The man with the deep, deep voice is back with his latest album. A solid collection of up beat songs that fits the radio formatting criteria in that Frank Rogers production is robust and rounded with mandolin, banjo and country guitar well placed in the mix of these mainly uptempo songs. The ballads like, Lovin' You On My Mind are big productions, with strings and backing vocals giving the whole song an added layer of gloss. The problem here, for this listener, is that few of the songs have any bite or grit. Many of them could be equally recorded, with a slightly different sound by the likes of Westlife. Turner's co-writes As Fast As I Could and Eye Candy (which is a very catchy song, co-written with tongue firmly in cheek by Shawn Camp and Pat McLaughlin) are marginally better as one suspects that Turner would like to get his vocal chords around something more substantial. The song Long Black Train is an example of that, and is here in a watered down version as a bonus track on this deluxe edition, but there is nothing here that has the same resonance. Haywire is well produced, played and sung and is an easy listen from one of Music Row's more traditional artists but the whole thing feels like sugar sweet piece of candy rather something more fulfilling.
Jim Lauderdale 'Patchwork River' Skycrunch
By now his music is recognizable by Lauderdale's increasingly confident singing and his subtle melodic song structures. Something that has given him some devoted fans and admirers if not much opportunity to dent the mainstream. His songs, cover by others - notably George Strait, still hit the charts but Jim Lauderdale, in his own right, seems more of an acquired taste. This new album, on his new label imprint, is another collaboration with former Grateful Dead lyricist Robert Hunter and is subtle and varied. It covers soulful sounds like Louisville Roll with organ and brass and Patty Griffin on vocal harmonies through to a song like El Dorado with the great James Burton on guitar, Al Perkins on pedal steel guitar and Ron Tutt on drums. Here he gets close to Gram Parsons Cosmic Country Music tag. There are sad reflections in the quiet mood of Far In The Far Away. Or there's the country twang of Between Your Heart And Mine where Patti Griffin again delivers some excellent harmonies. Production is shared between Lauderdale, Doug Lancio and longtime collaborator Tim Coats. Jim Lauderdale is a consummate songwriter who can add a underlying twist to any style he choses to bring to his recordings with the end result being nothing less that Lauderdale music - rootsy, soulful, solidly constructed and open to repeated playing and personal favourites. This patchwork is bright, colourful and will doubtless warm you if you were let it's aura slip around you.
David Celia 'I Tried' XX1
From the opening song Turnout Celia offers a stylized sound. That song and those that follow have a arranged sound that encompasses a wide range of styles that are often uptempo and upbeat. The list of instruments is as wide as the song with clavinet, Hammond, pedal steel, trombone, trumpet, cello, glockenspiel among the featured sounds. The jovial I'm Not Texan has the rootsyist sound with twang guitars and Gurf Morlix on dobro. It's fun, ironic and sure worth a spin. The next song Instant Puppy Love also features Mr. Morlix on this song of instant attraction. After that the songs revert to their more arranged soundscape that is inventive and interesting though you need to be open to non-roots music to take it in. It's kind of a Canadian 10cc type of thing in that the songs cover a lot of territory with some skill, wit and thought. Bug's Apocalypse has a folkier attitude with cello and flute over a light string backing. Running Out Of Time has a Beatles' Tomorrow Never Knows feel it the way it experiments with sound and space. Celia is another talented Canadian artist who could well find a bigger audience if he gets the right exposure and playing at this year's Glastonbury Festival may well help. www.davidcelia.com
Dierks Bentley 'Up On The Ridge' Capitol/Humphead
This is an album that Bentley both wanted and needed to make. On his arrival in Nashville he spent time down in the Station Inn listening and absorbing the welcome harmonies of bluegrass. There it mingled with his love of classic country and righteous rock. He has included bluegrass-styled tracks on his albums before but here he has delivered an album that is rooted in the music he heard delivered by the likes of The Sidemen and while it may not exactly fit the more rigid demands of the bluegrass purist it will delight many. The key however is if it will please those who have previously been very taken with his hi-octane radio friendly country. Dierks Bentley is well aware of the need to grow, to move on and develop his music and Up On The Ridge does that. It does it very well. Now it just needs to sell. With slightly left field producer Jon Randall Stewart at the helm this album has a more organic sound and provides Bentley with the backdrop to deliver his best vocal performance to date. He is surrounded with a fine bunch of players, harmony vocalist and guest singers. They all add much to the proceedings without overwhelming the man whose name is on the cover. Those friends include Bryan Sutton, Del, Ronnie and Rob McCoury. The Punch Brothers, Kris Kristofferson, Vince Gill and many more. The songs are a mix of co-writes with producer Stewart, Tim O'Brien and Angelo as well as songs from writers of note such as Bob Dylan, Shawn Camp, Kristofferson and some upcoming Irish band called U2 (Pride - In The Name Of Love). There's a lot to like here with Senor, Fiddlin' Around, Love Grows Wild and Down In The Mine immediately hitting home on what is a very strong and satisfying album that has already gained much critical kudos.
