Their website tells us that they play "ass kickin' redneck stringband music" and that's a pretty good description of the music this trio play. It's accomplished, lively and lived-in. A mix of original and songs from The Carter Family, Kitty Wells and Doc Watson amongst others all sung with a passion that takes it beyond the notion of mere pastiche. It draws from a deep well but comes out fresh due to the fact that the trio of Caleb Kaulder, Stephen Lind and Nadine Landry have an obvious love for and skill in playing this essential raw and stripped down music. There are a mix of instrumentals and songs that feature the vocals of all three, who between them play some 8 instruments. The title cut has an obvious cajun swing feel with Landry taking the lead on the fiddle let song sung in French. Kitty Wells' I Don't Claim To Be An Angel comes through a time tunnel that could have seen it recorded decades ago, again Landry takes the lead vocal on this tale of loving the right/wrong man. Kaulder's two originals fit beside the outside material easily. His mandolin instrumental Puttin' Up The Wood is fast and shows the bands playing skills. There may be nothing here that those with a strong affinity with stringband music haven't heard before but equally there's little to complain about with such a sense of commitment on display. These songs speak down the ages and address issues that are as timeless as the music even if outside of specialist venues or radio programmes you unlikely to come across The Foghorn Trio unless your seeking it. If authentic sounding stringband music, likely filtered trough a punk rock background at some point, is something you enjoy then you can check them out at foghornstringband.com and listen yourselves.
Reviews by Steve Rapid
Dickie Lee Erwin 'Swan' High Plain
A Texan who has been around the music business a long time Dickie Lee Erwin is a part of the Texas songwriter tradition playing songs that come from his heart and from his day to day experiences and situations that he can see all around. The album opens with I Remember That a song that still sees soldiers heading out from train depots to oversees wars. It highlights Erwin's warm and natural voice and his equally lived-in and lived with songs. The musicians who play on the album serve these songs well and mention should be made of Gary Newcomb's guitars, acoustic, electric and steel which sit above his relaxed rhythm section to give these songs depth and movement. Moving On is a song that shows that how words can cut deep and unresolved resentments can lead to a person moving on rather than facing such problems. Warm Summer Night takes on a more funky groove with Erwin's banjo and Richard Somers mandolin playing on top in the instrumental Barnyard Stomp. Warm Summer Night is the sort of song that one could easily see as a part of a Willie Nelson album. Dickie Lee Erwin is the chief songwriter here with a couple of co-writers involved on two tracks but he has rung the changes here to bring different perspectives to the music so that it has more than one perspective to the musical direction. He has the voice to do that to give each vocal the right sense of the songs underlying story. I'm So Glad's understated acoustic tone is very different from the tale of how a man went from riches to ruin in Time Alone or from croon of Stranger In Blue. Dickie Lee Erwin is a versatile musician who brings his personality into his music which makes it a worthy addition to those names of Texas musicians who may not be that well known outside if as select circle but sure should be.
Tom Mason 'The Blue Buccaneer' Gas Station
Subtitled Songs Inspired by the Golden Age of Pirates and topical with the success of the Pirates Of The Caribbean franchise this sets of songs makes a companion set of songs to those found on Rogues' Gallery, the multi-artist compilation double CD. On Tom's last album Alchemy he had a track called Pirate Song and here he expands that theme into a full album of what I assume are self written songs though it's not clear from the album notes who wrote what. But either way this is simply a great album from start to finish even if you might thing that the theme is a limited one. The album does, without a doubt, stay true to it's course with lyrics, melodies and a buccaneering spirit ensconced in that aforementioned golden age but it's all done with panache and style. Above all it's a joyous album in the same way that the Pogues music is with its sense of community and the living of life to the full. Tom Mason is a very talented player well able to turn his skills to several styles of music at the drop of a hat (or bandana). Here he plays guitar, mandolin, accordion, trombone, dobro and banjo as well as delivering assured and accomplished lead vocals. He is joined on the vocal front by numerous friends including Peter Cooper, Eric Brace, Mark Miller, Pru Clearwater and longtime companion Phil Lee. The Nashville musician pool also delivers such renowned players as bassist Lorne Rall and drummer Paul Griffith as a dexterous rhythm section to underpin these songs with a solid foundation. But the over-riding sense here is a contemporary album that is a much fun as it is musically compelling. Tom Mason has made an album is a worthy credit to his talent as an all round music and entertainer. That's the right word as this is an entertaining album that made me smile and made me want to listen to it again. By its nature it draws on several cliches but it surpasses any doubts with its sheer vitality and modern day pirate spirit.
