The latest album from Gibbs continues to consider the plight of the forgotten, often marginalized people who exist on the fringes. The song Where Only The Graves Are Real sums up much of his feelings about the nature of true friendship. This album co-produced by Gibbs and guitarist Thomm Jutz is a progression from his previous album in terms of sound, because of a tight band that consists of Jutz, Gibbs and Deanie Richardson on fiddle, Mark Fain on upright bass and Nanci Griffith's drummer Pat McInerney on drums. Gibbs' girlfriend Amy Lashley provides some additional vocals all of which makes this a cohesive blend of voice, music and song. The folk-styled songs leave you in no doubt as to where Gibbs loyalties lie and that's no bad thing in these days of artists watching their words in case they might offend someone who has some control of their career. Gibbs sings honest and true and his vision of the world around him is one that will be shared by many. His voice is full of empathy and grit that is both world weary and wide awake to life's ups and downs. Otis Gibbs has made a strong album that continues the troubadour tradition, the art of the protest songs and manages to infuse a real sense of optimism when observing the oppression that a corporate culture manages to consume us with. This is punk-folk that will find favour with roots fans as much as with those attuned to Billy Bragg's equally observed take on life, love and loss. www.otisgibbs.com
Marty Raybon 'At His Best' Grand Vista
The former singer from Shenandoah continues with his new solo album, his first for the Grand Vista label. It's straight country, mainly of the old-school mainstream variety. It's not a best of as the title might suggest but rather a statement of intent. The production is by Raybon and Paul Carrol Binkley and is supportive of Raybon's strong and soulful voice which is always front and centre and ably supported by the players who include such notable players as guitarist Jeff King, Eddie Bayers on drums, Larry Franklin on fiddle and Adam Steffey on mandolin, the latter brings a touch of bluegrass to the overall mix. Raybon is a bluegrass lover as much as he is of the more full bodied country that predominates here. The songs have been well chosen and include several that Raybon had a hand in writing himself. The sense of being alone is highlight in the passionate A World Without You, a stand-out song here. That theme is also explored on I Don't Want To Loose You Anna while Still My Little Man (Matty's Song) is about a loved one on a overseas battle field. I Am Coming Home is again written on that topic but from a slightly different perspective. There are very middle American themes but ones that don't breach rather they emphasize with the ordinary man. This is solid, dependable and will find much favour with his fans and those who love country as it was delivered in the early 90's. www,martyrabon.com
Telegraph 'Self-titled' Self-released
Essentially Telegraph is the work of Kevin Doherty (of Four Men And A Dog) and a strong supporting cast. Doherty has written the songs, delivers the lead vocals and has produced the album, so maybe it should be a Kevin Doherty solo album called Telegraph. That one of the songs is titled Country Music may give some a clue as to the overall mood of the album, though in truth that's not really just that. These are relaxed, laid back, roots-filled songs that pitch their tent in different locations from Camden Street to East Virginia. There are hints of a lot of things here, a touch of Tindersticks, a pinch of Mr. Cohen and a spoonful of old-time music, informed by Atha Cliath as much as Appalachia, all mixed in among the ingredients that make up this music. There is understanding and tenderness within these songs for those in exile and those who left for a great calling. There's love for people and for places and there's the journey of a pilgrim, looking for life and love along the way. The music is acoustic, gentle, understated and at all times adds atmosphere and texture to Doherty's likable, lambent voice. Telegraph hasn't sent us words of wonder, of new territory or new boundaries rather the simple message here is of looking again at the familiar, the friendly and the ways in which we falter. www.telegraph.ie
Easton Corbin 'Self-titled' Humphead
The second track here may sum up the album's overall direction, A Little More Country Than That, that likely being his pop and rock sounding contemporaries who currently trade as country artists. Much of this is, doubtless, due to the production values of producer and former Keith Whitley sideman Carson Chamberlin. The steel is mostly exuberent and well to the fore, the guitars are twangy rather than in overdrive. That said it is still an album that promises more than it actually delivers. Rather it represents a good start to the career of an artist with a solid dependable voice that overall, and this is also true of the album, sounds like a close relation to the body of work of George Strait. And Strait's one work has it's high and low points. There are several lyrical themes that are full of cliches of what country music is today. These include A Little More Country Than That and That'll Make You Want To Drink both fun songs but somewhat generic. But that may sound a little overly critical of what is an solid and definably country album that when the songs are bolstered by a catchy riff are memorable. Songs like The Way Love Looks On You, Don't Ask Me About A Woman and A Lot To Learn About Livin'. The latter is one of those Buffett-esque songs that are in favour these days in country circles. Easton Corbin is off to a good enough start but let's hope that some of the songs can get a little more depth and grit the next time out.
