucinations that are delivering the images, there is no doubting the abiding message on We Are Made Of Stardust and the words ‘We are made of stardust, This is something I have learned, We’re all made of cosmic dust, And to dust, we shall return.’

I have a suspicion that Van Miert takes all of this with the same whimsical approach that much of the album delivers. The playing on the songs is really excellent, although in the absence of information regarding the musicians employed, it could be assumed that everything was handled by Van Miert himself? If not the case then the artist could be more effective in promoting the project to social media. He also performs as a solo musician under the name “The Gospel Wonder” and sings at church services. Certainly a talented musician with a particular vision and perhaps you would be tempted to join him on his journey towards the stars.

Paul McGee

Noah Zacharin Points Of Light Self Release

This Canadian artist is based in Ontario and has been creating music for many years now and his abilities as either musician or producer have been long-admired by his peers and his admirers. With a recorded output that dates back to the 1980s, Zacharin has developed a playing style that is both elegant and seamless in the delivery. He is a guitar-master and his fingerstyle playing is perfectly captured on the opening track of this new album. Ten Tons Of Road is a love song to a former partner who has slipped away over time, even if the memories still linger.

The lovely 17 Minute follows and the melodic ease of the musicians is just superb as Zacharin remembers old loves and the time spent together, captured in the words ‘train blow a whistle like baby’s loving, sweet in the leaving as it is in the coming, oh I’m gonna miss that…’ The pedal steel of Burke Carroll blending sweetly with the guitar of Zacharin.

Bed Of Nails takes a look at the damage done and the cost of survival in the modern world ‘he got strips of duct-tape stuck to his head, they help him hear the voices when they call, she got a mirror mirror on the wall, seems nothing’s fair at all.’ The light jazz arrangement is sweetly addictive in the delivery. Elsewhere, the solo guitar on So Much Work To Be Done is a gentle tribute to the enduring memory to the great Guy Clark ‘ He wore denim and a Stetson, had a chisel, a pencil and a grin, A master with a job don’t ask how or why, he just asks what and when.’ Understated beauty in the sentiment.

The album is produced by Danny Greenspoon and his light touch and experience brings much to admire. The instrument separation in the mix is nicely judged,  never more so than on the love song Red Red Bird.

The blues work-out on What Have I Got To Show For It is a standout, with the harmonica of Roly Platt superbly placed in the swinging groove. Another song, Lester Brown, conjures up memories of Gypsy Jazz and the brilliance of the Django Reinhart era, with some inspiring trumpet playing courtesy of Kevin Turcotte. Tom Morrow is a tribute to a friend of Zacharin’s and the family dynamic that surrounded his development. Done Gone Gone is another highlight with an easy blues arrangement and Denis Keldie on superb piano, Russ Boswell on cool bass and Gay Craig on brushed drums keeping everything neat and tidy.

Palette cleanser Something Like A River is a guitar instrumental which again shows the easy style of Noah Zacharin when it comes to creative interpretation on a melody. Sweetly reflective and subtle. The final song comes all too soon and is one of regret for a romance that has ended. Been A Long Day is a song of reflection, played on acoustic guitar and expressing the desire to have comfort in the days that lie ahead ‘and a little breeze says there’s room for me in the wind out there.’  A very accomplished album and the perfect introduction to this artist if he is not already on your radar.

Paul McGee

David Olney Can’t Steal My Fire New West

This tribute album to the enduring legacy of David Olney features seventeen artists who were invited to interpret his songs and the quality of the entire project is of the highest order. The executive producer is Gwil Owen and the chosen tracks are mastered by Ray Kennedy at his Zen Masters studio.

In a career that spanned five decades, David Olney first appeared as a solo artist in the 1980s with the release of his debut album, EYE OF THE STORM, and two of the tracks are included from that early release. A further five tracks are taken from the follow up album DEEPER WELL and we go all the way through his recorded output to one of the last albums released, THIS SIDE OR THE OTHER (2018) with a further two songs included.

There are over twenty albums from which individual tracks could have been selected, including six live recordings, and I’m assuming that each performer here was given their personal choice. Some of the songs resonate with a deeper impact and the performances from Lucinda Williams (Deeper Well), Greg Brown (That’s My Story), The McCrary Sisters (Voices On the Water), Afton Wolfe (Titanic), and Anana Kaye (Running From Love) really stand out.

Not that there are any fillers on the rest of the album. Janis Ian delivers a very poignant rendition of She’s Alone Tonight and the classic Jerusalem Tomorrow is covered by Buddy Miller with great style. The Steeldrivers version of If My Eyes Were Blind has a lovely bluegrass arrangement, while the stripped-back poignancy of 1917 is perfectly interpreted by Mary Gauthier.

David Olney was the master of language and had the gift to refine his words in illustrating an emotion or reflection on our universal quest for communication and love. He died as he performed onstage in 2020 at the 30A Songwriters Festival in Florida. The song he was playing was a cover of Jack Murray’s Bluebonnet Girl and he was onstage with Amy Rigby and Scott Miller at the time of his passing. A very poignant tale, and the lyric in his last song states ‘ I don’t need another heaven, I have found one in this world, in the eyes of my Bluebonnet Girl.’ Although that song is not included on this tribute album, it is fitting that his death was while onstage, with his guitar, in the middle of a performance, doing what he loved best.

I had the privilege of sharing a pint of Guinness with David Olney in Dublin when he played a superbly delivered set of new and old songs some years back. It remains a special memory of a gentle and gifted man. He said that his song Jerusalem Tomorrow put him on the map after Emmylou Harris recorded it on her album WRECKING BALL, but he always had a huge respect among his contemporaries who recognised the brilliance in his simple songs. We can speak of Townes, Guy Clark, or Hank Williams, but in every way David Olney walks alongside these greats in his ability to deliver timeless music.