Zoe Muth & The Lost High Rollers 'Starlight Hotel' Signature Sounds
A singer/songwriter who plays country music pretty much straight down the line with her band. She is singer, acoustic guitar players, writer and co-producer of this fine album. Muth has a voice that is distinctive and memorable with the right degree of emotion that makes it believable in the context of these songs sense of heartbreak and relationship breakdown. The Lost High Rollers deliver the goods too with a solid rhythm section from Greg Nies and Mike McDermott and a mandolin used as both a rhythm and lead instrument played by Ethan Lawton along side the electric guitar, dobro and steel of Dave Harmonson. There the occasional use of trumpet to add a little texture to the mix but it's Muth songs and voice that are the focal point of this their latest album. They play their music as an irony free tribute to the classic country music from the past but without resorting to a pastiche of an earlier era's sound. They do it with ability and heart that gives the music its core value. If I Can't Trust You With A Quarter (How Can I Trust You With My Heart) has that classic wordplay that has all but been expunged from country radio pop-orientated concerns these days. But that's just one song among a whole bunch of good songs that makes Starlight Hotel a real pleasure to listen and return to. It's full of pedal steel and mandolin embellishments that give the music its context, from ballads like Tired Worker's Song to the uptempo dance floor energy of Come Inside or the loneliness that haunts those staying in the Starlight Hotel. An album that will appeal to those who like the country straight, neat and delivered direct to and from the heart.
The Hickoids 'Kicking It With The Twits' Saustex
This band take, on this outing, a similar approach to Billy Bob Thorton's Boxmasters modbilly concept which was a combination of British Invasion and country music. The Hickoids, fronted by the charismatic singer Jeff Smith, deliver an album of covers that include The Who's Pictures Of Lily, The Stones' Have You Seen Your Mother Baby, Standing In The Shadows. The Move's Brontorsarus and 5 more including the more unlikely cover of Brian Eno's Needles In The Camel's Eye. Though Scott Lutz's pedal steel guitar tends to get buried slightly in the overall mix on some of these songs but is there on Elton John's Benny & The Jets. The Hickoids are vibrant force in the live context and play a broader mix of songs that suggested by this mini-album. The versions of these well loved songs may not surpass the originals but serve to see them in a fresh light. Their all out assualt on The Damned's Neat, Neat, Neat shows a range of influences that run from Iggy and The Cramps to the originals sense of energy and drive and rounds of the release in a chaotic rock energized style that will appeal to those who like their music drenched in sweat and guitars on overdrive.
The Hickmen 'Take A Walk Out West' Justbobs
This roots rock band are delivering their second of songs that look closely at the social fabric of American small towns and of urban attitudes. Nothing I Know tells of living in a town with nothing to fix where "you'll love it here there are no queers and nothing we know gets better than this" - the gluttonous American destiny. The protagonist in Nowhere Grind has been "globalized and dehumanized" which gives you an idea where the Hickman are coming from. They are a band as influenced by the Clash's social awareness as much as Merle Haggard's social observation while at the same time being aware of their Rock and Roll Heart. That they deliver these lyrics over a set of well thought out songs that will soon have your feet tapping as well as you, hopefully, thinking. Musically this is a very accomplished outfit. The five piece band have a loose liaison that comes from playing together and from friendship and adds a natural warmth to the songs. Here they are joined by some guests including Mickey Raphael on harmonica and Lee Stein on accordion. They can deliver uptempo songs like the twangy Nothin' Bad as well well rounded ballads like Santa Ana Wind and No One Cried. What About Jay? is a song that looks at the life of a soldier and the consequences that he has to face for making that choice and someone else's orders. Walk On Water opens with a fundamentalist preacher's voice spreading what seems to be some very uncharitable views on anything that seems different. The general attitude of the album can be summed up on Messed Up World which using another guest Ben Decter's organ sound to underpin it's message. The album closes with Walk Out West which looks at the decline of a landscape and way of life taken over by coffee shops and shopping malls and remembers what the West once was. Despite the pessimistic viewpoints the music and album has an uplifting groove that draws you back to take that walk out west or any other direction that music can take you.
