The album open with a song Devil's Paintbrush Road which immediately demands attention with her venturous vocal and rhythmic violin playing. As the title suggest this is a life album so it features Chvostek her songs and her playing in this direct setting. She is also adept on guitar and mandolin as well as the aforementioned violin and she attacks each with energy. The songs are her own other than a couple of covers including taking the sentiments of Pete Tosh's reggae song Equal Rights and making it as potent in this format as it was in its original setting. Madonna Loves Me is introduced by her noting how pop culture and religion intertwine and then plays on the two most notable holders of that name. The second cover is of Lou Reed's Some Kinda Love and again she make it work for herself in this stark setting. Half way through she asks for requests and complies with The Sioux, another songs she switches to violin, an instrument which suits the songs sense of desolation. Hartland Quay was written in England, an inspiring place for her and features her on mandolin. Wait For It is a uptempo mandolin excursion with a kind of Gasoline Alley riff. She closes the album with an audience singalong of I Left My Brain,"I didn't need it anymore". This is the kind of album you'll either want as a souvenir of a live performance or if you're familiar with the artist as a former member of the Wailin' Jennys or if you like a strong singer/songwriter delivering her work stripped down and raw but righteous.
Reviews by Stephen Rapid
Audrey Auld 'Come Find Me' Reckless
The title track is a plea to seek out the real person that is Audrey Auld an individual and intense voice who conveys so much in her vocal perspicuousness. Auld has never failed to impress over the many albums and approaches she has taken with her music. The end results have always been true to her belief in her ability and to the people and places she loves. The later is the subject of the song written to her homeland as if it were a loved one. Tasmania is simple and effective with guitar and voice but her voice conveys so much melody and emotion that you are not aware of the simplicity of the setting. Another highlight delivered starkly is her song for Mary Gauthier Orphan Song which shows a lot of understanding for the pain and search that Gauthier has been through. That is key to Audrey Auld, she has an innate understanding for the feelings of others and for those in similar situations. One suspects that the song Forty would find much favour with many other ladies in of the same age if it were to gain some wider radio exposure. The production by multi-instrumentalist Mark Hallman is subtle, simple and satisfyingly direct. Though on occasion such as You Wish bristles with anger (and a rude word) that shows Auld is no easy target. Overall nature takes it course and she sings of the analogy of nature as a metaphor for family and friends and of the place where she now resides. On the other side of things is the jaunty twang of the realism of Nails -"Buy me some nails for my coffin, order the roses for my grave" - reflects the harder and darker side of living and aging. She also sings of racism and of personal pride and sacrifice in The Butterfly Effect that considers the journeys and humanity of Rosa Parks and Martin Luther King. Bread and Roses is for the inmates of San Quentin and shows sympathy that many wouldn't necessarily feel for prison inmates. But that's Audrey Auld, open and opinionated but never in a harsh judgmental way. She does this in an affecting way with voice and guitar and a set of songs that say come find me.
Catherine MacLellan 'Silhouette' True North
The latest album from this Canadian singer/songwriter opens in robust syle with Stealin'. A full band workout that affirms her vocal prowess, her memorable songs and the band's chops. In a similar vein to fellow Canadian Kathleen Edwards and artists like Lucinda Williams MacLellan fronts an album that demands your attention. Guitarist Chris Gauthier is striking throughout as are the other band members who include pedal steel and keyboards over the soild rhythm section. It is co-produced by MacLellan and David Baxter and recorded, as often has been the case these days, in a cabin in a isolated area of Prince Edward Island among other locations. It emphasises MacLellan's increasingly effective songwriting and storytelling (highlighted in the lyric booklet) and the one song featured that was not written by MacLellan is something of a Canadian classic and it keeps it on the family as it was written by her late father Gene MacLellan. That song Snowbird also features the voice of Blue Rodeo's Jim Cuddy and it is a contemporary reading on such a well known song which sits easily alongside her original writing. There is much to admire here and variety in the performance form the poignancy of Lines On The Road which takes of a view on a person legacy to the darker moments of Black Crow and the sense of lost and question in Sparrows. Reflective songs like Trickle Down Rain and Old Tin Can are taken at a more relaxed pace with pedal steel adding touches of sweetness to the overall sense of introspection. The brooding True Love builds to a slow burning heat while the closing Chop That Wood closes the album with a emotive vocal on a song that considers a past love and how it can slowly fall apart. MacLellan has the skill to makes these songs breathe and this is a career highpoint that any artist would be proud of.