Paul McGee

Cave Flowers Western Spectre Self Release

It was back in 2020 that Cave Flowers released their impressive self-titled debut album. The band is based in Los Angeles and the current line-up consists of Andy McAllister (vocals, acoustic guitar), Henry Derek Elis (electric guitar), Ben Coil (bass), and Curtis Pettygrove (drums). On this follow-up release the band once again decided to record at Heritage Recording Company in Downtown Burbank and the decision to return to producer Chris Rondinella ensured a consistency throughout the process. The songs were recorded live in the studio over just two days and there is an immediacy in the playing that captured the special energy and vibrancy created. It starts as a reflective look at precious time slipping by and captured by the words ‘Days they keep burning away’ while the song builds to a nice crescendo with keyboard swells and incisive guitar on a stand out moment.

The ten tracks included are very much a continuation of the Americana-based sound of the debut album and the additional keyboards of Jon Niemann are augmented by Jordan Walton (vocals, organ, pedal steel) in completing the bright sound. The guitar of Elis is high in the mix and the fluid playing ensures that both melody and aural textures impress throughout. A highlight is Good Luck Charm the longest track and a fine example of the dynamic at play across the studio musicians.

Garbage and Gold opens proceedings with a cool rhythm and groove, with piano and guitar propelling the tempo along, before the slower pace of Good Love brings a reflection on the search for true romance. The songs alternate in this fashion, with energetic arrangements balanced against  more considered, mid-tempo compositions. Leave Your Light On and Do You Ever Know Someone are fine examples of the former, while Invisible Tonight and Old Sunglasses are more restrained in the delivery.  Overall we are given another example of the quiet power that Cave Flowers bring to the table, and it is a meal well-worth digesting.

Paul McGee

Diane Coll Up From The Mud Happy Fish

Although she has been recording music since the 90s, the Atlanta-based singer-songwriter Diane Coll did not release her debut solo album until 2022. That album, titled HAPPY FISH (and Other DELIGHTS), was followed by a four-track EP, INTO THE FIRE, in 2023 and last year’s OLD GHOSTS, which was reviewed by Lonesome Highway. A mental health counsellor in a parallel career, Coll’s latest fourteen-track record, UP FROM THE MUD, is a continuation of her writing on relationship trauma, which she hopes may be of comfort to others coping with or overcoming scarring issues.

The track listing on this album is meticulously sequenced, beginning with the pulsing instrumental title track that suggests regeneration and closing with the calming All Is Well, a reassurance that light does exist at the end of the tunnel. ‘Open up your eyes; we can stop the wave of all those lies. His words have made you blind to all that good in you inside,’ Coll advocates in the song Eyes and promotes a new beginning in Fool’s Gold. A reinforcement of that sense of support and encouragement for regained self-esteem features in the stripped-back Today.

Recorded at Blue Door Studios in Atlanta, as was the case with last year’s OLD GHOSTS, Coll co-produced with Grammy-nominated Daniel Groover, who also contributed bass, drums, and percussion. John Daly returned to add guitar, cello is credited to both Daniel and Erica Holloway on the aforementioned Fool’s Gold.

Coming from a postcode similar to her previous solo recordings, the largely minimalistic and acoustic songs perfectly articulate messages of reassurance, vindication, and, above all, rebirth.

Declan Culliton

Paige Plaisance Louisiana Lonely Self-Release

Country waltzes, tears in your beer honky tonkers, heartfelt love songs and lonely laments all get an airing on the debut full-length album from Austin-based country artist Paige Plaisance. The record follows on from her 2022 four-track EP, DIFFERENT NOW.

Born and raised on a farm near the Mississippi River in Louisiana, Plaisance’s musical career started when she learned piano at an early age and started penning songs. However, her path to performing professionally has been parallel to her principal occupation. Having majored in textiles, apparel, and merchandising at Louisiana State University and having worked in retail for a number of years, Plaisance started her own business, Ramblin’ Rose Company. Located on Barton Springs Road and South Congress Avenue in Austin, the company trades from a converted 1972 Airstream trailer mobile boutique. Having successfully launched this enterprise in 2017, Plaisance found more time to follow her musical dream and has been playing around Austin with her backing band, Yeh You Right Boys.

Although it has its dark moments, the initial impression for the the listener is that LOUISIANA LONELY is a fun album. The melodic and swinging opener and the first single from the album Highway 65 kicks proceedings off in fine style, and the less sprightly and cheerless themed additions like the title track and Queen Of Fools are lovely. The playful Good Time Girl may or may not be autobiographical, and When You’ve Been Drinkin’ could have been plucked out of Lee Ann Womack’s songbook. Bayou Moon, a personal favourite, has a timeless Tulsa sound, and the piano-led closer, Love You First, bookends the record in fine style.

Across well-constructed songs, Plaisance's vocals are assured and offered in a natural and unaffected manner, and she’s backed by bulletproof players. The end result is an album that you should be more than happy to spend a lot of time with.

Declan Culliton

Josh Ward Same Ol' Cowboy, Different Rodeo Self-Release

From the off, you know you're in familiar territory with tales of alcohol-fuelled solace and a suggesting that whatever the problem you might have, as the opening song says, There's A Drink For That. It’s something of an upbeat celebration of a particular point of view that continues through the album with other titles such as Spilled Whiskey, Better On A Barstool and Beer Joint Down. What brings them all together is Ward's stone-cold country voice. In terms of bringing something new to the process, this is not what is on offer here. But it makes all the right connections in terms of an evident love for his chosen musical path. He is a committed country singer who has a lot of life experiences to draw from for his music. Something that was apparent in the number of albums previously released that sit under his belt, though, at this point, he rightly feels that this one is a step up.

Ward co-produced the album with Drew Hall and Kerry West, and it features a selection of songs, some of which he has co-written and others chosen to fit his overall sense of purpose. It was recorded at Rosewood Studios in Texas and has many of the hallmarks of the vibrant music that continues to emanate from that State, even if it leans back a little more towards a more traditional sound than some of his more amped-up contemporaries. For this, he has assembled a group of players to do the songs justice, including guitarists Bryce Clarke and John Carroll, fiddler Jenee Fleenor, and steel player Milo Deering. Topping it all is the front and centre presence of Ward's solid singing, which is deserving of mention as it is the beating heart of the material on this album.