The Roys 'Lonesome Whistle' Rural Rhythm
A brother and sister duo who bring their strong vocal presence to a set of songs that have been written for the most part by Lee Roy and Elaine Roy either together or separately with a range of writing partners. The pitch their music between an understanding and love for the fathers of bluegrass and for it's current champions like Ricky Skaggs. In point of fact they have utilized members of the latter's Kentucky Thunder on this album. Skaggs himself along with the Whites appear on one track That's What Makes It Love. The duo also produced the album with Andy Leftwich giving it a clear, upfront contemporary sound that might upset some bluegrass traditionalists by including Steve Brewster's drums on four tracks. Other than that they may not have a lot to complain about with these strong vocal performances and the equally impressive playing from the likes of Randy Kohrs on dobro. Both siblings take lead vocals which gives the songs a sense of variety that makes it such a rounded album for bluegrass fans relying as it does more on song craft that instrumental prowess. Those songs including blue collar tributes like Coal Mining Man, the power of strong relationships with That's What Makes It Love or the warning of taking the wrong path, even with small steps on Give A Ride To The Devil. The Roys deliver there music with a sense of joy and conviction that makes you want to hear that lonesome whistle.
Reviews by Stephen Rapid
Hayes Carll "KMAG YOYO (and other American stories)" Humphead
Here's an artist who comfortably spans roots music in an entertaining, evocative and emotional way. He's can be emotive in the steel guitar backed country tinged low key Chances Are or he can hit you guns blazing on the appropriately titled opener Stomp And Holler. The rest of the album moves between those two points. Often with humour and the observation of human traits. The production by Brad Jones is sharp and serves the songs in a way that gives them variety and depth. The title song a co-write has some off- the-wall guitar from co-writer Scott Davis. One of a talent crew who bring the musical talent to the album. Another Like You is a duet in John Prine/Todd Snider mode with Cary Ann Hearst where each party details their love/hate instant attraction. Bye Bye Baby goes back to a subtle steel, banjo setting. Hayes Carll lived in vocal is full of nuances that make these songs crackle with life. Grateful For Christmas is a song in line with Robert Earl Keen's Merry Christmas From The Family, equally right on in terms of what that festive season really means. Even if it sounds a little odd out of season but then good song-writing never goes out of style and Carll's is one of the best of the current crop writing in the Texas tradition of such renowned greats as Guy Clark and Townes Van Zandt. All the component parts of this album add up to what may well be Carll's best album to date and one that will easily find itself on repeated play.
Carrie Elkin "Call It My Garden" Red House Records
This album was recorded at fellow singer/songwriter Sam Baker's home and sounds like all involved had a good time. It was produced by Colin Brooks of the Band Of Heathens and Danny Schmidt this album has a very strong vocal presence led by Elkin but bolstered by Baker and Raina Rose and Robby Hecht among others on harmonies. A full band led by Brooks bring light and shade and a subtle complexity to her songs all originals bar the single cover which is Dar Williams' Iowa. The overall feel is one of intimacy even with the more uptempo songs like the opening Jesse Likes Birds which quotes the "Mamma's going to buy you a mocking bird" line. Many of the songs touch on the renewal and growth that the title suggest. And as with any garden there are a mix of the pretty blooms and the occasional thorn. Call It My Garden though is one of those albums that need to be taken in context each song planted carefully against its neighbour to be seen as an overall picture of a this person and her thoughts. To listen to this album is to sit in a warm garden surrounded by scents and colour. Elkin pays tribute to her host and is joined by Sam Baker on the delicate Dear Sam. The album closes with The Edge Of The World a song recorded in one take that teeters on the brink but adds a layer of spontaneity that sums the attitude and affection. Elkin's folk music offers much to admire and allows entry into her not-so-secret garden of earthly delights.
