Humming By The Flowered Vine, Laura Cantrell's last album was on Matador records and it found her broadening her musical palette, a move that pleased some and was less well-received by a portion of her earlier fans. This new project grew from her being asked to do a show at the Country Music Hall of Fame (that was to co-incided with a Kitty Wells exhibition), where she had once worked as a tour guide, that led, in turn, to her making this album. And from the get go let's be clear it's an absolute cracker. A wonderful re-energizing of another artists work and life. That, apparently, some have objected to a alt-country singer doing it is baffling and slightly barmy. As with Eilen Jewell's recent Loretta Lynn tribute album this is likely to bring younger fans to the work of an important country icon. Clearly and precisely produced by Cantwell and recorded and mixed by Mark Nevers (Lampchop, Charlie Louvin) the performances are excellent throughout. The opening title track, the only original song, written by Cantwell and Amy Allison open the album in fine style and sets the tone for the remaining nine songs that were recorded by Wells and many were written by Wells' husband Johnnie Wright including Poison In Your Heart, I Can't Tell My Heart as well as her intriguing take on the Well's breakthrough classic answer song It Wasn't God Who Made Honky Tonk Angels. The players involved are all those who have a complete understanding of classic country music and have also made music that is contemporary and entirely relevant to today's audiences. For instance her duet with Chuck Mead on One By One is captivating on many levels and features some great evocative steel playing from Chris Scruggs. The rest of the players are all equally skillful and versed in knowing exactly how to deliver a country song today that will appeal to fans old and new (fin most cases). They include Fats Kaplin, Mike Bub and Paul Burch as well as Caitlin Rose on backing vocals amongst others. This album is a joy from start to finish with Cantrell delivering her best vocal performance to date and even if it is a side project for Cantrell shows just hoe much audiences respond to the spirit and sources of country music. One associated commented that if Emmylou Harris made such an album now, as she has in the past she may be getting better reviews than her new album seems to be. Be that as it may be, and even if Laura Cantrell herself goes in a completely different direction with her next album, we should applaud and purchase this striking and successful album. Were else will you hear a new artist doing a recitation, as she does, on I Gave My Wedding Dress Away? Enough said.
Matt The Electrician 'Animal Boy' Self-released
Matthew Sever aka Matt The Electrician is a intriguing artist who may roughly fall under the roots-singer/songwriter heading but who, in truth is an artist who will use and platform and musical bedding to makes his songs work in the way he hears them. He is a strong and accomplished singer with a distinctive voice, both as a singer and as a writer. He is a multi-instrumentalist who has gather some kindred spirits onboard for this album like Danny Malone, Mark Addison, Freedy Johnston and Southpaw Jones. Xylophones, banjolele, gym whistle, pump organ, trumpet and euphonium and ARP Axxe are just some of the sounds you will hear in the backing tracks. The songs are melodic and memorable and would appeal across the board on a lot of levels. They stand much repeated playing and reveal new nuances each time. They are full of observations and optimism, humour and humanity. Songs like Osaka In The Rain, College, Faithfully look at people and places with an equal sense of understanding and intelligence. These are songs which lyrically are unusual and who's themes are sometimes a different perspective of some universal subjects but given a very individual perspective that makes Matt The Electrician's music special. One song for instance, For Angela is the very detailed tale of his journey to North East Dallas to play a gig where on the journey he break down and then seeks a Wall-Mart store to fix his ailing battery. It is a heart warming and humours travel tale that perfectly shows Matt's invention if not eclectic instrumentation. You can check out a live version on YouTube yourselves. For that you need to go to a track like What's So Funny, or indeed pretty much anywhere amongst the album's 12 tracks. Matt The Electrician is well respected in his Austin home base and outside but may not have yet to come to the attention of some of our readers and while he may not fit the Americana bill that some adhere to but the music of Matt Sever live or on CD is pretty exceptional and this album is just the latest of many he has made. All of which are available from his site at www.matttheelectrician.com
Christopher Rees & Band 'Hearts On Fire' Red Eye Music