The Jayhawks / Humphead
This is the re-release of The Jayhawks original vinyl only debut, know as the "bunkhouse album". It shows the band at their countriest, delivering music filled with enthusiasm and energy. Music that comes from the inspiration that came from the records they listened to then. Recorded in Minneapolis and produced by their then manager and mentor Charlie Pine it's not that far removed from Rank and File and other early "cow-punk" bands as well as a big nod to Gram Parsons notion of country played by rockers. It has charm and displays where the band where at at the time and howe far they have come since then. Olson handles most of the vocals on a bunch of songs that have titles that suit like Behind Bars, Six Pack On The Dashboard, Misery Tavern and Falling Star. All are enhanced by Cal Hand's pedal steel guitar runs. It's a period piece but one that still stands up to listening and dancing around to. Bands, and band members, grow and move on. The music changes and gets technically better as the bands skills develop but sometimes. That first bloom offers something that can never be repeated. It may be naive but that first flush that first time in the studio feel that will never be repeated. It may be a part of the band's history but it's more that that. It is the beginning and you need to know where you've come from to know where you want to go.
Jewel 'Sweet and Wild' Humphead/Valory Music
Fitting into the current vision of contemporary country singers should be seen as the more grown-up relative of Taylor Swift. A singer and songwriter well capable of delivering these songs that deal with love, in a mostly positive and uplifting way. The backings are a radio friendly mix of upfront drums, big sounds with some steel and fiddle in there with the B3 and big arrangements. Something that is highlighted on this deluxe edition that has a second CD which has exactly the same songs delivered in a very sparse setting of just Jewel and her guitar. This shows her undoubted talent as singer and songwriter rather than just the vocal addition to a producer's vision of the songs. That Jewel was involved with the production of both supposes that the two sides of this coin are designed to offer different perspectives on her songs, both valid and both likely to appeal to different sets of listening moods. Given the choice I prefer the Sweet and Mild acoustic set over the full on Sweet and Wild side. Either way you can make that choice yourselves and decide which Jewel shines the most for you. Either way both ides should have mainstream appeal if they get picked up by radio. If they do then Jewel can join the list of artists who may make a impact on European sensibilities. Lovers of hardcore honky-tonk though should look elsewhere for their fix.
