Here is a man with a jukebox in his heart who over his three albums he's been writing songs to fill it. Both Jack Of All Heartache and Last Fool At The Bar are rooting in traditional honky tonk memories and mores. The bar is the place where you go when you have no where else to go or when you start looking to restart the process again. Stinson moved to Houston, Texas recently and this album was recorded there. Production, this time has been handled by Jesse Dayton, an renowned artist in his own right, and a perfect producer for Stinson. The players are those often used by Dayton himself with a couple of guesting vocalists such as Jim Lauderdale and Brennan Leigh. His song Late Great Golden State, already covered by Dwight Yoakam, was recorded appropriately enough in Los Angeles and in some ways is a tribute to the early part of his career spent as a stalwart of that particularly active West Coast country scene. Stinson is a fine traditional writer and a distinctive singer who is growing into both attributes. His voice, at times, reminded me of a young Willie Nelson and more than suggests that age will mature his voice into a something that's very much his own. The songs anchored by fiddle and steel and some telling twang (from Dayton) may not fit with everyone's idea of what they think contemporary country to be but this is, without doubt, from the heart and delivered with true feeling and style. Listen to Walk Away to hear a telling sense of loss. Stop The Bar is pure honky-tonk philosophy - a man, a bar, a memory that needs to be revived or lost. While I Will Live To Drink Again is self-explanatory positive pessimism. While No One To Drink With further emphasizes the neon-tinted nature of the loner looking for company for his misery. That may be the overall theme, but the music is delivered in a life-affirming way that makes this a thoroughly enjoyable slice of hardcore country philosophy. Mike Stinson is writing the kind of songs that were once described and delivered as "white man's blues" and it's as important as ever that there is someone, even on the fringes, making this music that will soon find a place in the jukebox in your heart.
Malcolm Holcombe 'To Drink The Rain' Music Road
Something of an old hand after several albums. Holcombe has again brought his craggy well-lived in voice and philosophical song into the public domain. Those acquainted with Holcombe's previous work will be again happy have more of it to make their own. That he has been able to continue making albums, mostly on different labels, is something to be thankful for, especially when they are as good as this. Here he is backed by a collection of sympathetic players such as Dave Roe and is produced by Jared Tyler. The setting is largely acoustic and natural with subtle playing that allows the fiddle, upright bass, unobtrusive drums, dobro and acoustic guitar the space to make an understated but rich musical tapestry. This is obvious on the bluegrass tinged Behind The Number One or Down In The Woods. Comes The Blues draws from another well, one that Holcombe's voice and musical direction accommodates easily, a slow talking blues. He is a songwriter and singer much praised by the likes of Lucinda Williams and Mary Gauthier both of whom write their songs from a very personal and also observational viewpoint and using a blend of roots music to make them believable. Becky's Blessed is a compassionate portrait of another person humanity. Those Who Wander is typically understanding of the rover and their restlessness. Where I Don't Belong continues that theme in a striking uptempo setting. Reckon To The Wind is more reflective but equally memorable. The closing song sums up Malcolm Holcombe. One Man Singin' closes what may be one of his finest albums, one that fans will enjoy and those who have never discovered Holcombe before will find some new music that will make an impression that will last.
The Avett Brothers 'Live, Volume 3' Sony Music
The first thing you need to know about the Avett Brothers is that they write great songs and play them with gusto. Especially in front of a live audience as this album attests. This is their 14th release since 2000 and their third live album as the titles shows. Four of those release were EPs so that leaves 7 albums proper over which they have developed their sound and skills. Ostensibly a trio of guitar, banjo and double bass they were first viewed as some form of mutant punk bluegrass and while those elements exists there's a whole lot more to their sound. Here they are augmented by Mile Marsh on drums and Joe Kwon on cello, add that to the combined fire power of piano, kick drum, banjo, guitar, electric and upright bass and they can bring a lot of texture and sonic possibilities to their live sound. Recorded in front of a loving partisan home crowd in North Carolina in 2009 they run through a set of songs drawn from their albums to date making it a good introduction to the band and their talents. But as I mentioned it's the songs that will last and broaden their audience. Highlights include The Ballad Of Love and Hate, I and Love and You, Shame, Murder In The City but they hardly flag throughout and obviously draw from the energy of the audience and return that energy in a sterling, emotional performance. Scott, Seth Avett and Bob Crawford all sing and those vocals are central to what makes them special, either singing solo or as a unit or adding harmonies, it is a special sound that with the backing of the major label they are now signed to should see them moving from their devoted cult following to something much broader. If not they can be proud of their legacy of fine music and some memorable and lasting songs that have some exceptional lyrics and tunes.
