An all singing, all sitting trio who have already released some acclaimed albums. Bright Morning Star sees the trio of Ruth Moody, Nicky Mehta and Heather Masse deliver a set of retrained songs that have a striking vocal presence with each of the trio handling lead and harmony vocals on set of self written songs with one traditional song thrown in the shape of the crystal clear unaccompanied and haunting Bright Morning Star. The sound is folk based and acoustic but filled out by the full band which includes bass and drums as well as electric lead guitar from the likes of Colin Cripps. Produced with taste by Mark Howard and David Travers-Smith it is a tapestry of understated tones that allow the vocals to take centre stage and beguile the listener. Another part of the current wave of interesting roots based acts from Canada the Wailin' Jennys sound is part of a recent folk linage that links the Americas with their European heritage. Across The Sea lyrically is about a woman's love for her man where ever he may be, at sea or elswhere. Many of the songs have a sense of longing and love that may not be always that easy to obtain and that sense of distance is there within the voices. This is a gentle, quiet but undeniably attractive music that is far from the wailin' of their name put rather a more siren like call. An album that should be heard in that context it will only enhance their reputation.
Larkin Poe "Summer", "Fall" & "Winter" Self-Release
The duo of sisters Rebecca and Megan Lovell continue the series of season named CD eps with Summer, Fall and Winter both of which like the previous pair highlight the sisters writing, singing and playing. Both play several instruments along side their band of Daniel Kimbro on bass, Mike Seal on electric guitar and piano and Chad Melton on drums. This gives a wide scope to the songs which are at heart built around an acoustic base that references folk, country blues, country with elements of rock, pop-rock, jazz and even reggae. An eclectic mix that sounds more coherent on the actual eps but still one that may be for more open minded listeners and one much more interesting that much of the mainstream pop-country that charts these days. Which means that it's unlikely that Larkin Poe will grace country radio stations playlist anytime in the near future. It is also a way for the duo to get a bigger set of songs out than they would otherwise perhaps have be able to do with a single album. Summer has it's half dozen original songs with an additional trio of live tracks that include a trad song and a version of Massive Attack's Teardrop. On Fall a standout is the slow paced Fall From The Tree which has some memorable atmospheric guitar as part of the sound. Winter finishes the foursome in style with 7 tracks that, while having no obvious thematic links, other than Mindy Lacefield and Annette Munster's cover artwork none-the-less seem to suit their chosen season. Comparisons have been made with the Dixie Chicks and while that makes sense the two bands don't really sound alike. If you like Americana drawing from a lot of sources and with strong female lead and harmony vocals then Larkin Poe will offer you much to enjoy, all year round.
Reviews by Stephen Rapid
Susan James 'Highways, Ghosts, Heartaches and Home' Self-release
The fourth album from California native Susan James is an accomplished songwriter and singer. Her music is Californian roots music with all the songs written and produced by James and there are some good ones here. Funnily enough at times I was reminded more of the UK and early folk-rock crossovers like Fairport Convention. But there are pretty large inputs of American roots music in the fiddle, dobro, mandolin and banjo alongside the electric guitar, bass and drums and Hammond B3. All of which give the songs variety and depth. Songs like Thank You Tomorrow or Cold Moon On The Highway with Paul Lacques guitar and with vocal interjections give a cinematic feel to this song of being on the road. There's can you help me write this song plea to Bob Dylan in Calling Mr. Zimmerman. Songs like How To Fix A Broken Heart take a softer more melancholic pace sit alongside more uptempo Airstream Girl which opens the album. The band here includes 3 members of I See Hawks IN L.A. as well as Gabe Witcher from the Punch Brothers on fiddle. This is an album that warrants repeated playing and shows James is continually growing as an all round artist with her music.
Bettysoo 'Heart, Sin, Water, Skin' Self-release
From the opening bars of this album it is graced with a distinctive Gurf Morlix production. Morlix has played on and/or produced some great albums with Lucinda Williams, Slaid Cleeves, Mary Gauthier, Ray Wylie Hubbard and Troy Campbell. Here he is producer, engineer and mixer as well as playing a host of instruments alongside additional instrumental contributions from Todd Wilson on organ, Gene Elders on Fiddle and Dave Terry on drums as well Bettysoo herself on vocals, acoustic guitar and percussion.This is her fourth release and her earlier music can be heard on her website. But here she excels with a some strong songs, some atmospheric musical settings and a voice that can be soft and beguiling (Just Another Lover, Whisper My Name) or more insistent with her delivery (Get Clean, Still Small Voice) but overall these songs are delivering at a slow burning pace that allow her vocals to deliver the songs with a clarity and conviction. It also allows the listener to be drawn in, to hear her heart, to live her sin, to slip under the water and let the music get under the skin. The sole cover is the cover of the Jimmie Davis / Hank Williams Snr. song Lonesome Whistle which closes a fine, rootsy album in a simple voice and guitar setting that again underscores the emotion of the song and the character of her voice. www.bettysoo.com
Kimmie Rhodes 'Dreams Of Flying' Self-release
Following her Christmas release comes this new album of original songs and two covers. She is again with her son Gabriel as producer. There have been some tough times for her of late and this is reflected in songs like Back Again with it's refrain of "trying to bring you back again". Elsewhere the songs are of a personal exploration of relationships and of love. Personal and universal. Her voice is often understated and unforced. It allows for her essentially gentle nature to shine through over the restrained backings provided by Gabriel and musicians like Charlie Sexton and John Gardner. One cover is a duet between Rhodes and fellow Lubbock native Joe Ely on Donovan's Catch The Wind, a version which draws a certain weariness into the song. The other is a song written by her son Jeremie Rhodes, Again it fits perfectly into the overall picture, which is one that her fans will enjoy. Much of the album deals with coming to terms with the way life can twist and turn and through up the unexpected. But in doing so you need to face it with fortitude, understanding and love for those around you. Dreams Of Flying is about finding a certain release and for Kimmie Rhodes one way to do this is through her music and her musical family. There are a lots of strands within the textures of this music that can be warm and playfull as well as being, at times soulfully sad, but always listenable and always Kimmie Rhodes at her best and most poetic.