Larkin Poe 'Spring' Edvins
This duo grew out of the Lovell Sisters and after the departure of elder sister Jessica now consists of Rebecca and Megan Lovell and a trio of additional musicians who make up Larkin Poe. The music is loosely defined Americana with touches of both pop and folk. The set subtitled The Spring EP features 9 songs written individually or together and featuring both sisters on vocals. The harmony singing is a key part of the sound which also has adds the sonic textures of lap steel, mandolin, ukulele, banjo to the bass drums and guitar bedrock. The arrangements are full of subtle melodies that stretch out across the songs making it the kind of album that requires attention to get most out of the songs. But, on occasion, songs like The Principle Of Silver Lining the emotional appeal is more direct. They have in their previous incarnation performed with Elvis Costello and the projection of their music to where it is now is undoubtably influenced by that search for craftsmanship and musical adventure. Spring is a first step, one that will have resonance with those who like their music to have some depth and to cross genres listening and looking out for the next adventure. www.larkinpoe.com
Rose's Pawn Shop 'Dancing On The Gallows' Self-Released
This LA based quartet are part of a selection of bands who take acoustic bluegrass and old-time music and add additional layers onto that core. In this case the acoustic guitar, banjo, fiddle and mandolin are give additional drive by the presence of upright bass and drums. They are helped out on this Ethan Allen produced album by an additional seven players and two vocalists. All of which gives the album a full and decidedly powerful sound. The music then is well able to cover a lot of bases from country, country rock as well as the core layer of bluegrass. The end result has been described as "Del McCoury meets Mick Jagger" and be that as it may this is strong enough to stand on its own feet. But the description and the punkish attitude means your in for a fast ride. They come as a part of the LA country music tradition that was spearheaded back in the eighties by Dwight Yoakam's country with rock attitude that saw hardcore country being played in punk rock clubs as well as in the Palamino. Lead singer Paul Givant possess a strong voice that can deliver the out and out energy of Ball Of Flames as well as the more poignant place of Patiently. He is ably backed up by the rest of the band with well positioned vocal harmonies. An album highlight however has to be One Last Of Whiskey, a song about the pain of trying to quit, once again, the lure of alcoholic absolution. Rose's Pawn Shop are a welcome addition to a strong legacy of country music emanating from that town south of Bakersfield. Dancing On The Gallows will have your feet tapping and your heart racing and Rose's Pawn Shop is will worth redeeming. www.RosesPawnShop.com
Michael Weston King 'I Didn't Raise My Boy To Be A Soldier' Valve
This new album amplifies again what a under rated artist King is. This album which features songs of protest that when ever they were written are completely relevant to the endless cycle of conflict that seems to know no end. King explains the genesis and inspiration for these songs in his sleeve notes as well as providing a list of other songs that could easily have been included. What is here is a set of songs some original, some sets of words that MWK has written music for and arranged. The outside songs chosen include two Phil Ochs songs Cops Of The World and Is There Anybody There? Bob Dylan's I Pity The Poor Immigrant, Bob Darin's Simple Song Of Freedom. The title track, Life Is Fine and Parish Of Rope are among the sets of words that KIng has written music for. The album is rounded off with three MWK originals. The music is coherent, passionate and compelling and is undoubtably one of the best albums that Michael Weston King has yet released. The songs are delivered at the most direct by just guitar and voice but elsewhere Alan Cook on pedal steel, Rob Bon Homme on snare drum and Paul Hesketh form the backbone of additional players who bring life to these songs. Even if you weren't aware of the nature of the songs the music on offer is strong and striking and should be heard by a wider audience that is likely. This is a shame on may levels and a sad reflection on the channels that music get delivered through. For more and for a listen go to www.michaelwestonking.com and it's related sites.
East Nashville 'More Music From The Other Side Vol.3' Red Beet
There's a thriving community of songwriters and musicians living in the low-rent section of town know as East Nashville. It has little to do with the big machine that consumes artists up there on Music Row. It is an inter-active network that produces some of the best music coming from the town known as Music City. It offers a varied and mixed stew of music that, in truth, has as little to do with traditional country as has much of Nashville's mainstream releases. Rather it is a haven to the art of the below-the-radar singer/songwriter. Volume 1 was a double CD that was produced by label founder Eric Brace, as is this volume. A few of the artists from the initial set are also featured here, something to do with the transient natute of the working troubadour. Among those who appear on both are Kieran Kane, Stephen Simmons, Kevin Gordon, Tom Mason and Tim Carroll all of whom contribute some of the best music on offer. Some of the songs are unreleased, like Elizabeth Cook's On The Wire, which is a little different from her usual output being rockier with a distorted guitar backing that offers a wider view of her talent. Given that the songs on such compilations are not usually the best song from an artist's album, understandably, it is a perfect vehicle to use an used track or to give the listener an idea of what an artists music is like in the main. In that light it makes you want to check out artists you may not have heard before. Artists like Matt Urmy whose Renaissance Rodeo has a Todd Snider sense of wordplay and underlying humour. Nashville treasure Phil Lee opens and closes the album with tracks from his So, Long It's Been Good To Know You and if you don't know Phil Lee then this is a good way to check him out along with 18 other East Nashville residents. No matter where they've come from. Say hello to antipodeans Audrey Auld and Anne McCue. Check out Red Beet and its other release at www.redbeatrecords.com and for links to the sites of the artists featured here.You won't be disappointed.
