An established songwriter, rather than establishment one, whose songs have been covered in the past by Waylon Jennings, George Jones, Willie Nelson, Johnny Cash among others. His own recordings got a boost when they were used in his cousin Johnny Knoxville Jackass TV show and movie. His songs are about the people who live their lives on the fringes and margins. Everyday folk who inhabit the stereotype of so called 'redneck culture' but who's lives are as real, and more so in most cases than a stereotype might suggest. The association with Jackass and it's style of humour produced two previous albums - 2005's All Likkered Up and the 2008 release Stoned Traveller with songs about Chickens and Poontang, as well as titles like Fryin' Bacon Nekkid and If You're Gonna Be Dumb which are all delivered with a strong sense of humour and haplessness which can be viewed in several Youtube clips. Wade can be more serious as he shows in Deguello Motel where gets to the heart of these people, their struggles, their ups and downs. But first and foremost Wade has a strong believeable straight-up voice that can convey pain and personality a swell as the more profane. His songs are usually delivered with just a voice and single guitar which, outside of a live situation, can often come across as too stark; and while there are times when a little pedal steel or similar would add atmosphere to the songs. Wade, however can hold your attention through the strength of his story telling and vocal delivery in a way that few can. In the way that Johnny Cash did it with his first Rick Rubin produced album, but, for me, Wade can and does. The are many songs here that shine not least the title songs which immediately sets the tone of observation and realism that permeates these songs. These lines from the open verse of the title songs show Wade's dexterity with a deceptively simple way with words that tell so much - "The desk clerk's a jerk an ol' carnival fella. I asked where he's from he said "Lake Isabella". I told him I been there but I never had. He looked at the clock and I signed the pad." Other song titles include Cowboy Angel, Johnny and Laranda, Ramblin' Rebel Boy and Far Journey From Home which tell the stories of hard times and the occasional soft heart. Perhaps the nearest 'below-the-radar' artist who delivers such strong songs would be the late Blaze Foley. Roger Alan Wade is too much of an outsider to ever gain recognition in the mainstream in this age of sanitized security blanket breast-fed country but shows again that something good, something edgy still exists out there in the shadows, or in room 17 in the Deguello Motel. http://www.myspace.com/rogeralanwade
Lynn Miles 'Fall For Beauty' True North
The album opens with Something Beautiful, a song that seeks beauty and positivity and is a strong opening to a strong album. Lynn Miles is a productive artist whose last double album revisited songs in a solo capacity. Here she uses a full band under the direction and production of Ian Lefeuvre. It's one of those albums were songs, vocal and production come together to deliver something special. Miles delivers her songs with a strength and conviction that comes with experience and understanding. At this point in her career Miles is unlikely to be looking to sell albums in the millions but, realistically, is more concerned, as she states in her song Three Chords And The Truth - an oft-quoted phrase for real emotion - to express some emotional honesty with her music. She has succeeded. Lefeuvre has played a central role in achieving this with his role as producer and multi-instrumentalist. The musical settings allow Miles' voice plenty of room and space that is a much needed balance in a musical world were, all too often, both vocal and music are over wrought and over played. It is a voice at the top of it's game, clear and true. In an album full of highlights some songs deserve special mention including the touching and telling Cracked And Broken which speaks of the human need for love and connection and how it is not rewarded in kind. Vulnerability is central to Fearless Heart wherein the person in the song wishes that they had the courage of their convictions and hopes. But, in truth, it is easy to fall for the beauty that is on offer all over this latest installment in Lynn Miles music journey. It is one that is not only a career highlight but an album that I will return to often.