The guitars can also get edgier for songs, and the tempo picks up for tracks like the aforementioned There's A Drink For That or Better On A Barstool, while Spilled Whiskey uses the metaphor of the title to look at a lost relationship and takes a more measured approach overall. He has, no doubt, learned something from recording his previous releases and from playing those sometimes-unforgiving Texas dancehall venues.

A number of the featured writers appear in different combinations on several tracks but the themes all are pretty much in the same sonic corral. Those writers include Jake Worthington, Wyatt McCubbin, Chamberlin and Randall King. Allowing these songs to offer something more than a one-dimensional approach allows for some variety and scope. They vary from seeing love as a necessity in Lovin' Where It's Going to Honky Tonk Time, which lauds the evenings spent once he has passed through the swinging doors and is a track that most traditionalists would applaud and feel affinity with when finding oneself back in that particular time zone. Laying out a loving relationship in numbered steps is the raison d'etre of Reasons. Taking a more reflective arrangement is the fiddle-led Talkin' To Your Picture, a song imbued with sadness and featuring an effective female vocal harmony, which is also underlined by steel guitar and piano. The album closes with a heartfelt assessment of a close family relationship that is Walkin' In My Boots.

Ward gets the year off to a fine start with an album that will tick many boxes, inside and outside, his natural environment and locality. It may indeed be a case of the same old cowboy going expectantly to a different rodeo for another round, but we can all be there to enjoy the ride.

Stephen Rapid

Blake Brown & The American Dust Choir Show Me The Light We Believers

This album nearly slipped under the Lonesome Highway radar, arriving a few months back when our inbox was brimming with new releases for consideration. Fortunately, having previously reviewed Brown’s 2019 debut album, LONG WAY HOME, we got a timely reminder to check it out, and its guitar-driven alt-country sound drew me in on the first spin.

Firstly, a bit of background on Blake Brown. He is currently based in Austin, Texas, where he lives with his wife Tiffany and their daughter; Brown resided for fifteen years in Denver, Colorado, before moving back to his home state, Texas, having spent a short spell in Nashville. His early career found him playing in a number of bands before focussing on his current venture, Blake Brown and The American Dust Choir. This project is a moveable scheme, allowing him to perform solo, in a duo with his wife Tiffany, or with musician friends in a full band format.

Recorded at Bubble Studios in Austin, SHOW ME THE LIGHT is a ten-track album, following his 2022 EP DON’T LOOK BACK. Alongside Brown on vocals and guitars was Tiffany on keys and backing vocals, Jordan Espinoza on drums, Jason Legler on bass, and Grammy-nominated Chris ‘Frenchie’ Smith (Meat Puppets, The Toadies), who produced the album, also adding his guitar skills.

Cut from a similar cloth to the sound of early Son Volt (any coincidence in the similarity of his band’s name and the Son Volt album, AMERICAN CENTRAL DUST?) or Bottle Rockets, the album opens in fine style with Runner, Brown’s vocal drawl underscored by piercing guitar breaks. Groove-driven Americana is the order of the day on White Rose and The Lucky Ones, and the stripped-back moments on tracks Darkest Hollows and Gone Too Soon showcase Brown’s capacity to create tender and intimate songs alongside the more rock-tinged ones. The smouldering and gloriously loose North Star generates the most profound impression of the ten tracks, fusing edgy vocals and swirling guitars to perfection.

An album laden with razor-sharp guitar licks and simple yet memorable hooks, it’s Brown’s bravest effort to date and one well worth your attention.

Declan Culliton

Kirsten Adamson Paint With Colours Self-Release

The trend of releasing EPs before full album releases is becoming more commonplace in recent times. The logic may be financial or a reflection of people’s attention span when presented with, say, a ten-track album recording instead of four or five tracks that may be more likely to get the required attention. Either way, it’s the direction Scottish singer/songwriter Kirsten Adamson took with this four-track album. It’s the first of three EPs that Adamson, the daughter of Big Country and Skids frontman Stuart Adamson, is releasing digitally before all three are made available on CD in May of 2025. Adamson’s second solo album, the Dean Owens produced LANDING PLACE, was released in 2023 to excellent reviews, and she is presently working on a follow-up album, with producer and multi-instrumentalist Joe Harvey Whyte, titled DREAMVIEWER, due for release in the Autumn of 2025.

The four songs from PAINT WITH COLOURS came to life during the writing process for the new album and were felt to be more suited to a stripped-back acoustic treatment. Self-produced by Adamson and her long-time collaborator Bobby Heatlie, the songs are drawn from both personal experiences and the more observational. Grandfather’s Accordion was inspired by Adamson inheriting her grandfather’s instrument and considers the passing of time and the importance of living in the moment. Disintegrating relationships against the quest for love and comfort are grappled with in both In Your Arms and the title track. On a similar theme, the piano-led final and tear-jerker closing track Halfway To Buffalo was inspired by the Barbara Keith song Detroit Or Buffalo from 1973.

Not afraid to broaden her horizons, the silver-voiced Adamson has taken a step back from the typically fuller sound of previous recordings with this collection. By doing so and with the skill set to express anguish expertly in her vocal delivery, she has passed the test with flying colours.

Declan Culliton

Merce Lemon Watch Me Drive Them Dogs Wild Darling

In a similar vein to East Nashville, Pittsburgh can boast a healthy and burgeoning underground music community, where artists who will never dent the Billboard Charts are creating art driven by passion rather than commercial ambition. A leading light in that neighbourhood is Pittsburgh native Merce Lemon, who signposted her arrival as a young emerging singer/songwriter with her two previous releases, IDEAL FOR A LIGHT FLOW WITH YOUR BODY (2017) and MOONTH (2020).

