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 Day 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.
Tift Merritt 'See You On The Moon' Fantasy
Tift's last album found her looking to another country now on this one she's looking to another planet. Her music though has not made that kind of journey. Rather her journey is, as on her previous album, been a exploration of her inner self. Though she is working with a new producer in Tucker Martine the direction of the music continues from where Another Country left of in that the songs are, in the main, quieter, reflective with subtle use of instruments that colour the songs with pastel textures. Pedal steel, acoustic guitars, keyboards, brass and strings all feature prominently and give the music and unhurried depth that may seem to a casual listener that the songs lack immediacy but for those who have followed Tift's musical career to date it's what we have come to seek in her music. All The Reasons We Don't Have To Fight is both personal and universal. With two exceptions of Emitt Rhodes' Live Till You Die and Danny's Song by Kenny Loggins, which fit the overall feel of the album, Merritt's songs are focused on her understanding of the people, places and emotions that surround her. These songs have hope and come from a positive place and all are delivered by Tift's ever more impressive singing, which never over sings or over emotes the songs. Her restraint gives the songs more meaning and deep soul that is the measure of an effective communicator and human being, whatever country (or planet) she cares to place herself.
The Sadies 'Darker Circles' Yep Roc
Regular readers will know that I love this band, their mix of rock 'n' roll, country, surf guitar, folk-rock and garage punk makes them the perfect band in so many ways. Add to that some striking songwriting and equally effecting singing and it would be very hard to dismiss them as a potent force, either in their own right, or as participants in other music projects. There combined output too-date shows their growth and the skill with which they hone their sound which despite all the strands it draws from still weaves it self into a colourful whole that is immediately identifiable as The Sadies. Production is again in the effective hands of Gary Louris alongside the band. The songs run from the more restrained haunting mandolin-led Tell Her What I Said and The Quiet One with strong harmony vocals to the more intense opening fuzz guitar fortified Another Year Again. The twang of Postcards or the stripped back banjo induced atmospherics of Choosing To Fly offer another aspect of a band that in some ways come across as a modern day Moby Grape. They are diverse and a delight and should be better know than they are but hopefully Darker Circles will lead to greater enlightenment.
Nathaniel Rateliff 'In Memory Of Loss' Rounder
This album is largely built around the voice and guitar of Nathaniel Rateliff, there are other musicians involved but producer Brian Deck has used them sparingly to let Rateliff's dark, edgy voice be the central focus for his songs which as the title suggest deal with a sense of loss and loosing. The songs often take on a tough stance on like. A song like You Should Have Seen The Other Guy see someone who has reached a point where they have "no way to feel, no way to write" so a sense of desperation pervades the music. When the song requires as on Shroud the music can take on a harder edge and fuller sound. Some of the songs have the feel of a personal exorcism which can make for some powerful music. Rateliff's pain translates into uneasy but compelling listening for those who appreciate an artist who puts himself on the line in an open and bloody way. There are moments that remind me of the Frames and Rateliff may well appeal to those who like their music coming from a place that isn't all sweetness and light. In Memory Of Loss is an album that has a folk edge with electric overtones and Rateliff has a voice that cuts through and is powered by a strong sense of perdition but that is balanced by a way the music in itself has a powerful quality to pervade the consciousness with a positivity that the best blues music does
Country Boy Rolling Stone 'Honky Tonking Too Long' Black Crow
Country music has many roots and many offshoots but what makes it good is the heart and soul that goes into the music. This outfit is led by Bill Crowder (formally of the Sugar Cube Blues Band) who sings and has written all the songs here. You can pretty much judge from the titles where they're coming from; That Woman Treated Me Like Dirt, Honky Tonking Too Long and My Baby Likes The Hi-Life all feel real and raw. While Bill may not be a perfect singer he is the perfect singer for his songs. This is no polished to perfection product, rather it is the product of some real passion. The band includes W.S. Fluke Holland on drums and Cody Dickinson on guitar. Indeed it is dedicated to Cody's father the legendary Jim Dickinson who was an enthusiastic supporter. Crowder songs fit somewhere between Kristofferson (Monday Morning Merry-Go-Round) and Cash (Going Down To Memphis In My Dreams). This is music with dirt under it's fingernails and music I'll return to again to just enjoy the genuine rough shod ambience that the music exudes. From that you can decide if this is your kind of music. Music filled with piano, organ, pedal steel and twanging guitars - the kind of music you don't get to hear too often on radio so it makes a visit to CD Baby or to their MySpace site for samples of what Country Boy Rolling Stone are all about all the more worthwhile.