John Lilly 'Live On The Red Barn Radio' Self-Release
A live recording from Lexington, Kentucky on May 6th 2009. John Lilly is a traditional singer/songwriter who here delivers a set of his own songs from the Red Barn Radio show in the elemental form of voice, guitar and mandolin. He gives Jimmie Rodgers' No Hard Times an appropriate reading with a strong yodel inflected vocal. He returns to that form with A Little Yodel Goes A Long Way, something that many may agree with but Lilly makes it enjoyable. His mandolin playing is evident on (the excerpt from) Johnny Don't Get Drunk. He touches on gospel with Spirit (Bend Close To Me) and delivers an empowered vocal that emphasizes his prowess in deliver the soul of a song. His version of Rod Stewart and Ronnie Wood's Gasoline Alley makes it sound as if it was written a hundred or more years ago. He changes pace and style with his own, more personal, song Blue Boy. As this is a recording of the aforementioned Radio show the closing song Last Chance To Dance, the title track of a previous album,has a closing voice over that disrupts the song. None-the-less this is an enjoyable album for those who will like his take on old time music. www.johnlillymusic.com
Barney Bentall 'The Inside Passage' True North
This Canadian singer/songwriter, formally a member of the band The Legendary Hearts, has carved out a solo career with his roots, full band rock and country. He now owns a horse ranch in the Cariboo and divides his time between running that and continuing his recording career. He is also behind the Grand Cariboo Opry which gathers together a host of fellow musicians to play original and classic country songs. Here the sound is broader to reflect a wide emotional landscape. Sending Out A Message To You is the kind of song about being apart that Springsteen might do. By way of contrast On This Beautiful Night is bolstered by brass, with a soulful twist it talks of travel and of finding people and places. The title track has a feel of a classic Jackson Browne song and is again about of reflection and beauty. Elsewhere fiddle and steel play a prominent place in the production, by John Ellis, as on the uptempo Catch That Train or the tender, self-explanatory I Never Meant To Make You Cry. Papa Henry's Boy is a "Seeger Sessions" style sing along with banjo well to the fore. She Ran Away is a fine stripped back song with guitar and some atmospheric dobro and a stand-out here for that reason, and reminds of some classic John Hiatt. This is the sort of album that, with exposure, could easily find favour with a European audience. www.barneybentall.com
Gary Allen 'Get Off On The Pain' Humphead
Quite where Gary Allen is going with this album I'm not sure. It sounds big and bold and continues the direction of his last album that had a strong mainstream rock emphasis. There are still some country elements at play here, both in the lyrical themes and in the sound on some of the tracks. Steel guitar is included but it is largely subsumed into the guitar, bass and drum sound. It is good to see the name of Jamie O'Hara among the writer credits and his co-writes are some of the best things here. We Fly By Night has a strong melody and Allen, who wrote it with Odie Blackmon and the aforementioned O'Hara, delivers a strong believable performance. Blackmon and Allen also co-wrote several other songs but it is the closing track which Allen co-wrote with Jeff Hanna and Jon Randall that packs the most emotive performance on the album. No Regrets is about deep,dividing loss and will resonate with many who have experienced that lasting pain. There seems to be less bombast here and that this is a direction that really works for him. That he has moved from the more traditional elements of his earlier albums is also evident in the styling, gone are the cowboy hat and western-styled outfits to be replaced by a look that might sit better with what Music Row perceives as a big crossover audience. But then Allen is a co-producer here so maybe he's happy with the direction his music is going. This edition is the deluxe version with 4 additional tracks, 3 of which are live but don't really add a lot to the album other than to show that live he gets a lot of screams and the songs have become singalongs. A Gary Allen album is always worth listening to and there are some very good songs here but, for this listener, the sound has moved to a place that is a cause for some concern in the long term, but as the current single, Today, is hitting the top twenty maybe not for others.