Growing up with parents who both played in bands, Lemon's songwriting calling kicked off when she was ten years old, writing songs for an a capella group with her sisters. Ten years later, she fronted a band with her father and his friends backing her, a combo that lasted four years. The fruit of those ventures ring through in her solo work, with her latest recording, WATCH ME DRIVE THEM DOGS WILD, a pointer to a talent that continues to mature.

Lemon knocked on Alex Farrar's (Hurray For The Riff Raff, MJ Lenderman, Snail Mail) door to assist with the album's production, working alongside herself and Colin Miller. The recording and mixing took place at Farrar's Drop of Sun Studio in West Ashville, North Carolina.

Having temporarily fallen out of love with her art after the release of MOONTH in 2020, Lemon took time out to reassess her relationship with music. She confesses that getting closer to nature ('I got dirty and slept outside most of the summer. I learned a lot about plants and farming, just writing for myself, and in that time, I just slowly accumulated songs') whetted her appetite and rekindled her love of art, and fuelled the introspective direction that created both the songwriting and musical flavour of this nine-track collection.

With layered vocals that ebb and flow on top of frenzied fiddle and pedal steel, that sense of escapism and rebirth surfaces on the stunning opening track Birdseed ('I've been eating like the birds, so maybe I'll grow wings, wouldn't that be something'). It's followed by most probably the standout song of the year for this writer, Backyard Lover. Descending from the peaks of romantic recollection to the uncontrolled rage of rejection, Lemon pours her heart out with naked honesty. Those recollections of regret and self-reproach also raise their head in Foolish and Fast, and the more unhurriedly delivered Rain. The former's reflection on the craziness of youth is bolstered by quivering lead guitar breaks by Reid Magette, who also adds backing vocals. It's not all personal torment and contrition; Lemon's sense of playfulness surfaces in the title track, drawn from an old man howling at a pack of dogs through his living room window.

WATCH ME DRIVE THEM DOGS WILD (excellent title) is gothic folk/country crème de la crème that screams 'career finest' for Lemon. My only regret is that it landed for review after I had submitted my 'Best of 2024' listings. Otherwise, it would most certainly have been credited as one of my favourite albums of this year.

Declan Culliton

Ray Cerbone Nobody’s Hero Self Release

This album is the second release from Florida based singer songwriter Ray Cerbone and it is a journey through a tapestry of different colours across the twelve songs included here. There are four cover versions on the album and this can sometimes deflect from the original creations by the artist, however in this case the selected songs blend seamlessly into the original songs written by Cerbone.

The central theme of the album strikes me as one of celebration; not only of the milestones in our individual journeys but also in the minutiae that mark turning points along the road towards self- understanding. There are love songs to the enduring power of our ability to rise above constraints, songs that recognise both growth and loss, and songs that reflect upon the fragile nature of all that we embrace in our quest for contentment and peace of mind.

Another Town Going Down and The Big Top capture the disappearance of old traditions as local townships get bypassed by motorways, and the magic of youthful circus memories get washed away by the tides of change. As reflections on the relentless march of time, both songs stand as statements of what it meant to witness the joys of a more innocent time when the wheel of life turned more slowly.

Little Red Top and A Simple Love Song are expressions of true devotion and to the bond created by a personal commitment to another, in this case, Gia, the wife of Cerbone and clearly his creative muse. The songs are heartfelt and come from a place of pure loving awareness. Both Happy Blues and Blue Cross display the fingerpicking guitar prowess of Cerbone as he creates a feeling of easy calm across two songs that highlight the joy of living in the moment, capturing the essence, and the sense that all is well with the world.

The studio musicians excel throughout and the understated playing adds a great dynamic and atmosphere to the overall feel of the album. On other songs we get a sense of the other side of the coin where life doesn’t always play out in the way we would want, and on The Moon And the Bottle we have a tale of lost chances and frustration with opportunity spurned, and The Other Side Of Nashville captures the yearning of trying to make it as a success in an unforgiving town where artist talent is commonplace ‘He’s as old as she is young and they both know where they came from, right across the street where the tip jar feeds on a dollar bill, and a hungry dream something you can’t  kill.’ It is a standout moment on an album that has much to recommend it.

The title track is a story song that captures the reflections of a public service responder who yearns for closure on a life that has borne great challenge in the resolve to give selflessly.  Another highlight and a song that reflects maybe the losses suffered outweigh the sense of service given. There is a lovely instrumental interlude on The Lake which gives a sense of reflection, and we are given a perspective into the joys of nature on Feel So Near and the realisation on how quickly our assumptions can be changed ‘So we build our tower of construction, and to mark our place in time, we justify our great destruction, as on we climb.’

The album ends with the classic Smile, composed by Charlie Chaplin and the lyric ‘ Smile, what's the use of crying, You'll find that life is still worthwhile, If you just smile.’ It is the sentiment that runs through this album, the thought that no matter what obstacles that are put in your way there is always the promise of what tomorrow may bring. If Ray Cerbone continues to produce music of this quality then the future is very much one of continued growth and success.  

Paul McGee

Ron Houston Real Outlaw Americana Music Self Release

The abiding impression on this album from San Diego musician Ron Houston is one of self reflection and atonement for past mistakes made. Houston usually plays with his band The Berry Pickers but on this solo outing he collaborates with a number of musicians to create the ten songs that form such a cohesive whole.

Opener Whiskey Train looks back at his years of excessive drinking and Houston’s attraction to the bottle is further covered in titles such as Drinkin’ Got the Best Of Me and Lines On My Face illustrating the tone of the album. On other tracks like People Lookin’ the Other Way and Gun Sale At the Church Houston looks at the hypocrisy of ignoring the problems of others and taking the easier route of self-absorption in our own lives.

Waiting On A Miracle is a prayer of hope that darkness can be replaced by sunnier days and that the anxiety of self-doubt can be banished. Another song that reflects upon lifestyle choices is Life On the Edge Of A Knife and the powerful thrust of Raise A Lotta Hell gives insight into the kind of crazy times that are often reality for a travelling musician. The standout song is The Rain and a personal purging of the ghosts that followed Houston around for many years ‘I wish the rain could wash away all the pain I feel inside.’ Houston delivers these heartfelt songs in a deep and richly resonant vocal and the impressive line-up of studio musicians do great justice to the material. Roots music from the heart and the heartland.