Joe Nichols 'Greatest Hits' HumpHead
Living up to it's title this is a 10 track primer with tracks taken from five albums and featuring several producers. Nichols has a strong country voice but his material here reflects the more radio friendly aspect of his songs. There is little here for a good vocalist to get his teeth into. The Shape I'm In is about a man holding it together but he lyrics never really progress from the I'm doing alright aspect. Tequila Makes Her Clothes Fall Off has a good vocal from Nichols and is a catchy enough song with some obvious country sound over the aggressive drum and guitar sound but it's a shallow enough ditty. Brokenheartsville follows a similar pattern. Size Matters again plays on the pun, the heart in this case is a man's heart. There are other songs that are undoubtably fun and the fact that they're means they're the ones that got through the radio filter and out into the mainstream. What's A Guy Gotta Do and Cool To Be A Fool are fun songs that show why Nichols has been around long enough to make these albums. The best song written by Harley Allen and Bill Anderson also allows Nichols his best vocal. It's more understated that the other songs and works on a different level. If you are a hardcore fan then it's likely you'll have all the song here but for the casual listener it's a pretty good round up of what Joe Nichols is about and where the mainstream is at over the last few years. It is more country than some and has a vocalist who is obviously someone who has been reared on the classic country mainstream of the likes of Randy Travis.
'Loaded: The Best Of Blake Shelton' HumpHead
Another collection of songs gather together in a hits package. This one has sleeve notes from Shelton and gives some perspective to the song choices. At the heart is Shelton who again has a voice that has fits with the requirements for country radio. He has a good voice but here there is a sense that everything has been polished to perfection which means he lacks some grit but has delivered. Production has been handled by some veteran producers who know the real thing when they hear it including Bobby Braddock, Brent Rowan and Scott Hendricks. A song like Baby has orchestration and was a number one song and is in complete contrast with Playboys Of The Southwestern World which is a "let's go to Mexico" type of fun song that Shelton didn't do well at radio but was an in concert favourite and you can see why. Equally aimed at the fun side of thinks is the Paul Overstreet co-write Some Beach which has some of that Jimmy Buffett vibe beloved of Nashville lately. Totally different is his version of a song he saw Conway Twitty do on tv. It's a big ballad and he gives it a big performance. Another ballad with a emotional vocal is Don't Make Me, his cover of Home, a Michael Bublé song continues the ballad theme in a orchestrated songs that a lot less country than anything here but shows Shelton's vocal skills. Again contrasting with the good ol' boy fun time attitude of Hillbilly Bone, a duet with Trace Adkins, and Kiss My Country Ass. The album closes with Who Are You When I'm Not Looking which sees Shelton in a George Strait mode and rounds off a useful collection for new fans and those who like their country music slick and a with a little more soul than they might find else where when they want to get loaded.
Reviews by Stephen Rapid
Dave Gleason 'Turn And Fade' 326
Dave Gleason is an example of someone who loves traditional country music, filtering it through many layers of related genres to produce music that is relevant to these times. Gleason is a singer, songwriter and guitarist. The latter skill is obvious from the opening instrumental All Morning Long. The title track is next up and Gleason is joined by harmony vocalist Cindy Wasserman, as he is on a number of other tracks. If You're Going Through Hell is classic heartbreak and features the fine pedal steel playing from long-time California country sideman Chris Lawrence. Pale Blue again highlights Gleason subtle Telecaster guitar skills with some extended playing. Gleason delivers some heartfelt vocals on songs like The Neon And The Wine another tale of lost love and doubtful dignity. Radio 1965 is a uptempo song that musically is rooted in the more free thinking broadcasting era of it's title's era, even if the lyrics again look at more emotionally troubled times. But for this listener a definite album highlight is the mournful lament for times, people and places now gone by, The Rails Don't Run Here is just on the right side of sadness, one that draws the listener into the songs and to allow one to imagine their own losses. The second instrumental The San Joaquin, has the flavour and styling that the title would suggest as well as referencing back to earlier times with echoes of Don Rich and the Buckaroos. So it's appropriate to mention the players on this album who along side Chris Lawrence include bassist Jason Chesney, drummer Justin Smith and second guitarist Rich Dembowski. Debra Tala play accordion on another slow meditative track Tonight, as well as on The Rails Dont Run Here. Collectively this team deliver. This is Gleason's forth album and arguably his best to date. The album closes with two more strong songs Wait For The Rain and Wishing I Was Here Tonight. The former a slow, guitar and voice lamentation while the latter a more robust band outing that rounds out a terrific album that highlights how far what passes as country in mainstream Nashville these days has gone. But then California country always seemed to be at odds with Music Row and always for the most part, produced the more interesting and lasting music.
Mike Stinson 'The Jukebox In Your Heart' Stag
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