Ray Lamontange and the Pariah Dogs 'God Willin' & The Creek Don't Rise' Sony Music
This, his fourth album, starts as I remember him in a relaxed funky style on Repro Man but after that with New York's Killing Me it becomes less, well funky. Eric Heywood's pedal steel is well to the fore, alongside that of felow band member and steel and baritone guitarist Greg Leisz and makes you understand why Lamontange has co-credited this fine band and how important they are to this album and its direction. The title is a catch phrase used by Hank Williams but also a song on this album that is a letter to a loved one to whom the writer hopes to return if ... However, as on his albums from his debut, the focal point is Lamontange's distinctive, rough-edged, gritty and soulful vocals. His production on this album has allowed that key instrument room to roam among the bands telling contributions. Jennifer Condos, the band bass player is a main factor alongside Jay Bellerose on drums as they lock together to create a solid foundation for the voice and the twin guitar skills of Heywood and Leisz and other instruments to explore the possibilities of the songs without ever overwhelming them. This is my favourite of Lamontange's albums to date and is one that will allow him to develop his music in whatever direction he chooses while hopefully bringing his audience with him. It's also the place for those with a more of an ear towards country/roots music to connect with a striking singer and songwriter.
Trace Adkins Cowboy's Back In Town Show Dog/Humphead
Moving from Capitol to Show Dog has not changed Adkins music much other than to re-energise the singer and make the songs that little bit more raucous and good ol' boy. With titles like Hold My Beer, Whoop A Man's Ass, Ala-Freakin-Bama and the title track you can see why he is signed now to Toby Keith's label. Adkins can still get in touch with his more sensitive side with slow ballads like Still Love You, a song laced with sweetness and strings. Break Her Fall, is another slow song of regret of looking back and movin' on. But those songs are exception in this boy's world of beer, brown cows, Chevrolet back seats and big guitars. Again, in the main, this is another part of the current Nashville formula, rather than edging towards the pop spectrum this album rides off into a southern rock sunset. Adkins fans will find much to admire and those who aspire towards the faux outlaw allegories will also enjoy its sense of bravado. Adkins has a big baritone voice that is well at home on his new label and it's overall ethos.
Blue Rodeo 'The Things We Left Behind' TeleSoul
Blue Rodeo The Things We Left Behind TeleSoul
This venerable Canadian band are in reflective mood on this double album and prove yet again why they are revered in their home country. The mystery is why they have never gained a greater foothold in Europe. They tour on a regular basis but find little support at radio or have never got the boost that an appearance on Later, or its like, would bring. Again the songs are all credited to the partnership of Keelor/Cuddy. Usually the lead writer takes the main vocal and the other provides vocal backup. Alongside these seasoned writers their is a sympathetic powerful band of bassist Basil Donovan, Glenn Milchem on drums and Bob Egan on mandolin and pedal steel. they are also joined by a range of guests on keyboards, strings and background vocals. I have seen them described as Canada's answer to The Band which consider that the majority of The Band were also Canadian is a little ironic but, for me, they come over as the more roots side of Squeeze, Nick Lowe or The Beatles with strong melodic songs, good production and playing that is always appropriate. It's hard to pin point particular songs as everyone who is a Blue Rodeo fan will have their own favourites. Though I would pick Never Look Back, Arizona Dust, Don't Let The Darkness In Your Head at this moment as songs I like but then, as I said, there's much about this album that enhances the band's reputation and standing. They've been around a long time but are still make relevant and worthwhile music so waht more can you ask of any band. It's a hell of a lot more than most deliver. They may be making music that more reflective, statelier overall but they haven't lost their spark.