Paul McGee

Dean Mueller Wishes Never Gone Ripping Glass

Bend, Oregon is currently home to Dean Mueller and his activities in the local community include event promotion and production. He is also a musician and song writer of understated talent, and this new release catches him in reflective mood across the twelve tracks included here. He co-wrote seven of these songs with Alan Jones, a musical friend and collaborator, and the entire project was recorded the Rock House Studio in Franklin, Tennessee with Kevin McKendree at the production board.

Mueller released a debut album titled Life Ain’t All Roses back in 2023 and this new release includes some of the same musicians that featured on the previous recording. Both David Jaques (bass) and Kenneth Blevins (drums, percussion) lend their talents to the songs and they are joined by Jason Wilber (acoustic, electric guitars), all of whom are known from their days of playing with the great John Prine, among others. We also have a guest slot from the McCrary Sisters on one track and the superb Nalani Rothrock on two others. The revered Jim Hoke plays clarinet and harmonica on two songs , with producer Kevin McKendree on keyboards and Mueller contributing on lead vocals and acoustic guitar.

The individuality of Mueller is highlighted on I Don’t Live There Anymore and a song about standing alone and facing the illusion of the American Dream ‘Saying goodbye to the past, too bad it didn’t last.’ The light jazz feel on Fireflies is a chance for the studio musicians to show off their impressive chops, before the more serious content of Hold On and Don’t Let Go and the lessons handed down from father to son.

Bulleit Train is a song about drinking, with Kentucky whiskey laying down the law ‘on a one-way ticket past the point of pain.’ The message on Change is one of learning to get out of a rut and try to move in a forward direction ‘Sometimes you just need a change, shake the old cobwebs out of your brain.’ The confessional Believe is a song that reflects upon the dreams of youth and whether they carry forward into later years, and the blues groove of Teach No Lies delivers a message of caution to the ways in which we educate our children.

The commercial lilt of No Matter What It Is delivers a nice relationship promise to try harder, the jangling guitars echoing a Tom Petty feeling. A memory of early dating days is framed on Get Lost and the easy beat is a playful lift to the melody before the fun, sing-along I’ll Be There hints at radio-friendly success. On I Suppose Mueller reflects on a failed relationship and the lines resonate ‘I kissed my lady on the neck one sunny day, I felt a chill as she just turned away.’  The final song is Lonesome Sky and we are left with a restrained melody that delivers a sweetly sad song about missing someone close who has passed on.

This is a very well-produced album and at just thirty six minutes in playing time, delivers a confident and discriminating slice of quality Americana.

Paul McGee     

Todd Partridge Desert Fox Blues Self Release

Iowa native Todd Partridge stared out with his local band King Of Tramps and after a run of successful albums he decided to turn his focus to recording solo. The first album was a very melodic country-tinged release back in 2023, but this is a completely different beast and reveals a deep bluesy music with real edge to it. Partridge also delivers a very different vocal, using distortion effects, and the fuzz tone of the electric guitars blend with cool harmonica and a laid back blues beat on opening track Depression captured in the words ‘when all you do is worry, fuss and fret, about trouble that ain’t even got here yet.’

Gotta Do is another blues stomp that states ‘Don’t look up, keep your head down, there’s a million different ways to kill in this town.’ The slow burn on Gentleman’s Blues is dripping with atmosphere on a song that warns us to treat everybody in the way that we would expect to be treated ourselves. Interstellar Planetary is another blues workout with a bull horn vocal treatment and fuzz guitar highlighting the breakdown in our abilities to communicate properly as a society.

Lost Your Shoe Blues is just what it says on the tin – walking slow through a great guitar romp of distorted angst where ‘music lights the fuse.’ On Goin’ Home Empty we are invited to ‘dance in the garden, chase those the blues away, I ain’t lookin’ for trouble, trouble always finds me, I got here full but I'm going home empty .’ Harmonica wails in the background and the loose groove is very much like a Stones workout circa Sticky Fingers era. The memory of Chris Whitley comes to mind when I’m listening to the deep blues sonics on Keep On Keepin' On -  a song that rocks out with the words ‘I gotta keep on keepin' on, even if it’s all goin' wrong, Moral of the story, there ain’t one, Don’t need money to have any fun.’

Old Picker is a song about an instrument that is handed down the working generations ‘Work all you want you won’t get far, Get the monkey off your back with a mojo guitar.’ The track Jimmy Carter is a tribute to the former US president and his love of the Dylan Thomas poem “Do not go gentle into that good night” with the blues message ‘Dylan Thomas wrote the president’s favourite poem, And he lived his life accordingly, He said I will not go gently, Said I will not go gently, Into the good, good night.’ The final song After the Work Is Done reflects upon a life spent toiling and it brings the blues of manual work and hard labour full circle. A big leap away from the last album in terms of sound but one that brings its own rewards.

Paul McGee

Taylor Kopp The Movin’ On Self Release

This 5-song EP is a follow up to the debut album Found which appeared in 2020 and featured in the “best of” lists from Lonesome Highway staff back then. The talented Taylor Kopp dwells in Portland, Oregon and proves once again to be a songwriter who can hold his own in any company. On the opening song November Sunrise there is superb pedal steel to accompany acoustic guitar and the gentle sound is reflective and sensitive in looking towards home and matters of the heart.

Folded Paper has gentle piano joining acoustic guitar strum on a song that again looks at relationships with producer Raymond Richards, who plays sublime pedal steel, joined by Ezza Rose on harmony vocals. Richards also plays upright bass, pump organ, piano, and guitars across these songs and The Orchard is another sweet slice of roots reverie that soothes and flows with an easy charm.