Reviews by Stephen Rapid
Jesse Brewster 'Wrecking Ball At The Concert Hall' Crooked Prairie
Not a live album as the title might imply but rather a collection of 10 self-written song from Brewster and his band which fall on the roots rock side of things. The opening song All Those Things I Said is an uptempo song dealing with the telling of lies that is powered by twin guitars and contrast with some of the more ballad orientated Fuel To The Fire which follows. These two songs are the twin balances of Brewster's songs. The songs often touch on a hard rock attitude that no doubt makes for a lively band in a live context. The twin guitar, bass and drum line-up is fleshed out by the added texture of piano and organ. This gives the music a solid platform for Brewster to sing over. He has an expressive voice, if not one that has a particularly distinctive edge to it. However these are his songs and he can deliver them with conviction. God Fearin' Man is powered by a solid guitar riff and again it is followed by the more solemn song of a drink refugee Dive To Drown In. San Francisco native Brewster draws from a wide range of influences and such diverse icons as Neil Young,Tom Petty, Willie Nelson and Lynyrd Skynyrd. While these are all, no doubt, in there Brewster music is a more generic mix of these and other elements. This is an album that depends on it's singer and songs to make it work and while it may not be to the taste of more rootsier/country fans it could, with songs like I'm Not Broken, find a bigger audience if they in some way connected with the Wrecking Ball At The Concert Hall or in their own home.
Clive Barnes 'The Ghost Country' Leander
Always a compelling live artist either solo, with additional musicians or playing the role of sideman to others Clive Barnes has continually developed his recorded output. Which has led to The Ghost Country being his most realised album to date. He uses a full band to add additional flesh on the bones of these strong songs. Barnes has a sandpapered voice that has gained depth and resonance over the years and will continue to do so. Though here he is joined by Siobhan O'Brien who adds a balance with here sweet voice. The songs are also testament to his growth as a writer of these tales of blues inflected relationships with people, places and passage between the two. William McGlynn and Dan Hingerty are a bedrock rhythm section who give the songs direction without ever overwhelming the subtle textures of Barnes' ability as a guitarist. Something he enhances here with, on occasion, electric guitar banjitar, dobro and lap steel. There's also a light touch of keyboards on a couple of tracks which add the overall strength of the music on offer. It's also one of those albums that works in context, as a unit of songs, rather than a set of individual songs. It's best listened to as a whole which is out-of-step to how a lot of people listen to music these days. But as a taster listen to Losing where Joe Ryan's pedal steel adds atmosphere to this tale of a request for redemption. The title and mood may also suit a country of ghost estates and cold wind recession but this is music to raise the spirit rather than to drown it from an artist who deserves greater recognition than he often receives.
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Susan Cattaneo 'Heaven To Heartache' Jersey Girl
An accomplished singer and writer Cattaneo plays a style of country that mixes a certain amount of country with some other styles in a way that reminds a lot of late 80s, early 90s mainstream country. Some of these songs, all of which were written or co-written by Cattaneo, wouldn't sound out pf place in the set lists of Mary Chapin Carpenter, Pam Tillis or Martina McBride. They are songs very much from a mature female perspective. This is not teen/pop country rather life s seen through the eyes of some one who has a lived it a little.
Some of the songs are immediately memorable and could easily gain a wider audience if that audience were ever to get closely acquainted with them. Girls Night Out would be a prime example of that and would have an across the board appeal. Shave is a song about a woman getting up in the morning and watching her man shave, and enjoying the simple pleasure of that simple act. Just Like It Was Texas is a song that reflects on the road of life and the sudden turns it might take. Gotta Get Gone is one of those songs about driving away from an old life and now dormant relationship. These are oft returned to topics but Cattaneo makes them believable not least through her strong voice but also through the music which is graced by some fine playing from the likes of Pat Buchanan, Jeff King, Randy Khors, Glen Duncan and Dave Mattacks. So some supportive and vibrant playing underscores these vocal performances from an artist who, judging by the thanks to her Italian bands, is already making inroads in Europe. As her songs says "country music is the state I'm In". Few would disagree with that statement whether she's in a reflective or rockin' mode.