Loretta Lynn "50th Anniversary Collection" Humphead
This double CD set celebrates a true original and one of the icons of country music. Lynn wrote from the heart and wrote about her relationships and her life and it still rings true today. These 36 tracks run from I'm A Honky Tonk Girl through such milestone songs as Don't Come Home A Drinkin' (With Lovin' On Your Mind), Fist City, Coal Miner's Daughter, One's On The Way, Rated X, The Pill as well as some of her classic duets with Conway Twitty, including The Letter, After The Fire Is Gone and As Soon As I Hang Up The Phone. For those who have been fans for a long time this collection may replace some worn vinyl or those old ten track CDs. Or if you know her through the recent Eilen Jewell tribute album her her last Jack White produced album then this is for you. Because, on any level, this is powerful music with themes that are as relevant today as when they were recorded and even if the music is of it's era it has worn well and still sound good today. As a writer Lynn was writing about topics that weren't touched in other genres at that time and, in that light, she was and is a role model for aspiring writers and singers to follow. This is a very fine collection of country music that will be a worthy part of any music collection and a round up of all that was good about Loretta Lynn.
Gurf Morlix "Blaze Foley's 113th Wet Dream" Rootball
Being a fan of both Blaze Foley and Gurf Morlix I looked forward to listening to this tribute from on musician to another. Nor is it the first time by any means that Morlix has worked with these songs. He has appeared on both the albums Oval Room and Cold, Cold World as well as on the triple CD tribute album If Only I Could Fly. So Morlix is well aquainted with Blaze Foley's the song-writer as well as with the man himself. He has done much to keep Foley's name in front of people and this album does that. Morlix, as he usually does, plays all the instruments and his long-time drummer Rick Richards is again present on the drum seat. A documentary on the late singers life has been released and Gurf Morlix is playing a number of gigs accompanying screenings. Some don't quite get the way Foley is held in such high esteem, seeing him as an average songwriter with a couple of great songs, the most well known would be If Only I Could Fly recorded by Merle Haggard. But there is a rare humanity in Foley's writing which Morlix captures and if you haven't any of Foley or Morlix's albums this is a good enough introduction to both but I would still advise getting Foley's Cold, Cold World or Morlix's own Last Exit To Happyland as first choices but if your a fan of either you will want to at least hear this gritty, gracious tribute album that has been done for all the right reasons.
Kip Boardman "The Long Weight" Ridisculous
This LA sideman, who has played with the likes of Randy Weeks and Mike Stinson, steps into the spotlight for his third solo album. He channels his inner Harry Nilsson and others with this melodic and structured take on crafted American songwriting. The album is produced by Eric Heywood and uses a couple of his Pariah Dog bandmates to give the album a warm rich sound which is graced, on occassion, by Heywood's elegant pedal steel. Kip Boardman plays keyboards and acoustic guitar and sings these self-written songs including a quietly questioning Can't Take This and sadly spatial Bowline. Alongside the instrumentalists are the highly experienced trio of Gia Ciambotti, Claire Holley and Kristin Mooney adding their memorable vocal harmonies behind Boardman's often wistful vocals. Recorded by Ryan Freeland the main players recored live and this gives the sound a spontaneity that is a solid bedrock on which to build up the sound layers - all of which serve The Long Weight well. Lovers of the honky-tonk hardwood floor should look elsewhere but if literate, well-played songs in the classic American songbook style are something you admire then Kip Boardman may be a Michael Buble, of sorts, for the Americana generation. This is music that needs engagement and a certain amount of solitude to appreciate its strengths.
Lowlands "Gypsy Child" Gypsy Child Records
A big sounding band that blend roots rock highway anthems with folk rock anthems. This Italian band sing in English and sound American. Given that Green and Red keyboard Chris Cacavas player help to mix the album with producers and band members Edward Abbiati and Roberto Diana that should not be surprising. Cavacas also quests on a trio of tracks as does Australian band You And I's Tim Rogers and American lap steeler Mike Brenner. Abbiati sings well has has no trace of his native language in his impassioned vocals. Abbiati is also writer for the 7 piece band who are capable of subtly as well as a full on sound. The band's playing is good and the sound strong even if what they're doing is not particularly original or distinctive outside of the overall parameters of their chosen songs. But that doesn't take away from the fact that all the component parts of the songs and of the playing deliver as they're supposed to. In the end it's down to the songs and some stand out like the accordion bolstered Between Shades And Light, Without A Sigh and the frantic Gotta Be (Something Out There). There are some songs that are stripped back as with the solo guitar and voice of the sad He Left or the lament of the closing Blow, Blue Wind Blow which features Amanda Shires on fiddle and vocals. Lowlands have I'm sure built up a strong loyal fan base and when they tour give a powerful show that like this album will find fans who go for the big sound they make.
The Wailin' Jennys "Bright Morning Star" True North
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