This collection delivers just what it says in it's title. 50 songs on two CDs of classic country story telling. The booklet reproduces all the lyrics so as well as listening you can read the lines of a master songwriter and storyteller who was no slouch as a singer either. He delivered well observed chapters in the lives of ordinary Americans. Living in small towns or big cities. He emphasized with them, never made fun of them but often did so with good humour. The melodies were all good and delivered with zest and solid country styled backings that make this an ideal collection for newcomers and old hand alike. His songs also sometimes crossed over to the pop charts and one of his best know songs was Harper Valley PTA, made famous by Jeannie C. Riley. It's not included here but classic songs like The Year That Clayton Delaney Died, Old Dogs, Children and Watermelon Wine are. He is a classic writer, like Guy Clark, who can tell a story in deceptively simple lines that manage to say a lot more that is actually written. His status was further underlined at the end of the 90's when Real a tribute album featuring the likes of Calexico and Johnny Cash was released/ The latter was a fan and appears here in a duet on The Last Of The Drifters. But the star here is Hall, his singing and songwriting are those of a man who truly knew how to deliver a tale or two in the most simple but memorable way. Many of today's writers can still learn a lot from Tom T. Hall.
Tanya Tucker 'Girls Like Me / Love Me Like You Used To' Humphead
A singer who had success at a very early age and who set the template for the pop-country princesses who came later. The first of these two albums represents something of a comeback for the singer after some non-musical press headlines. The voice is recognizable and her tone was always wiser than her years. The sound is very 1980's with synthesized sounds replacing the twang and rock guitar tones blending with the steel. The second set was released a year later in 1987. Both were produced by Jerry Crutchfield and were successful albums at the time of their release and the start of a run of charts hits for the singer. Fans will likely want to have these on CD but unless you are a lover of this eras studio sounds. More hardcore country fans are instead pointed to her most recent Pete Anderson produced album of classic country songs.
Suzy Boggus 'Somewhere Between / Moment Of Truth' Humphead
Two albums from Suzy Bogguss, the first released in 1988 was her debut for Capitol and it showcased a singer with a large vocal talent that was steeped in traditional country music attitude. A look at the writers involved vouched that; Merle Haggard with the title cut. Patsy Montana's I Want To Be A Cowboy's Sweetheart (complete with yodel), a Hank Williams song - My Sweet Love Ain't Around as well as a couple of Bogguss co-writes. Produced sympathetically by Wendy Waldam it featured players like Jerry Douglas, Brent Rowan and Paul Franklin, who were starting to dominate the session scene back then. All in all a very fine debut and an album that sounds even more country then it had when it was released. The second CD in this set was here second Capitol album, it was produced by Jimmy Bowen who added a slightly more contemporary production for a selection of songs from writers who were then working the Music Row publishing mill, but the quality of the songs was still well above average, especially the heartbreak pain of the Bogguss co-writes My Side Of The Story and Fear Of Flying are country through and through. A two for one two CD set that offers good value not only in cost but more importantly as examples of an artist fresh out of the box and giving these songs the kind of passion that is all too often over played these days
Rachel Harrington 'Celilo Falls' Skinny Dennis
This third studio album from Harrington continues to enhance her reputation as a fine singer and songwriter. Her acoustic studio band have enough firepower to give all these songs the musical textures they need. Her music has been likened to Gillian Welch and there is something in that but equally not enough to not see that Harrington is her own woman. The album was produced by Evan Brubaker and recorded in Washington with additional guests such as Ronnie McCoury recorded in Nashville and Rod Clements' slide guitar added in England. The songs are equally universal with album highlights like Goodbye Amsterdam talks of travel and more. You'll Do is about partnership with the obvious connotations of the title. Another song that stands out by the nature of it's delivery is her unaccompanied version of the traditional ballad Pretty Saro. A song for which she took the melody but wrote words that would fit the story she wanted to tell. Spokane is written by Art Hanlon and fits with her own songs in the context of this subtle musical setting. The tenderness of her Let Me Sleep In Your Arms Tonight makes a compelling lullaby to love and is another highlight. Harrington's music draws from a deep well of folk music even though many of her songs are set in the here and now they have the feel of timelessness that lasting music should have.
Reviews by Steve Rapid
Roger Alan Wade 'Deguello Motel' Johnny Knoxville Records
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.