The Lucky Strikes 'Gabriel, Forgive My 22 Sins' Stovepony
Although it doesn't always work as an indicator I have found more often than not the better CD I hear are the ones that come in the better designed sleeves. Ones were some though and effort has been put into the packaging. The Lucky Strikes album is well packaged to be evocative of the subject matter of the CD which is the story of boxer Frankie Valentinez, a one time champion who after throwing a fight falls apart. Though reproducing the lyrics would have doubtless helped with understanding the story and I don't think they are reproduced on the website either. Musically this UK five piece are closer to the rock end of the spectrum that the country-rock one. The vocals are often give a distorted treatment and the music although it features fiddle, steel and banjo is pretty full on. The usual touchstones of Neil Young and Exile era Stones are mentioned in one of the quotes about the band but that's slightly misleading other than to place them as a rock band with roots overtones. The music has a certain energy and attraction though it's not an easy listen and at times short on melody it is big on atmosphere. A couple of times I found myself thinking of early Family, not a bad thing in truth, though lacking Roger Chapman's highly distinctive warble. When things ease a little as on Slowly The Night Fades you get a different perspective on the band and it gives a more rounded view of what is, I'm sure, in a live context a pretty abrasive experience. On record it takes a few listens to get totally in tune with the album but once you do there is the feeling that something has been accomplished with this album that is that bit different than what is happening in UK alt. country circles at the moment. A thoughtful, evocative if jarring and jagged album that will be either loved or disliked, but one that backs a punch. Not to be confused with the Austin band of the same name. www.theluckystrikes.com
James Otto 'Shake What God Gave Ya' Humphead
A singer who has the voice to deliver these sometimes turbo powered southern rock/r 'n' b styled country songs. Most of which Otto had a hand in the writing of and he is also heavily involved with the production, so one has to assume that this is the James Otto sound that he feels comfortable with. At the moment there seems to be a swing on Music Row to this mix of good ol' boy attitude, country musings and controlled rock guitar overtones. Old hand Al Anderson has a couple of writing credits here and plays a guitar solo on one track as does Otto himself on two. All good, if this is your kind of thing, though the whole thing sounds like it could have been roughed up a little at the edges. When Otto takes on a slower song as on the patriotic Soldiers & Jesus, or the more soul orientated Sun Comes Round Again or the break-up song Let's Just Let Go he is able to but across the emotion without the bombast and shows himself a talented vocalist who, with a little more grit, can really deliver. The closing track is a r 'n' b styled duet with Ronnie Milsap and it closes the album with aplomb. Otto may not tick every box for your average country fan but shows that he can grow his music in a number of different directions in the future. One that, given the right circumstances, could be wide open for him.
Miss Quincy 'Your Mama Don't Like Me' Self-Release
A compelling singer and writer who makes here presence felt right from the get go. By the time you hear the second track Nobody With You, as in "you don't take nobody with you when you go" sounds like it should have been played in an Alaskan mining camp in the 1890's or in a cabaret in Berlin in the 1930s. The music on offer here was recorded in below zero temperatures in a log cabin in British Columbia with a group of acoustic players who all give these songs solid texture and thrust. Banjos are plucked, violins and mandolins are playfully played. This is an of-the-moment cold time take on old time music that could well make Miss Quincy a hip name to drop in the future. She has a strenuous, forceful voice that has character and carnivale clarity. The plaintive songs are rooted in strong woman blues, vaudeville vehemency and string band sanctity. The harmony on Wild Mountain Flower blows clear from a different time though they come from Miss Quincy's own hand. Reno's Song features is a cross continental musical instrumental while the evocatively named Sweet Jesus Cafe has tap dancing and a multi-voiced chorus. It must have warmed up the cabin that night. A couple of outside songs are by Memphis Minnie, an inspirational source, among many hints of past times and passed over times. These are memorable songs from another name from the increasingly independent Canadian roots music sector. Check out www.missquincy.net
Tom T. Hall '50 Greatest Hits' Humphead
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.