Tim O'Connell 'It's My Song Dammit' Tall Man

The title refers to the fact that O'Connell wrote a song he wrote was recorded by Johnny Cash but only got a release on the Unearthed box set. Rick Rubin commented that it was a song that Johnny Cash had brought in but didn't know who wrote it, Rubin felt it summed up Cash. That song A Singer Of Songs is not included here instead we get ten new songs that range from acoustic styled country to the full bluesy rock riffing of Little Radio, a song that sums up O'Connell approach to life, family and music. About finding his love for music on a little radio and about finding something you love to do. Other songs run from the uptempo upfront Thank You For Being A Friend to the duet with Jill Walsh on Talkin' About Love, a theme that permiates the album with other titles like This Must Be Love, Without You and There's Nothing You Can Do. There's a soulful track That Rightous Road that features the Vanderbilt University's Voices of Praise

Gospel Choir that is another uplifting song. O'Connell produced the album with P.G. Banker in Nashville but other than that there are no musician details. Overall O'Connell has a warm and expressive voice the music is a mix of rootish music, mainly uptempo with a full band and is a good listen that will please many with it's positive attitude and catchy song craft.

Mark Wayne Glasmire 'Life Goes On' Traceway Music

A singer songwriter who plays music that hints of 70's crossover country/folk storytelling that was epitomized by the likes of John Denver or Dan Fogelberg. In other words gentle, easy listening tales that are melodic and musical. It's produced by Glasmire and John Albani in Nashville and features a selection of players including Wanda Vick who brings a folky, bluegrass element to the easy-on-the-ear proceedings. On occasions the song take on a harder theme as on Everything Is Gonna Be Alright a song that deals with job loss and a father's protective title mantra to his worried family, but one that turns out to have a positive message. Positivity is a key element of the music on offer here, an undemanding, life-affirming set of songs that would find favour with many who were fans of the aforementioned Denver and Fogelberg's style of music. Glasmire does what he does well but some of us may be looking for something with a harder edge and deeper roots but there are many others looking for the kind of lighter relief that Mark Wayne Glasmire so obviously delivers with style. 

Lynn Miles 'Black Flowers (volumes 1-2)' True North

The convincing voice and the strong sons of Lynn Miles are the core of this album which features Miles accompanied only by her guitar or her piano playing on a set of new and old songs delivered in their rawest and purest setting highlighting the songs in the fashion that they were, doubtless, first conceived and played. The effect is that of listening to Miles in an intimate setting and hearing the songs in that light. There are 20 songs featured on the two CD which makes it a pleasurable listen for those acquainted with her music or those who like their songs of love, life and location straight up. Otherwise it may be a little too much for new listeners who may find any of her previous, well received and fuller sounding albums a better place to start but either way these songs testify to Miles' talent and her take on human traits. wwwlynnmilesmusic.com

Emil Friis 'The Road To Nashville' Southern Imperial

This Danish artist is releasing his third album of Americana styled original songs. The album opens with a voice and piano track that is, in truth non to enticing, but starts proper with the title track a compelling song that features some mariachi styled trumpet that adds much to the atmosphere. Recorded in a studio in southern Sweden over a two-day period which results in a lose and effective mood across the entire album. The overall sound might be described, loosely as David Gray singing alt-country, but that only gives a superficial idea of his music. Friis has produced the album with a tight set of like-minded musicians who give Friis' self-written songs the depth they require. This could easily have emerged from the USA, or even from the fringes of the city of the title track. Friis writes and sings in English and if you weren't aware you not know that this was not his native language. But that the language of roots American music is pretty universal and travels well as evidenced here. It is a strong and intriguing album that makes you want to hear Friis' earlier efforts but this, by all accounts is a looser more soulful take on the music he makes a perfect introduction to his muse. www.myspace.com/emilfriis