The song Fresno takes things up a notch as it considers the reasons why you would not like to live there. Is it a dead-end town or just a place where hearts get broken by the local girls? Put Up A Fight ends the short song cycle and it looks at love through the eyes of someone who is trying to turn his life around. The interplay is superb on all the songs between Kopp and Richards, leading me to suggest that further collaboration is in the air. Nineteen minutes of late night relaxing music, tinged with a knowing sadness, and a resolve to take strength into the future.

Paul McGee

New Album Reviews

Juliet Lloyd Carnival Self-Release

It’s been seventeen years since the last full-length album from Juliet Lloyd. The frustrations and obstacles of trying to survive as an independent artist became too challenging for the Washington, DC artist, resulting in a ten-year break from the industry. A divorce in 2019 and the following pandemic drew her back to songwriting to come to terms with those traumatic times as she explains, ‘I’ve always been envious of writers who say they write songs because they have to…… I had never really felt that way until this album.’

Unsurprisingly, the album’s ten songs contain large doses of anger, self-deprecation, and regret. Lloyd wasn’t under time pressure to write and record the album. Having gathered and documented her thoughts, she recorded the tracks over fifteen months, working closely with producer Todd Wright, who, together with co-write credits on three of the songs, also contributed guitars, bass, synths and drums.

The opening track, Wallflower, is an admission of Lloyd’s introverted personality and a fitting introduction given much of what is to follow and, in particular, the psychological and emotional abuse she endured. The full-on rocker Pretty and the sedate Sorry Now are two samples; the former recalls a controlling relationship and the guilt it gave rise to, and the latter deals with the dilemmas and sorrows in dealing with a marriage breakup. Turning a blind eye to and not speaking out about control and maltreatment is addressed in Search Your Soul, and Call Your Wife treads a similar path. The title track considers the aftermath of relationships and moving on from the initial highs and subsequent lows of those affairs.

A full-blooded affair that revisits emotional wreckage, CARNIVAL spans the rock, soul, and roots genres. Its theme may be bleak, but the quality of the songwriting and Lloyd’s vocals translate into a powerfully emotive performance from start to finish.

Declan Culliton

Lolly Lee Self-Titled Admiral Bean

This debut album from Birmingham, Alabama resident Lolly Lee is a nice surprise in terms of the accomplished production and overall atmosphere created. Lee has been a member of various bands over her career but it has taken her until now, in her sixties, to record the eleven songs included here. The sound is a mixture of traditional country with a roots rock flavour running through the tracks and the results are both loose and yet filled with razor-sharp interplay.

She created the album with Anthony Crawford in the role as producer and his experience of playing with Neil Young serves him well at the controls. He is a multi-instrumentalist and excels across a range of guitars, mandolin, lap steel, violin, organ, bass, drums, percussion and backing vocals. Crawford also adds his wife Savana on backing vocals in the studio, while she also lends her talents as a graphic artist on the album artwork. Lee herself plays mandolin and acoustic/electric guitar and takes lead vocals.

Satellite kicks things off with a fine groove and includes some nice guitar touches in a positive message about embracing life ‘step into the light, welcome to your life.’ Another song that rocks is the excellent Ave Maria Grotto with the driving rhythm capturing the sense of an out-of-control situation. The slow burn of Happy Now has echoes of Lucinda Williams in the ironic vocal delivery ‘Takes a righteous man to kindly keep on his disguise, I’m not flinching nor dropping my defences, Love has been eclipsed by unintended consequences.’

Great Crusade is another song that impresses with a light percussive tempo and some nice fuzz guitar ‘Gentlemen start your engines, we’ve got souls to save, Make it a great crusade.’ The sweet melody on Used To Live Here is a look back at younger days and is one of the standout moments, while the country feel of Free State Of Winston and Sweet Alabama Home are fine examples of the rural influences that define Lee ‘And we hope you come and see us if you can, Sure would like to get to know ya, Show you a good time, Don’t plan to stay too long, But you can come on by.’

Fortuna’s Ink is a clever look at the contrasting luck involved in pinning hopes on fate and fortune ‘What did you really think, When the deal is sealed with disappearing ink.’ Traditional country reappears on Some Kind Of Wonderful  and respect for the simple things that life gives us. Whisper is a song to a loved one and an addictive bright sound that contains some fine interplay and harmony vocals. Shot At the Devil is another standout song with a real dynamic in the playing ‘They say all things come to an end, That heaven and hell run tabs on sin.’ A very enjoyable album and one that will brings the listener real rewards.   

Paul McGee

Tristan Israel Band Snake Hollow Self Release

A fourth album release from Massachusetts songwriter Tristan Israel. There is a restrained finesse to the songs and the musicianship across the fifteen tracks is very impressive. Highlighting the talents of Nancy Jephcote on violin, plus producer Paul Thurlow on multiple instruments, there is a quiet confidence on display throughout, and the journey is certainly worth the time invested.

Rural charm is an appropriate description for these songs and inspiration is taken from all that surrounds us in the natural world. The title song paints a rural paradise in the region where Tristan Israel resides and Going Back Home is another song that captures that feeling of missing simple pleasures. The fluent craft of Jephcote is evident on the next two songs, House Always Wins and Virginia, the former looks at the luck that can never last as you try to outrun fate, the latter urges a journey back to home ground and new beginnings.

Astrolabe is a song that features the astronomical instrument that is used to chart the stars and again the violin of Jephote lifts the arrangement towards the heavens. The love expressed in Looking At the Moonlight is balanced with the message on When I Die and the classy interplay on a song that demonstrates a jazzy-blues influence. The Crow is a song that reflects upon the Kafka novel, The Metamorphosis and the transformation from a human form to insect; not your typical song by any stretch of the imagination.

Bend In the Road is a lovely acoustic blues about the crossroads that life puts before us and the violin again steals the show on the song arrangement. No Steal is a song of positivity and a message to keep on going despite the hurdles, while the cool atmosphere created on Galicia captures that unique Spanish sense of community in the melody. There is a song to the elegance of the monarch butterfly on Monarch On Milkweed Leaving Aquinnah and the gospel blues of On Our Way brings everything to a very enjoyable conclusion. An album that engages and delivers on many levels.