Leo Rondeau 'Down At The End Of The Bar' Self-Released
This Austin based singer-songwriter has released a second album of original songs that are equal parts filled with humour, history and observation that make them a good listen. Musically Rondeau rings the changes and adds instrumental textures throughout. Rapture features banjo and brass to help set the mood of the songs quizzical nature, a reflection on the mysterious ways. That contrasts with the album closer Better Place For You which features a bare bones backing of banjo and fiddle. Between those points there is enough pedal steel and dobro to firmly stamp the words "country music" across the songs, but coming from Austin don't expect that Music Row sheen and pop-polish. While Rondeau doesn't have the most distinctive voice you may come across it is one that does what it needs to do to get these songs across, and one that will get better with age and timbre. The players include the renowned Cindy Cashdollar on dobro and steel along with some fine Austin players who give the perfect backing to this set of serviceable songs. Rondeau's Civil War era outlaw song Had I Know, with its atmospheric trumpet, is one of the strongest songs here and an album highlight. Leo Rondeau is definitely one to watch and Down At The End Of The Bar suggest a bigger talent in the making. www.leorondeau.net
The Pines 'Tremolo' Red House
The duo's second album has it's roots planted in the past but it's shoots are reaching out towards a full moon. Produced by the duo and Bo Ramsey the album is centered around the soft spoken singing voices of the duo, Benson Ramsey and David Huckfelt who deliver their original songs over a restrained but effective backing of bass, drums and keyboards. The electric guitar contributions give the songs their tension and spark. The delivery is in tune with some of their contemporaries whilst also suggest a link to that softer late 60's and 70's folk mixed with country sound. The two voices are similar and blend with ease to give the overall a casual warmth that is easy to assimilate. The two cover they have chosen fit well within their canon Skipper And His Wife is again graced by some fine guitar picking that moves the song along while Mississippi John Hurt's Spike Driver Blues floats on slide and electric guitar that adds to the urgency of the songs message of return and ruin. The shortest song here Avenue Of The Saints, the only one clocking in at under 3 minuets is an echoey instrumental that has an instant attraction in it's own right. The longest song is the closer Shiny Shoes but it never seems to outstay its welcome. Something that can be said of the whole album - an understated collection of songs that captivated with their sense of drawing a listener into its heart of semi moonlight darkness. www.thepinesmusic.com
Forest Sun 'Harlequin Goodnight' Special Rider
A talented San Francisco artist with several albums to his credit delivers this confident and clever album. Co-produced by Forest Sun and Michael Winger with a core trio of Sun, bassist Steve Adams and drummer Michael Messer. Add to that backing vocalists, cello, dobro, keyboards and accordion and the songs are full of contrasting instrumentation that covers quite a few musical stepping stones. All of which makes this an album offers much to the listener with an open mind. It has no foot in any particular genre other than good music but overall the feel is of a rootsy base that should appeal across the board and is an example of the fact that there is a lot of music out there fling under the radar that is unlikely to get the attention it deserves in a situation where specialist music programmes are being squandered rather than encouraged by a system that prefers everything to be the same rather than encouraging individualism. Forest Sun makes music that may not appeal to all but their is not doubting the craft on display here. His voice is strong and confident throughout and the focal point of the album. Gurus and Rockstars, which features Larkin Gayl on equally strong duet vocals is a song in search of a movie or some mainstream placement. The one cover Dylan's She Belongs To Me is giving a treatment that makes it fits with the overall context of the album but also shows Sun reverential to the original but giving the song his own touch. Harlequin Goodnight will tuck you in after entertaining you. www.forestsun.com