Marla Cannon-Goodman 'My Reflection' Chicken Angel
Veteran producer Buddy Cannon is at the helm of his daughters album and he brings his years of experience in the studio to making this album sound as good as it does. Cannon-Goodman has co-written the songs here and sings then with a strong confident voice that brings the emotion and meaning to the songs.The best know of which is Ten Rounds With Jose Cuervo, which was covered by Tracy Byrd. It's a very catchy song with a strong dash of humour that makes it a highlight on the album. Elsewhere the heartbreak of Walkin' In The Rain is balanced with the drive and determination of walking out on a bad relationship in I Call It Gone. Another highlight is The Fool a song about cheating that has some fine steel fills. The playing throughout is top notch with players like Mike Johnson, Kenny Greenberg, Joe Spivey and Mickey Raphael involved. The majority of the songs are relationship ballads that suit Cannon-Goodman well and should easily receive major label radio support but, as she is on an Indie Label, may not be the case. An all round enjoyable and satisfying from a member of a musical family that have all contributed to making some good country music.
Cam Penner 'Trouble & Mercy' Prairie Boy
Penner is a acoustic troubadour, a rough hewn voice in the wilderness telling tales of living on the fringes, of constant traveling and of low to no income survival. The focus is Penner's voice and his guitar with some subtle additional electric, steel guitar, violin and organ adding to the various songs mood and menace. This is music that evokes a sense of weariness but one that hasn't given up on better things to come. This is all summed up on a song like Tired Of This Town which is gently sung over a sparse accordion backing, it diffuses the romance of the pretend cowboy "you ain't no cowboy... this ain't no Wild West'. It has a insight that comes from viewing the world from the ground up. It has dirt under it's fingernails but warmth in it's heart and is, as a body of music, attractive and inviting. This Canadian singer/songwriter who has tenderness and grit in equal measure and who has made a stripped down album that is a good one. www.campenner.com
Brooks Williams 'Baby O Red Guitar' Blue Music
Looking not unlike a close relative of John Hiatt Williams shares a sense of raw blues with the former, though his musical palate is less wide ranging. The American singer/songwriter/guitarist recorded this, his 17th, self-produced album in England last year. Williams also has a strong warm voice that matches his skill as an acoustic guitar player on a variety of guitars including resonator and slide. He is accompanied by some accomplished local players including PJ Wright on dobro, electric slide and pedal steel guitars. The songs include some outside material from Son House's bluesy Grinnin' In Your Face to Mississippi John Hurt's Louis Collins to a striking instrumental slide version of the traditional Amazing Grace. Another instrumental, a more in gentle tone with some atmospheric pedal steel is Devil's Punchbowl. His own songs cover aspects of the human condition and fit the overall blues template as with the explanatory Walk You Off My Mind and Last Chance Love. Brooks Williams will appeal to acoustic blues fans and to Americana fans with this well played and produced collection of above average music from someone who understand the form well. www.brookswiliams.com
James and Amy Little Victories Self-Release
A husband and wife duo, James Cooper and Amy Kelly make melodic, memorable music. The albums opens with an a cappella version of Stephen Foster's Hard Times, this sets the tone for what follows, a selection of songs written by the duo either together or solo. The music is vibrant and rich in musical harmony with a largely acoustic backing. Peppered with banjo, mandolin, fiddle, upright bass and occasional percussion the music sound right for the songs, and the singers. Outside of the opening Hard Times the only cover is a version of I Hope You Dance, here stripped down to its core emotional content which makes the emotion of the song work in a way the more recognized versions tend to overplay. For this listener anyway. There is not a bad track here. It has warmth and welcome and while it is not doing anything that has not been done before, what it does it does in a timeless way that relys on good songwriting, singing and playing. This is music that celebrates those little victories of life. www.jamesandamy.com
The Frontier Needs Heroes 'Self-Titled' Self Released
A entrancing brother/sister duo of Brad and Jessica Lauretti who play a style of folk music that reminds of early Fairport Convention and their contemporaries as well as some of the more stripped down folk music being made today in America. It is neither old time or Appalachian, rather it is folk music that is influenced by the Smiths as much as Woody Guthrie Dolly Parton as much as Joan Baez. In other words what they play and the way they play draws of a range of influences that is wide and eclectic. The result is an album of self-written songs that start with the Brad's guitar, his voice and Jessicas. From that base they add textures like flute, violin, percussion as well as bass and electric guitar on songs like Leopard Eyes and No More War. There is, at times, a sombre melancholy at the heart of these songs but overall the music is uplifting and untrammelled. The sibling harmonies are as strong and striking as you would expect and add much to the overall atmosphere of the music. It is the sort of album that draws you in and one you can find much to admire on repeated plays. With musical frontiers becoming increasingly blurred we need to find heroes where we can.You might find some frontierneedsheroes.com.