D.B. Rielly 'Love Potions and Snake Oil' Shut Up And Play
This CD arrives in a tin with an old style medicine bottle graphic on the front which claims that it is an instantaneous cure for all afflictions but while I can't say it does exactly what it say on the tin it is an uplifting slice of accordion-fueled infectious grooving roots music. D.B. Reilly is a accomplished musician, singer and producer who has a made a potent musical mixture with songs that have a certain black sense of humour at times. Have a listen to I Got A Girlfriend and you'll get a good idea of the darker lyrical twist. His patented potion is equal parts of cajun, zydeco, roots country,blues and early rock 'n' roll. Rielly's emotive voice is equally adept at delivering a ballad like the heartfelt plea Don't Give Up On Me as he is at kickin' up some dust and letting go, as on the T. Rex-ish groove of Loving You Again (mind you I've heard some 50's rockabilly riffs that are a dead ringer for T. Rex too so maybe it's a circle being completed. Any way the point is that this is one of those album that is enjoyable from start to finish and make's you feel good. So maybe his love potion works after all. Anyone who's liked what the Texas Tornados did in their heyday will enjoy this and you don't have to make my word for it you can go to www.dbrielly.com and samples some snake oil for yourselves. Although he has performed with numerous artists in the past this is his first full length and it makes you hope it won't be the last we hear of this particular medicine show man.
Water Tower Bucket Boys 'Sole Kitchen'
This energetic string band have upped their game with their new album. Bringing in producer Mike Herrera (of MxPX and the excellent Tumbledown) gives their sound an new edge and added dimension that makes their self-written songs and multi-vocal assault work that much better than before. They've also added texture with the array of acoustic instruments including banjo, guitar, bass, fiddle, dulcimer, mandolin, harmonica and on three tracks drums, played by Harley Trotland of Tumbledown. These are song that take a age old form and give it a new lease of life as these song deal with the band's life and travails rather than being rooted in the songs of the past that many similar bands use as the basis of their set. Telegraph is a less frantic tale of meeting people in specific places. The vocals are shared between the four players and are often delivered in unison creating a punk like fusion of action and vision. The country break-up tale of Since You've Been Gone could easily find space on a straight country album. London Breakdown highlights their instrumental skills which are pretty damn good. Their hundred-mile-an-hour street gang bluegrass is full on in Blackbird Pickin' At A Squirrel, while the more measured Sunday Night Roast is another strong contender. Kenny Feinstein, Josh Rabie, Cory Goldman and Walter Spencer are the Water Tower Bucket Boys and they are doubtless picking up fans as they go and with the albums getting better with each release it can't be two long before they get the same interest as bands like Old Crow Medicine Show or Chatham County Line. They just need the right breaks and a little more exposure to help them on their way from Their Portland, Oregon base to the world at large. www.watertowerbucketboys.com
The Avett Brothers 'I and Love and You' American
This trio have been building a strong following in the USA through some strong live performances and an increasingly sophisticated set of albums. They have brought their music from it's acoustic string band roots to a full sound that has seen erroneous comparisons to the likes of Coldplay. The foundation of these songs is still rooted in their original intentions but has, in the studio, been expanded and built on to the point where now with a major label and having their album produced by Rick Rubin has brought them wider attention (and criticism) for what they do. The piano and percussion are all much more in evidence on this album, which, not unexpectedly, has a greater sonic footprint within it's sound than on previous albums, although it's immediate predecessor the indie Emotionalism is not that far behind in terms of overall direction. The trio are multi-instrumentalists and also employ a team of additional players to give this album it's layered and textured range. What has been apparent all along is that these guys can write a good song and give it a good lyric. There is a sense of a set of songs that have a high lyric content that are both literary and likable. From the title song to the telling Ten Thousand Words to percussive dynamic of the more upfront Kick Drum Heart. Then there's the sibling harmonies which grace many of the their melodic and memorable songs. Many of these songs will find a place on rock radio as they are filled with hooks and choruses that lodge with the music memory cells. The word is spreading and it won't belong before they start to play in bigger venues and many more will know who the Avett Brothers are in the way the Kings Of Leon built on their original inspirations to reach their own sound and audience. The Avett Brothers are coming from a different place but could end up standing on the same stages but you getting the feeling that whatever way it turns out that these guys will continue to their music. As the song says It Goes On and On.