Paul McGee

Jennifer Castle Camelot Paradise Of Bachelors

The mythical imagery of Camelot dates back to medieval times where legends were formed and their ripples find echo on this elegant release from Canadian artist Jennifer Castle. The age of chivalry and honour has resonance here in the questions posed and the doubts reflected in connection with relationships in these modern times, together with the element of trust that masks honest feelings.

The title tracks asks ‘and if I’m not mistaken, These hearts can handle breaking, I think I’ve tried to save us, I hope I’m not forsaken.’ Again on the song Trust we have the lines ‘lovers scorned show their horns, nostrils flared charge towards you, who should I trust?’ If the issue is to look for solace through the affection of others then the wait could be long and painful.

The resolve to live in the present is captured on Full Moon In Leo and the lines ‘’better like what you got going right here and now, I don’t cast my eyes down some future scenario, I pledge my allegiance to this moment between us, can you feel me?’ And yet the doubt remains and the disconnect is captured on Blowing Kisses in the lines ‘and don’t get it twisted, my heart’s still in it, my dedication’s a star, and it shines on our differences.’

On the song Some Friends we have Castle reflecting ‘you tried to make me feel so small, but nobody’s perfect, you had to be right, so I guess that I’m wrong, but I didn’t deserve it.’ With hopes that it’s not too late to turn things around, Castle asks that we invest in fate and the need to place our bets on Lucky Number Eight.  Belief in some higher power is running through Mary Miracle and the acoustic strum of Earthsong is a gentle whisper to see the world around us and to escape our ‘landlocked modernity.’ The production and the superb musicianship sparkles and the whole experience is one of looking into the inner world of Jennifer Castle and her perspective on relations in our age of mass media and resigned isolation.

Paul McGee

Paul Kelly Fever Longing Still Kelly

When it comes to a real pedigree and thoroughbred status look no further than Paul Kelly and his brightly coloured career. Starting out in the 1980s, his prowess has never been in doubt and his songwriting has evolved over the decades to the point where he stands as an artist of real insight and integrity. Every Paul Kelly album is worth investigation, if only for the song craft involved, let along the superbly judged arrangements and song melodies. When you have written songs for nigh on four decades your experience and elegance in communication is bound to shine through.  If you hold this ability to wrap observations with an eloquence, then the reflections are an integral part of life as we witness all of the wins and losses.

Opening with the superb groove of Houndstooth Dress and the edgy guitar of Dan Kelly (his nephew), the atmosphere of desire and lust is perfectly captured. The mellow tones of Love Has Made A Fool Of Me follows and the soulful delivery is wrapped in the excellent Farfisa organ sound and sweet harmony vocals from Vika and Linda Bull. Taught By Experts is a great slice of pop brilliance that echoes Elvis Costello and Nick Lowe in the driving beat and song arrangement. The big sound on Hello Melancholy, Hello Joy is augmented by the great harmonies of  Vika and Linda (again), and a brass section that includes saxophone, trumpet and trombone, with all horns arranged by Roscoe James Irwin.

Northern Rivers celebrates the individuality of a woman who moved down to southern Australia and made a mark in Kelly’s life, and destined to leave when the time was right in her mind ‘whatever she does, to herself she’s true, The more I know her, the less I do.’ Double Business Bound is a slow song that reflects upon a life lived and the journey taken ‘trouble before and behind me, and my clock is winding down.’ Let’s Work It Out In Bed has a co-vocal shared by Kelly and Reb Fountain on a song that suggests that any arguments or falling outs can be reconciled between the sheets, the horn section again featuring strongly in the bright arrangement.

All Those Smiling Faces is a look back at a family photo album and the stories held within each and every frame. Lives lived and loves lost, caught up in a stream of impressions and memories. The love song Harpoon To the Heart is a bright up-tempo tribute to the power of attraction and the metaphor of Moby Dick being chased by Ahab is not lost. Alice Keath shares lead vocals on Back To the Future and another relationship song about what keeps us together over the good and the bad times. Insomnia is the theme of Eight Hours Sleep and Jess Hitchcock provides beautiful and haunting backing vocals together with the double bass of Bill McDonald excelling also.

Throughout the album we are served with superbly judged music from long-time band members of Kelly down the years. The rhythm section of Paul Luscombe (drums) and Bill McDonald (bass) is always in the pocket and turning everything over at a nicely balanced pace. The guitar work of both Dan Kelly and Ashley Naylor is a real treat also and the variety of keyboards provided by Cameron Bruce adds great colour and nuance.

The final song Going To the River With Dad is a vignette that recalls a childhood memory of an early morning fishing trip with his father. It captures the magic of the moment in the telling and is a prime example of the song-craft at play here. ‘He’s long gone, I’ve passed his span, But myself against him I’m still measuring, Aiming for the mark of a man, Sometimes hitting it, sometimes missing.’ Poignant and powerful in the delivery. As a national icon Paul Kelly has endeared himself to many admirers in Australia and beyond. His music has developed from his early bands the Dots, the Coloured Girls, and the Messengers and encompasses all that is good in folk, rock and contemporary roots music. A talent of the highest order and you simply applaud the craft of the man. Another cracker!

Paul McGee   

Ashley E Norton Call Of the Void Self Release

This solo album from Ashley E. Norton was recorded in Nashville by producer and multi-instrumentalist Johnny Garcia.  The songs are a mixture of Country, Folk, Rock and Blues and are all written by Norton, including a few co-writes and a cover of the classic Led Zeppelin song Going To California.

Garcia plays all the instruments on the songs, except for acoustic guitar added by Norton and cello violin from Jimmy Mattingly. Opening song Americana To Me is a comment on the music industry need to place everything into neat boxes ‘It’s country when you think it isn’t, rock when it’s just easy listening, blues when you ain’t sad enough, folk when you don’t sing for love, gospel that don’t quite fit in.’