Hennessy Keane Nowhere Fast Self-Release
A band built around the two members who give the band its name - Shaun Hennessy and Ian Keane they play country-styled roots rock, a fairly innocuous sound but a pleasant one with the band playing well and laying acoustic instruments under the electric guitar and bass. Producer Nicke Beere plays some Hammond to fill out the sound in places. But as this is the band's first album they can build on the obvious interaction that the band displays on this, their debut album. The two duo write together and deliver the vocals which have a warmth and balance that indicates that, although they are not new to the game, they have found a niche and a way to progress their music. Songs like Ain't Leaving Without You show them off well and they bring to mind a slightly under developed version of The Sutherland Brothers. A listenable album that has some good songs and a solid delivery that suggest that they would also make a good live band. www.hennessykeane.com
Heather Bristow 'Hope On The Vine' Self-Release
The North Carolina native now lives in Gloucestershire in the UK. These she carried on her interest in playing bluegrass and folk music and formed a duo High Lonesome. This is her first album under her own name and it's a good one. Her voice lives up to the name of her previous band and her original songs are perfect vehicles for her voice. The players, which include producer Ben Winship, do a great job and there is never any doubt about the music strengths and authenticity. She cover life and death and in between with songs like Who's Gonna Tend Your Grave?, Aint Glory Grand? and Counting Memories cover the loss side. The Miner's Tale could as easily be on a Steeleye Span album as one from Appalachia, it's acapella delivery makes it an album highlight, as is the duet with John Lowell Lonesome Lullaby. Despite the bittersweet subject matter of some of the songs they are always delivered with a sense of positivity and hope. All in all if your a bluegrass or just a fan of good acoustic music then Hope On The Vine will bear fruit for the listener.
Rosanne Cash 'The List' Manhattan
The story about how these songs came about is, by now, well know so here are 12 songs which formed a part of the 100 important country songs. They are oft covered and well know so it's a tribute to Cash and producers John Leventhal and Rick DePofi that they give them in Cash's hands a new perspective one that his tailored to her emotive and perceptive voice, an instrument that has gained much through the years. On a number of tracks she is joined by a guest vocalist, some of whom add more to the overall effect than others. Bruce Springsteen is a good duet partner on Sea Of Heartbreak, singing the chorus and a verse with Cash. As is Elvis Costello's who sings the choruses on Heartaches By The Number and again what comes across on this album, and many of the similar cover albums released recently, is the strength and integrity of these songs. These are on a list because they are simply strong words and melodies that have stood the test of time. The arrangements here are not overtly "country" but always aware of the songs origins. They are equally, for the most part, suitably sparse and refreshingly understated allowing the vocals to tell the story, to breathe life into the songs. Though an accomplished writer herself Cash takes these songs to heart, makes them her own and delivers one of her finest albums.
Rick Shea 'Shelter Valley Blues' Tres Pescadores
The California country stalwart has come up with another good diverse and diverting set for his fifth solo studio album. Shea's distinctive voice is the centre of these songs,which are mostly self-written with a couple of co-writes and a interesting cover of the Waterboys' Fisherman's Blues. Shea has produced, engineered the album in his home studio, as well as playing guitar, dobro, pedal steel and mandolin. He is a part of the still thriving Californian scene and maintains a direct link to the Bakersfield Sound. Though he may not have the voice of a Merle Haggard he is in the same ballpark. The song also, on occasion, head south of the border as with the Rosie Flores co-write Sweet Little Pocha, which features Los Lobos' David Hidalgo on accordian. Another diversion is Steady Drivin' Man which evokes an earlier era with its featured clarinet. Ty Robby has a campfire/celtic feel and features some fine harmonies from Moira Smiley. The Haleiwa Shuffle, which was recorded in Honolulu has, naturally, a strong Hawaiian music feel on what starts out as an instrumental but ends with a vocal interlude. All of which makes this latest album one that covers an number of options and entertains on its own terms. www.rickshea.net
Joe Nichols 'Old Things New' Humphead
There may be some things about Joe Nichols that may remind long term country fans of Randy Travis, this is best evidenced by the title track here, a song written by three men who have been around the block a time or two and understand the reality of a country song. That trio is Bill Anderson, Paul Overstreet and Buddy Cannon. Anderson and Cannon contribute another good song, this time written with neo-traditionalist Jamey Johnson. Cheaper Than A Shrink may have been written with the tongues firmly in cheeks. But given that Nichols had substance abuse problems himself may be somewhat an ironic choice but it works. With A Team players and a Music Row production it is country music with mainstream radio play firmly in mind which means there's a lot of polish and perfection at play here. Nichols has a strong voice and with the right songs delivers a credible performance that finds him on of the more traditional artists currently on a major label and Old Things New is a showcase for where that side of the mainstream is right now.