This album represents something of a new departure for Rees as he has recorded it with The South Austin Horns and he plunges headlong into his musical soul. The soul of Otis Redding that is. It is steeped in brass and Hammond organ while still having Rees' distinctive voice at it's core. Now what passes for soul music tends to leave me cold for the most part I'm still partial to a little, Redding, Pickett and Stax Record grooves. Hearts On Fire may not appeal to purists, much as many bluegrass and country paramilitaries may have found Rees previous albums a little left of field for their tastes. Be that as it may be Christopher Rees is writer, producer and mixer as well as label boss on this outing and he has worked on this album in both Austin and Welsh studios. It is an spirited set of songs that covers a range of bases from the rampant rockabilly/rock 'n' roll of In Warm By My Fire, which links with Rees previous work. Stripped down to a simple live setting many of these songs would fit easily beside his previous songs. Here he adds that layers of well arranged brass riffs to give the songs extra propulsion and soul. Morning Light is delivered at a slower pace that give Rees room to let his voice the space to deliver a telling and troubled tale of optimist love. The songs still show a troubled soul but this time out they're allied to tingling soul tremors. The slower paced songs the ones, as mentioned where Rees vocal take on the spectre of soul's golden age. Overall I think by preference is for Rees de-horned work but this is still a substantial achievement in that he has been able to add another flavour that reflects his love of classic soul to an already open ended musical base. A song like Unstoppable which was recorded as a trio with Rees on guitars and bass, Dan Tilbury on drums and Simon Rooney still retains the overall feel but in a brass free way that shows the musical variety on offer on Hearts On Fire. It will be interesting to see where Christopher Rees takes his music in the future but here he has delivered an album that many will enjoy for its own sake and within the parameters that it has set itself.
Michael Fracasso 'Saint Monday' Little Fuji
The latest album from Austin based singer/songwriter will have be welcomed by those who have appreciated his songs and distinctive voice in the past. The album is produced by Fracasso and his friend Jim Lewis, novelist and first time producer. As it turned out they've done a fine job together with Lewis also playing guitar and piano on the album as well as co-authoring the title track and two other songs on this ten track album that is built around Fracasso's trustful tenor voice on of the strongest instruments on the album. The other players are a tight unit of drummer Mark Patterson and bassist George Reiff, On ADA Ok, a joyful sounding, downbeat themed but uptempo track, Fracasso is joined on the vocals by Patty Griffin to good effect. Elsewhere Fracasso uses his words well to tell tales of lives up but more often downs. Fellow Austinite Matt The Electrician joins in on one track playing a short but effective trumpet solo over the outro. One track that is picking up attention is his expressive cover of John Lennon's Working Class Hero that is highly effective and emotionally fraught in it's tense delivery and wired guitar interjections. While not taking away from Fracasso's own strong writing it's a strong take on a very visible song. By way of contrast the album closes with a vocal and piano song that is sparse by comparison with earlier songs but equally capable of getting across to the listener. Saint Monday is another example of crafted songs and capable playing from a another gifted songwriter who is flying under the radar and who need s to be sought out and appreciated by fans of know something special when they hear it.
The Grascals & Friends 'Country Classics with a Bluegrass Spin' Cracker Barrel
The subtitle says it all. A selection of classics recorded with a host of friends. Brad Paisley joins for Tiger By The Tail. A man well used to that mix is Dierks Bentley who sings Folsom Prison Blues with The Grascals to good effect.It would also, doubtless, have also have pleased it's author too. From then on it's guests all the way with two vocals from Dolly Parton on I Am Strong and Pain Of Lovin' You. The former songs also appears as a bonus track with a whole bunch of the guests (and more) joining in the chorus. She fits right in with the bands three vocalist who either trade verses with or provide harmonies for the guests where appropriate. Tom T. Hall sings his own The Year That Clayton Delaney Died. Darryl Worley takes on George Jones' White Lightening. They give the song a little power though they never get rude or rough enough to take away from the overall sense of fun or of having a good time that this album dispenses. Playing is naturally never less that top notch with a host of additional players like Steve Turner on drums, Hargus "Pig" Robbins on piano, Kent Wells on electric guitar and Steve Hinson on steel guitar making sure that the music successfully straddles country and bluegrass. Both get an equal spin and should please all but the harshest critics of the genres. Nothing is going to push any envelopes here but it is a thoroughly effervescent outing for all involved. The other guests are Joe Nichols, Charlie Daniels and The Oak Ridge Boys. The whole project is St. Jude Children's research Hospital. So here you have it a whole bunch of easy going music for a good cause that hits the mainstream with ease. You may have to go online to pick up a copy of this nicely packaged CD outside of Cracker Barrel outlets though.
The Foghorn Trio 'Sud de la Louisiane' Quicksilver
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.