Mark Bates 'Down The Narrow' Self-release

That Bates only cover here is a version of Townes van Zandt says a lot about his aspirations and intentions. It's a pretty good interpretation too. His own songs are good too. That he has the talent Duke Levine on board suggest that Levine thinks so too. Bates posses a voice that does his songs justice and a way with words. His songs as delivered can loosely be described as Americana and beyond. Some of the songs make hard choices. Go On is about leaving while the final track Death Sucks is fairly self explanatory. But the song itself is delivered with not a little humour and a little touch of New Orleans. Other songs start for an equally downbeat premise but are delivered with some panache. A Drunkard's Holiday would be one such song. The other songs are equally full of nuances and angles. The playing and production are, throughout, a perfect match for bates singular take on life. Shotgun With The Devil has a banjo to give the songs a certain mood while the songs expands and illuminates the unsettling nature of the song. Down The Narrow is an album of fairly wide open music and an one that is a strong listening experience for those with a broader view of roots music but one worth the effort to discover. Judging from this I begin to wonder if he's any relation to Norman. myspace.com/markbatesmusic

Steve Mayone 'Long Play Record' Hi-N-Dry

An Americana artist and veteran of several bands this is Mayone latest release. There is something of the old school about Mayone that suggests The Band or Dylan, without ever sounding like them and he may have a way to go to reach their artistic heights. He touches on country with High Lonesome, while at other times a roots rock is rampant while other songs are pure rock like the jumping Secret Garden. Dirty Old Town has some blues harmonica at it's heart, the song is about big town blues and is a Mayone co-writer and nothing to do with Ewan MacColl's song of the same name. As indeed is Help Me Make It Through The Night, another original song with a existing song title. Mayone has produced and engineered this album using a variety of home studios to get what is a remarkably full sound, full of percussion, brass and keyboards as well as pedal steel and mandolin. This is the kind of album with hidden depths that need to be explored for it's full potential to become apparent. The sensitivity of Dear Dad, a more stripped-down ballad express what many would feel but may not be able to express, all of which points to Mayone's growth as a songwriter and an album that is available from his site as your unlikely to come across it elsewhere. www.stevemayone.com

Becky Schlegel 'Dandelion' Lilly Ray

This album covers a number of different bases from stripped down piano-based songs like They Way You Are to the touches of bluegrass of Don't Leave It Up Top Me to country music of I Never Loved You Cowboy. But what is most prominent is Schlegel's voice, an instrument with hints of Alison Krauss and, on occasion Dolly Parton. Schlegal plays a key role in this album from co-production, with Brian Fesler. to writing all the songs on the album. playing rhythm guitar and adding her on-the-money vocals. She can be rightly proud of the work she's put in. The album has a lot of strong points but a couple of songs like When It Rains have an instant attraction not least for it's fine resonator guitar solo. With the right exposure Schlegel could reach the a wider audience but as she is currently on an small independent label she will need a lot of luck to connect with that audience. But in the meantime anyone who encounters this album will doubtless find themselves captivated.

Kim Richey 'Wreck Your Wheels' Lojinx

I really liked Kim Richey first couple of albums when she was considered to be a part of a more expansive set of Nashville writers. However commercial success didn't follow and she moved on recording music that was well outside the umbrella of country music. On this new album there is something of a slight return in that pedal steel is used within the mix on four tracks but you are not going to mistake this album for a Music Row production. Rather that is handled here by multi-instrumentalist Neilson Hubbard who gives the songs some multi-layerd settings that uses a variety of keyboards, brass and strings to elaborate the songs. If you like your music with hints of a whole range of music and some complex arrangements then this album will be for you. Richey has powerful upfront voice and used it well. There are a number of guests who add to the vocal choruses and one who add additional instruments. Players like Will Kimbrough join here for a couple of songs all of which were co-written by Richey and other established writers like the aforementioned Kimbrough, as well as Boo Hewerdine and Marl Olson. Those who have followed Richey through here various stages will find much to admire here. And with songs like In The Years To Come and the banjo-tinged Once In Your Life you can see why.