John Miller 'Still Carrying A Flame' Folk 'n' Western
It's often the case that albums, especially independent releases, that receive good critical reviews don't find them translating into actual sales. Rather good reviews can often mean the opposite. Then if your making music is largely associated with a particular country then it's that much harder. But in the end it comes down to the music and John Miller has made the best album of his career, one which goes back to his band Radio Sweethearts who released their debut, New Memories, in 1996. Since then Miller has refined his craft. This new album has twelve original Miller songs that resonate with traditional country themes and musical styles. The band is supportive and praise worthy throughout feature his own band and friends, such as former label boss and Teenage Fanclub drummer Francis MacDonald, guitarist Martin Barrett, as well as the legendary B.J. Cole on pedal steel. The production by Miller and Duncan Cameron is clean, warm and welcoming. The songs those beloved by many traditional fans songs that deal with loss and heartbreak delivered with conviction. My Dreaming Party, Tiny Sweetheart Roses, I Just Can't Live Without You are all personal highlights on an album that is consistently good and one I've returned to many times. There seems to be an feeling among some that anything emerging from the UK can't equal that from the USA. Not true, there are many examples of acts from the UK and Ireland that are more than worthy exponents of their craft. John Miller is one of them and if you want to find out for yourself just go to his my space page and have a listen.http://www.myspace.com/johnmillerandhiscountrycasuals
Kevin Welch 'A Patch Of Blue' Sky Music Road
Always a strong writer and recognizable singer Kevin Welch has been making his mark for quite a few years now, as a solo artist, as a member of the Dead Reckoners and with Kane, Welch, Kaplan. This new album finds him recording in Texas with musicians like Glenn Fukunaga, Bukka Allen, Rick Richards and his band mate Fats Kaplan as well as his son Dustin Welch. The songs are well up to his usual standard and are all written or co-written by Welch and are set here in a relaxed roots style setting that has that definable Austin, Texas feel. His concerns are exemplified with a song like The Great Emancipation which deals with spirit and belief and overcoming the inevitable hard times. The songs also deal with location, with leaving, with seeking and finding. Andaman Sea has the sonic depth of a cello as a foundation to the accordion and acoustic guitar backing. It is again Welch's worn voice that brings the song it's focus and depth. Something that is true throughout this album. Those who have listened to Welch throughout his career know his worth and are, like me, delighted to have him back with an album of his own, one that is well up there with his best work, sonorous and sensuous. A patch of blue sky in an often increasingly gray sky. www.kevinwelch.com
Billy Currington Enjoy Yourself Mercury/Humphead
Diversity is the name of the game in Nashville these days with the gameplan deciding most of the major label releases should go for the crossover touchdown. Billy Currington has songs from writers like Shawn Camp and players like Paul Franklin on pedal steel but on the song Love Done Gone Currington co-production with Carson Chamberlain delivers a brass led bright pop sound that is a long way from what I know as country music. He gets a little closer to that sound on Pretty Good At Drinkin' Beer - one of those "I'm a country boy at heart" type of songs beloved at radio these days. Elsewhere the songs look at equating a relationship to the love his dog has for him. Perfect Day has nothing to do with Lou Reed, no this one is about sitting on the beach watchin' the sun come up with a girlfriend. Nice work if you can get it. The rest of the album follows an easy going path with Currington in good voice on both the slow and uptemp songs. A relaxed, sun and fun seeking kind of an album that may well appeal to Kenny Chesney devotees and to his own fans. Bad Of Fishin' again extolls the virtues of more leisure time taking it easy and the music despite the presence of steel and select members of Nashville's A-Team the music is pleasant without ever taking you anywhere special. The closing Lil' Ol' Lonesome Dixie Town written by Billy Joe Walker and Shawn Camp closes the album in a better mode with a uptempo, energetic slice of jukebox playing, beer drinkin' having a fun time but don't let it get out of hand type of fun.