Eric Brace & Last Train Home 'Six Songs' Red Beet
A six track ep from this accomplished band that mixes a couple of covers along with material from various band members. Soul Parking is a robust guitar led uptempo song with strong vocals. By way of contrast the three covers My Baby Just Cares For Me has an altogether cosmopolitan feel with hints of jazz in the mix. What Now My Love, sung in French and English again takes on a different mood that sees the band having fun with the different touch stones being displayed. Autumn Leaves is given a semi-Cash/surf treatment until the vocals, again sung in French come in and the song eases off the pedal. Big Fish is fun and taken at a rate of notes and is the most obviously countryfied song here. The opening Always Raining On My Street again emphasizes the band's skill and versatility and shows that next time out they could further explore any of these avenues or a different one entirely but either way Six Songs is what it is and is a fun excursion. www.redbeatrecords.com
Kim Beggs Blue Bones Black Hen
A Canadian singer-songwriter who plays folk-Americana and who has a couple of albums under her belt before this current release. Beggs has a distinctive edge to her voice that wouldn't be unfamiliar to Iris DeMent fans. Utilizing a full band including fellow singer-songwriter Steve Dawson, who also produced the album, it has a full clear sound that never overwhelms the song or singer. Beggs own songs are about the travails of love while others like Can't Drive Slow Yodel is just what it says a song that states that Beggs has to travel at speed even though she's not going to the rodeo or about to give birth and the chorus is a full on yodel. It is a diverting and humorous moment. KIm also covers some classic songs from writers such as Bob Dylan, Jack Clement and Patty Griffin. The former's I'll Be Your Baby Tonight is given an appropriate pedal steel softly sung delivery while Clement's Just Someone I Used To Know is a well rounded duet with Gurf Morlix. The traditional I'm Thinking Tonight Of My Blue Eyes is equally given a countrified reading. Griffin's Trapeze highlights Beggs vocal skills on a restrained take on the song. Her own songs are usually more upbeat though Summertime Lonesome Blues is a recognition of time spent apart. The Longest Dream is a lovely duet between Beggs and Natalie Edelson where the voices blend over a pedal steel led backing that emphasizes the dreamlike quality of the song. Blue Bones is an album to get to know and enjoy for a lot of different reasons. www.kimbegs.com
Guy Penrod 'Breathe Deep' Servant
With his surname and a look straight out of an Alexandre Dumas book Pernod could be making any type of music but Breathe Deep is a solid country album. It's one that is the antithesis to the likes of Hank 111. This is an album about love, family and belief in God. Values that are solid in mainstream country and it's something of a surprise that this album isn't on a major Music Row label rather than on an affiliated one. It could be that Pernod is a still a little too country, and old, for radio success. Which is strange as this album is full of songs that resonate with that audience. Produced by Brent Rowan and featured a host of the current A-team studio crew it sounds good in the way that records that go through that process do. The songs are solid and from the pens of former artists and now primarily focused songwriters. Pernod isn't a writer and so delivers some assured and upfront vocals that sound convincing in their tales of the common man and suburban and rural lifestyles. On occasion the songs touch on subjects like those who have nothing.The Broken Ones is about seeking and finding redemption for those who have fallen through the cracks and see the value in a person or thing if given love. And it's that word which is paramount here. It may not suit the honky tonk lovers but it has it's time and place and is superior with strongly rendered songs like The Maker Of Them All - a song that places faith at the centre of life. As a say not everyones cup of tea but few will deny the overall positivity and strong music on offer here.