Dave Gunning 'We're All Leaving' Wee House

An accomplished craftsman, Canadian Dave Gunning is a storytelling singer/songwriter who latest album is a rootsy, rocking album with a full band adding weight to the songs. Communities are a focal point of this album with songs about abandoned hopes as in Ashen Town, songs about moving on with the title track. Songs about arriving,Sorry For The City and songs for those who stayed, As Far As This Town Goes. Gunning looks at and observes the coming and goings of the ordinary men and women who seek solace in small towns or in big cities. Gunning sings with the conviction of someone who understands the rivers and tributaries of humanity. Producer and sometime co-writer Justin Robinson gives the album a warm B3 filled sound that has rhythmic undertow and sense of melody. Dave Gunning is a part of the Canadian songwriter community and a proud one. He has released a number of albums and all are worth hearing and getting to know. Gunning sense of affinity with lives that may seem on the surface unexceptional but are as profound in their own way are reflected in his music which is not breaking any new ground but stands (or falls) on his ability to tell the story he intends to. Here he does a fine job. www.davegunning.com

The John Henrys 'White Linen' 9LB

The latest album from this accomplished Canadian five piece band is a mix of rock, roots and country influences that is a times a little Tom Petty and at others takes a harder edge that approximates to the rockin' sound of the 70's. The band include some pedal steel, mandolin and banjo to flavour the robust roots rock. The songs are written by the band, in the main, by Rey Sabatin Jr. The also can do slower atmospheric songs like Cold Chill, which takes a different perspective on the traditional ballad The Banks Of The Ohio. The title songs os a little more Band like with upfront organ and it shows off the harmonies well. Stars Align is a vibrant guitar riffed song that picks up the positive mood. While a solid ballad like Good Man is blessed by a strong vocal that tells the story of a break-up with empathy. The song Dawson City, another complentative ballad, is a new version of the song which appeared on their first album and shows how much they have come together as band. The final songs Patriot Song is based around a factual event and has a folkish theme with some military percussion and it closes what is a strong, varied album that highlights the strengths that this self-produced band have.

Eddie Clendenning 'Is Knocking At Your Heart' Ventrella

This is an album that is rooted in 50s rock 'n' roll both in sound and vision. The mini-gatefold sleeve is a well crafted homage to the design of that era. As is the music, which is given a fresh take on that time frame too. Clendenning has played Elvis in the Million Dollar Quartet musical which will give you a big clue as to where he's coming from, but it's the lesser know names like Hayden Thompson and Billy Lee Riley who are his primary influences, alongside the playing of key guitarists like James Burton and Scotty Moore. His backing guitar, drums, bass trio - The Modern Sounds are tight and accomplished and to mush to make this album what it is . The songs range from ballads to rockabilly styled uptempo numbers with one excursion to the country music sounds, with pedal steel guitar, of Six Feet Under which shows that Clendenning could easily follow that path if he choose to. He can take on many vocal nuances with ease and is totally into music made in the 50s to which he brings his knowledge, enthusiasm and skill to. All of which gives fans of this genre something to check out, as well as the music released by the Ventrella label. As Eddie himself says in his sleeve note "If you don't dig it - well, you only have yourself to blame". 

Sally Spring 'Made Of Stars' Sniffinpup

A strong songwriter and singer this is Spring's follow up to 2006's Mockingbird release and it is a good one. Produced by Ted Lyons, who also plays drums and guitars has palced Spring at the centre of the music allowing both her voice and her songs the focus that they require. This is also highlighted by the albums cover choices which include a striking, slow paced version of Johnny Cash's much covered I Still Miss Someone which is one of the best given the way it gets the deep loss of the song across in a powerful way. Short Side of Nothing is a Los Lobs songs and there is a live version of Willie Dixon's It Don't Make Sense. But it says a lot for Spring's own songs that they stand up next such an cherished song. Her song Mercy is something that is on a par with Mary Gauthier as indeed are many of her other songs which make it a rounded and reflective album. Her voice reminds a little of Natalie Merchant but is distinctive in itself and delivers there often mournful but uplifting songs with confidence and heart. The band also includes James Masteo of the Bongos and ex-Joe Jackson bassist Graham Maby. Those adding the harmonies include Caitlin Cary, Gurf Molix, Susan Cowsill and producer Lyons. The musical textures include strings, keyboards and accordion over a core of guitar, bass and drum as appropriate. All of which makes this an album that is made by stars and one that shines bright