Mike Bartlett 'Truth & Love' Self-released
A singer/songwriter with a big presence, a big voice and some big songs. His influences range from outlaw country heroes like Johnny Cash and Merle Haggard through to rock with connections to his native Ireland that included Thin Lizzy and The Waterboys, as well with a meaningful band like Pearl Jam. That manifests itself with a rock heart and a country soul, with rock songs delivered in a roots style. Built around the central core of acoustic guitar and voice the arrangements feature a full sound with rhythm section and electric guitar and keyboards. The songs deal with life, reflections on how people deal with its tribulations. How the small man deals with bigger issues is shown in David And Goliath. The title track is a direct appeal for truth and love as the bedrock of any relationship, and is given a sparse setting that works very well in the context of the song. Song That Changed The World looks a the wider issues of hoping for some lasting peace in the world at large. Bartlett doesn't have a hugh vocal range but he still conveys the emotions he intends. The albums is one which has a depth that requires several listens to gain the most from Bartlett's songs. Truth and Love is a engaging debut from a artist who will undoubtably grow and develop as he gains performance and experience. In the end you come away with the impression of a big man with a big heart. It's a shame then that he hasn't conveyed that on the album cover which is one of those that lacks and real connection with him or his music. Find more about him at myspace.com/mikebartlettmusic
Stone River Boys 'Love On The Dial' Cow Island
The tragic death of Dave Gonzalez's Hacienda Brothers partner Chris Gaffney left him with options. Options which he has decided to persue with his new band Stone River Boys which, to a degree, pick up from where the Hacienda's left off with further explorations of the country/soul music that they had at their core. This time out Gonzalez has teamed up with former Hollisters singer Mike Barfield, who has a strong soulful voice well able to bring the depth of soul and the heart of country music to the mix. He also brought a bunch of songs that he'd written solo or with others to the table. Dave Gonzalez is a reknowned guitar player, singer and songwriter himself and this makes them a perfect frontman combination. But in the engine room there are players like Kevin Smith and Hank Mainger on bass, Justin Jones and Damien Llanes on Drums as well as having the textures of Dave Biller's sensitive steel guitar to top it all. Gonzalez has done a excellent job on the peoduction, a meaty one that keeps all the elements balanced. One strong package. The songs rum from Biller's instrumental Steel City to the soul covers Can I Change Your Mind and the Goffin/ King song Take A Giant Step. The original are right up there with the steel led Lover's Prison right next to the sad ballad 40 Acres which has some nice steel and baritone guitar interplay. The title track is the band at it's most soulful with Hammond organ swirls around the compelling vocals. Fans of the Hacienda Brothers will love this. It's not that band with Barfield replacing Chris Gaffney, but rather a somewhat different take on that timeless soul country theme. It the sort of album that grows with listening and is an album in the best sense of a complementary set of songs creating a greater whole. Tune in.
Lilly Drumeva 'Loving You' Music Author
Proving that music crosses many borders Bulgarian Lilly Drumeva and her band Lilly of the West (and guests Monogram from the Czech Republic) are playing quality bluegrass and acoustic country. The songs are from the pen of such traditional stalwarts as Bill Monroe, Hank Williams Snr, Jimmie Rodgers as well as from Tim O'Brien, Townes Zan Vandt as well as contemporary writes like Gillian Welch. The versions here are not pushing any envelopes but are delivered with skill, verve and understanding. Drumeva, in her sleeve note, say her passion for this music came from hearing Emmylou Harris' Live At The Ryman album and that is a pretty good compass point for what's happening here. She also mixes thins up a little by choosing to cover a 1930's jazz standard Pennies From Heaven in a way that nods to it's source. While the closing song, her take on Tennessee Waltz shows that her range could easily extend to traditional country as easily as the acoustic bluegrass base of much of the material. What comes across is a singer and set of musicians enjoying what they are doing and exploring the music they love. It shows that in the future that if it was decided to seek out some less well know choices and expanding on original writing abilities that Lily Drumeva should be able to take her music to another level. In the meantime Loving You is here to be enjoyed.
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