Fiery Blue 'Self-titled' Doubloon
This duo are produced by Kimmie Rhodes son and producer Gabe Rhodes who chooses a wide sonic palate in which to set these songs. The duo of Simone Stevens and Paul Marsteller are joined by such luminaries as the aforementioned Rhodes on a large variety of instruments and Hunt Sales on drums a man who has played with David Bowie and Iggy Pop in the past. The music is roots in overall tone but quite likely to take a diversion every now and then. It's all held in focus by Stevens strong, expressive vocal presence. The eighteen tracks build up a wide picture and hold attention if you slip into the fiery blue world. Some may find the album and overall tempos too similar but there is a textural substance at work here that gives the tracks added depth beneath the vocals central place in the mix. In that light this is an album where the music should be listened to in context and from that favourites will emerge but there are few tracks that stand head and shoulders above the rest of the material. But at this stage I can recommend Magic, Virtue and Diamond Ride as a trio that were memorable for there musical settings. The songs were written by Marsteller in the main with Stevens Rhodes co writing a track each. What makes this album special is the thing that makes all albums work that combination of song, playing and voice and Fiery Blue have produced an album that may never become mainstream but for those whose musical tastes expanded beyond country, in a kind of subdued "Wrecking Ball" mode then this album is worth seeking out. www.fieryblue.com
Egon Danielson 'Raven And The Bluebird' Self-released
I really like this album a lot. It seems to have been made for the right reason which is simply to get a set of good songs out into the world. Danielson is a powerful singer-songwriter who wrote all the songs here some written over a number of years others written just before they were recording. Danielson has a voice that remind s me of a number of singers like, for instance, Robert Earl Keen. The producing by Andy Dee, formally of my old favourites Molly and The Heymakers, is spot on tough and tender as need be. Danielson calles his music soulbilly and that as good a description as any for his from the heart songs. He recorded in his native Kentucky and in Minnesota and these songs have heart and a heartland and never feel forced or unnatural they feel like song from a man who has lived a little and loved a little - even when he lost that love. She Won't Say Goodbye sums that up so well with its tender backing of nylon string guitar and lap steel. This is followed two songs later by Start Out By Saying Goodbye a song deliver with feeling over another understated backing with pedal steel from John Ely of Asleep At The Wheel. More full on and rockin' is Your Guitar wherein Egon wishes he was a particular girl's guitar - well why not. By way of contrast The Girl In The Yellow Cotton Dress is more acoustic/bluegrass in style. One Rock At A Time is funkier with some swirling organ leading the ensemble getting into a groove. There's not a bad song here and Egon Danielson is a well worth checking out and as his website has the songs as MP3 you can listen or download as is you preference but either way have a listen. I don't think that you will be dissapointed. www.egondanielson.com
The Snakes 'Sometime Soon...'
This UK band make a rather good racket. This five piece have delivers a very credible album of original songs that hit the alt.country/country-rock buttons. They add harmonica, banjo, violin and keyboards over the bass, drums and guitars bedrock and as all members sing have a varied and lively vocal presence. Some songs like Refrigerator Blues have a more bluesy sensibility that nicely contrasts with the more country Wasting Time. Cumberland Breeze could be equally be about a breeze in England's North East or one coming from the river that runs through Nashville. Either way it's one of the albums stand-out tracks with a relaxed harmonious vibe. We Can Fly has a uptempo west coast (UK or LA) feel with a strong melody and some fine guitar. Credit to Nick Beere for his production skill in creating a sound that has a full feel despite what I would imagine would be a relatively minor recording budget. Jesus In A Box also utilizes a darker voice that has shades of Edgar Broughton. Harmonies and organ abound on Come My Way's full sound. The album closes with the west coast harmonies of Black Cat. A versatile and varied album that easily fits under the roots rock/alt.country tag but one that is more harmonious, melodic and life affirming that much that falls loosely into that category. The Snakes have bite and along with the likes of Hank Wangford are making music that should be given credit for being something that draws for a source that is largely from the USA but one that is filtered through music that was part of the fabric of musical forms on this side of the Atlantic too. www.the-snakes.com