Every Woman I Know is a look at the struggle and constraints put upon the female of the species and the quiet power that is often supressed by social demands that stops women from standing in their own power. A song for everywoman in these misogynistic days. As a contrast Baby Blue Jean is in complete contrast to the sentiment of the previous track and a song that celebrates the pulling power of a rodeo cowboy. The title track Call Of the Void speaks of saving yourself against the irresistible force of love’s passion and falling for attraction of another.

The cover of the classic Led Zeppelin song Going To California has a heartfelt vocal and it’s a nice take on the original while The Fortune Teller is a slow song that captures the smoke and mirrors of personal relationships.  The song I Only Think About You When I’m Drinking has a nice blues arrangement and looks at love lost and Modern Martyr has a more commercial sound with observations on self-inflected suffering in order to remain true to oneself.

I Wish is a song that wishes bad times on an ex-lover and the slow country sound includes the words ‘So this shooting star I’m wishing upon, is just for your good day to go a little bit wrong.’ The song It Doesn’t Matter is yet another reflection on the vagaries of relationships gone wrong and trying to find common ground. The final song is Songbirds In the Stars and it is a happy jaunt on a country melody that includes mandolin and fiddle and highlights the broad talent of this artist.   

Paul McGee

Furlined Kill Devil Hills Self Release

With two previous albums released in 2009 and 2012 before the band went into hiatus, this third outing is the result of founding members Neil Crossley and Tegan Everett deciding to reform. The duo stepped away back in 2015, but they are now back together and this new album is certainly well worth their initial instincts to get involved.

The eleven songs are very well produced and the playing by the studio musicians is of a high standard as they cover a number of different musical styles. Crossley takes all lead vocals and plays guitar, with Everett providing cello. The melodies are very immediate and the elegant arrangements make an early impression, which is always a positive sign.

The title track is in tribute to a community based in the North Carolina area where Crossley lived for a number of years and the song From Montclair To Tupelo speaks of growing into maturity and leaving home for a college education. Both Cinnamon Gum and Two Of a Kind are relationship songs that reflect upon the need for freedom and allowing space for people to grow.

The slow swoon of You Will Never Believe Your Eyes highlights the rich vocal tone of Crossley and the sweet cello of Everett to great effect, and on Dreaming Of Houses the hazy days of family outings are captured through the memory of a son who is taking time to sit with his ageing father. Equally on The Admin Of Life we get a peek into the life of perhaps, a working parent and the challenge in negotiating responsibility on a daily basis ‘ I wish that I can could save you from this fear and worrying… The upsets, the overdrafts, frozen credit lines, You’ve had a bellyful of the admin of life.’

Final track Princeton In the Distance is an up-tempo arrangement with the band stretching out to provide a nice dynamic in the delivery on an optimistic song about navigating towards a positive future. A worthy return for this band and there is much to admire in these songs.

Paul McGee

March To August Songs Inspired By Witness Self Release

Contemporary folk, mixed with bluegrass and roots leanings, combine to define the sound of March To August, who are the duo Derrick and Jodi Mears. On this new release they drew inspiration from a novel written by Karen Heese. It is titled "Witness" and it is the story of a small Vermont town during the years of prohibition.

The songs include instrumentals such as Leonora’s Dance and the three interval pieces titled Scribbler which introduce the character of journalist Reynard Alexander who reports on the arrival of the Ku Klux Klan into the township and surrounding areas. Only the River is a story song about an unexpected pregnancy and the fate that falls upon a young girl who tries to hide away her secret. The song features twice on the album, with Jade Ayers taking lead vocals on one version and Derrick Mears providing a different emphasis on a separate take.

Every Girl is a song about trying to break out from stereotypes and the predetermined life that awaits young girls in small rural environs. I hear Lyle Lovett in the vocal delivery and elsewhere there are traces of Randy Travis in the timbe of Derrick Mears. Viola is a standout song with the local storeowner regretting decisions taken in joining the KKK ‘I realise that hatred is the wrong side of this fight.’ A real highlight on the album.

The instruments used on the songs are limited to acoustic guitars, bass and banjo, with the clear production highlighting the excellent playing and simple arrangements. Clergyman John Reeves is exposed in all his hypocrisy on Johnny ‘Preaching salvation on Sunday and on Monday living in sin.’ The track Running Booze is another story song and looks at the life of a female bootlegger and the secrets she keeps.

The up-tempo Hell Bound looks at mistakes made in a life where there is no comfort or peace in looking for absolution. Another song that reflects upon the life of Rev John Reeves is Perfect Son and his failings that trace back to adolescence. The entire listening experience is very enjoyable and the album is a fine shop window for the creative talents of this musical duo.

Paul McGee

Sam Lewis Superposition Loversity

There are a number of influences present on this new album from Nashville resident Sam Lewis. He has been releasing music since his debut album appeared in 2012 and this collection of nine songs represents his fifth solo record. During Covid, and on the back of a cancelled tour, Lewis met with his music buddies when safety allowed, and this spontaneous approach on a semi-regular basis has yielded these songs of different hues.

The production techniques include disparate sounds, from the distorted rhythm on Bad Man which includes kazoo and eerie synth, to the shimmering slow reverie of Come On.  There is an interesting blues-based cover of the Dire Straits song Walk Of Life which shouldn’t really work but which fits into the overall feel of the project. It has a slow beat and the menacing guitar courtesy of producer Ethan Ballinger gives the lyrics a new perspective.

Sappy Ending has a melodic bass line and is a love song that resonates, while Smile is another look at relationship joys with the lyric ‘It won’t be long before you realise, It’s all for you if you ever wondered why.’ Sinking Ship has a fun lyric and offbeat sounds that swirl around the percussion.

While We’re Still Here brings a sweet melody that feels like a spring breeze as Lewis sings in his honeyed vocal style, while on What Does It Mean the inventive percussion and guitar/synth sounds give a nicely contorted musical gumbo. On What I Need we are given a nice slow tempo and a reflective relationship song that brings the album to a comforting conclusion. The atmospheric playing on the tracks is very much a feature and the easy interplay of the musicians is impressive.

Paul McGee