Kimmie Rhodes 'Miracles On Christmas Day' Sunbird
As befits the album's title this album is full of warm sounds and good tidings. Rhodes is well know to her followers who will be well at home with the sentiments of these songs. Penned in the main by Rhodes and on occasion with a writing partner. Her son Gabriel and husband Joe are again, central to the proceedings. Gabriel behind the recording and Joe looking after the mixing and mastering. They are joined by a diverse set of players including Hunts Sales taking care of the rhythms, Glen Fukunaga on bass, Tommy Spurlock on pedal steel, Floyd Domino on piano and Joel Guzman on accordion alongside Gabriel multi-instrumental contribution. The afore mentioned players may suggest something more countryish than is actually the case. The songs are diverse in arrangements and musical style. Her Wake Up Sleepy Town has a lovely vocal delivery over Guzman's accordion backing. Elsewhere the vocals are delivered in a lighter almost whisper that suits the songs theme and mood. The Toymaker's Hands a case in point. The songs are strong enough that some could become standards and are ripe for covering by other artists. Their arrangement of What Child Is This is haunting and beautiful, the mix of cello and spanish guitar leading to Rhodes elegant vocal. Patty Griffin's Mary is one of the few wholly outside songs and its given an equally strong reading that is in keeping with the strong lyric. There are those that love Christmas albums and those that run a million miles away but this album has been put together not to cash in on a sentimental trend but for the right reasons, for the love of a season. It shows.
Jamey Johnson 'The Guitar Song' Mercury/Humphead
The consensus seems to be that this is an important album in that it is more genuinely country sounding than pretty much everything that has been released on a major Music Row label for quite some time. The other thing is that being a double album of 25 tracks it would have made a better single album. That's subjective as it's likely that no two people would come up with exactly the same list of tracks to make their ideal single disc album. It sell, pretty much, for the same price as a single, so you need to give it some space to listen and find your own choices. Add to that it was produced by the band, know as The Kent Hardly Playboys, and they are the players involved which, for the most part, is not the way it's done, session players being the usual order of the day. Some detractors have pointed out better albums in the same vein, but these are usually independent artists, free of any restraints, and you have to look harder to find the, . This album should be in your local record shop via Humphead and should be easy to order if not. As to the album; firstly Johnson's vocal are strong, his baritone is allowed to stretch and move around these songs some of which extend beyond the usual three minute barrier. Add to that the band also get the chance to get in there and play the songs. The songs are variable some good ones and some not so good ones. His co-writers are often those of the current crop, who have been, seen in some quarters as neo-outlaws, which isn't really the case. They instead mine a seam of southern rock and Hank Williams Jr, rather than a truer rebel like Hank 111. There are a bunch of covers here to that, for the most part work, one being the Keith Whitley co-write Lonely At The Top which is one of those songs that laments the troubadour life but is balanced by the response of life may be as the title suggests but never forget that "it's a bitch at the bottom". Other songs from outside writers include Set 'Em Up Joe a Hank Cochran, Dean Dillon, Buddy Cannon and Vern Gosdin co-write and Mel Tillis' Mental Revenge. The two "sides" are divided into dark and light even though there not a whole lot of difference between the two in terms of sound the themes are lighter on the white disc. Not that this is a concept album in the way that Willie Nelson's Red Headed Stranger was, rather it concept are more loosely defined and adhered to. Overall I enjoyed the album and think that Johnson's heart is in the right place. It's status, to some degree, will be, in terms of the mainstream, seeing how well it sells and what that might infuence the majors in the way the perceive "country" as it appears that pop-country may not have the hold and sales it once had and that country albums overall are have a big sales decline. There are many reasons for that but the quality and distinctiveness of the music has to be a big factor
Po' Girl 'Follow Your Bliss' Self Release
The four piece Po' Girl is fronted by Allison Russell and Awna Teixeira who are the primary songwriters here, with Benny Sidelinger and Mikey "Lightning" August completing the quartet who play a real mix of musical styles that draws on past American musical styles to deliver something that is a contemporary amalgam that usually falls under the alt-country or Americana headings. What is obvious is the strength of the voices of the two singers which work well in their own right but also blend together and with the other members also providing background vocals they are strong in that department and with the fact that all members are multi-instrumentalists and that several guests are featured they, equally, have a rich instrumental tapestry to draw from. When We Are Love has a nice bluesy undertow while Western Skies has a haunting harmonica and the slide guitar under the vocals. Maudite Guerre with its accordion and 16th century French lyrics takes you to a totally different place that is compelling. This band has an organic musical growth that has seen progress along the way to this, their fifth album. Originallu from Vancouver, Canada they recorded this album in Chicago with the band producing it along with Zach Goheen. The end result rewards replaying with much revealed on further listen and the songs open up their charms.
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 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.