No Comebacks 'Back In The Saddle Again' Ocean

With Special guest P.J. Proby - now there's a blast from the past. As indeed is much of the music here. The album opens with Proby introducing the album before launching into Corrine Corrina one of 8 tracks that Proby adds his still strong vocals to. But after a while the programmed synthesized sound grates. The drum machine particularly is at odds with the feel of the music. The end result doesn't swing it judders sounding like a country karaoke night at your local disco. Something that's fun at the time but not something that you may want to repeat in the cold light of day. Even the presence of real pedal steel hasn't managed to redeem the overall sound. The closing song, always one of my favourites Ghost Riders In The Sky is just about saved by the icon guitar riff and Proby's over the top vocal. No comebacks primary members Mark Dean Ellen and Johhny Podd doubtless enjoy country music and have made an album on a tight budget but the end result described as "quirky" will not be to everyone's taste but maybe the line dancers will enjoy it.

Chet O'Keefe 'Game Bird' Self-released

This album is packaged in a distinctive Jon Langford illustrated cover. O'Keefe is a bearded troubadour who vocally is reminiscent at times of John Prine. His songwriting similarly has an easy observational/conversational style exemplified by a song like Good Friends. But what really counts here is the strength of the song writing allied to the tight musical ensemble that includes some of Nanci Griffith's band (including Nanci herself on backing vocals), Thomm Jutz and Pat McInerney are joined by Robby Turner on pedal steel, Jimmie McEachern on upright bass and Brent Moyers on trumpet - a highly accomplished set of players who add depth and texture to Game Bird warm and inviting easy-going sound. A sound that has been co-produced by the aforementioned Thomm Jutz and Pat McInerney. But as mentioned the songs are the kind of story songs that breath life into their cast of characters such as the abandoned trailer living Charles (The Ballad Of Charles) or the songs about those who live to a ripe old age (Some Swedish Men) or closer to home a song about the endless stream of Nashville hopefuls (Nashville Star). There is no doubt that those who enjoy classic story/songwriting of this kind which is a little harder to find these days will enjoy this welcome and welcoming album.

Lee Harvey Osmond 'A Quiet Evil' Latent

Something of a side project for Cowboy Junkies members Margo and Michael Timmins though it's a more rounded project that that might suggest with some 17 musicians involved with this multi-facated roots orientated music which runs from the country styled duet between Margo Timmins and (I assume) singer Andy Maize on I'm Going To Stay That Way through the brushed drums and clarinet, smoke-filled laid back musings of Lucifer's Blues through to the rough shod VU motivated cover of Lou Reed's I Can't Stand It. Production is helmed by Michael Timmins, Josh Finlayson and Tom Wilson ( who also is a member of Blackie and The Rodeo Kings). There is a dark hearted ambience at work here that mingles a darkness at the edge of town with strange journeys. For an idea of how non-mainstream this is have a look at the video for I'm Going To Stay That Way on their website as I doubt you'll see it anywhere else. Tom Wilson is the main songwriter here, in tandem with other members and outsiders. So it is largely his shared vision that is at work here. In fact Wilson leads the five piece version of the band who are currently playing live gigs. But the recorded version of Lee Harvey Osmond has much to recommend it to those who like their music edgy, varied and subtly intense with some fine playing making it an album to experience in totality to appreciate what Lee Harvey Osmond has to offer the uninitiated. www.leeharveyosmond.com

Otis Gibbs 'Joe Hill's Ashes' Wanamaker

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