Gwendolyn 'Bright Light' Whispersquish
The picture of Gwendolyn holding her baby and shielding her eyes from the bright light sets the tone for this album. A woman juggling her life, a mix of the domestic and the creative. Gwendolyn has one of those voices, high pitched that suggest a girlishness but behind which there is a determined person. She lives in California and draws from that locations pool of talented players. Her produced is Ethan Allen and features a wide range of guests and sound including saw and jaw harp as well as some twanging guitar which all makes for an engaging twist on classic country music as well as the outer limits of folk music. There is a brightness here, as suggested by the title, that is infectious and it's not surprising that she has previously recorded a number of albums aimed at the children's market. She has also recorded previous albums aimed at a wider audience. And a wider audience is what this album deserves as its hard to pin down centre has a heart and a attitude that is positive and poignant. Some may be distracted by the voice but many more will find that it is one that has distinction and a delightful sense of life's absurdities. "Be whatever it is you are" the message of Plants delivered to the singer by her father is solid advice for anyone. Gwendolyn also looks for some deeper truth through other songs that look back at older, maybe simpler times, that consider loss and absence but that love is the underlying saving grace. Monster In My Heart is a sing about the love she feels and needs to express and it's delivered in a big twangy guitar uptempo setting. As if to reaffirm the light that exists within all good hearted people she closes the album with the forgiving notion of Let The Light. Gwendolyn is a ray that shines on you and makes you smile and that can only be a good thing
Amy McCarley 'Self-titled' Self-Released
A truly solo effort from McCarley. Produced, recorded and mixed in her home studio she has also played all the featured instruments. All good from that side of things but as with most songwriters in comes down to the songs and here McCarley also scores with a distinctive, slightly bruised voice and questioning lyrics, featured in the full colour lyric booklet. One thing that has to be taken into account is that many of the songs have similar tempos and instrumentation. But once you accept that you can listen to these songs as a whole. There are differences that work well. Every Which Way has a simple guitar motif that is effective with the voice. Faster Than Truth again uses the stripped down voice and guitar over a simple rhythm to a tale of a person waiting for their luck to change. There is an honesty at the heart of this album that feels like you're hearing this person's truth. It feels real, which in these days of polished manufactured music is something to admire. Whether it's too raw for some is debatable but it's directness, from artist to listener, should be applauded. This is Amy McCarley as she wants to be heard without any outside influences. The delivery suggest a folkiness but the songs feel like they could work in a lot of different settings. McCarley seems to be aiming for the purity that Gillian Welch achieves and in fact the only outside song here is a cover of that singer's Look At Miss Ohio. A stark guitar and voice delivery highlights the lyrics. But that song only stands out due to it's familiarity and is matched by some of the other songs featured such as Hollywood - a song that looks for space to be an individual. McCarley is just that, a strong individual making her music, her way.
Adriana Spina 'Never Coming Home' Ragged Road
This artist comes from Scotland and has been playing both in Europe and in the U.S. prior to the release of this, her debut, album. Recorded with a tight core trio of bass, drums and guitar that is joined on certain songs by some useful additional players and backing vocalists. Throughout it features Spina commanding voice and eleven of her exploring songs. Those songs are observations of her life and of those around her. The Hardest Thing To Do is about the closeness of an unexpected but lasting love. That theme is explored on other songs, Way Down looks for assurance in life, that is often elusive, and does so over a strong beat and the band's determined playing. Elsewhere there is a slightly fatalistic attitude with lines like "I can't stop what is on its way" but that is tempered by the overall positive delivery of the songs. Produced by Spina and Paul McGeechan, who also contributes keyboards and percussion, they have laid the groundwork for Spina's music which is a mix of folk and rock blended to complement the songs. Such as Fallen, a song which is bolstered by a solid guitar riff that fits its darker tones and Let You Fall, again that internal need of looking for some kind of solid ground on which to build a relationship is explored in a more gentle piano and vocal setting that highlights Spina's confident and clear vocal. The songs lyrically are displayed in a booklet that has them handwritten on a series of postcard background that is both attractive and useful. Never Coming Home is a good start to what may become a lasting career.
Reviews by Stephen Rapid
Girls, Guns & Glory 'Sweet Nothings' Lonesome Day
Born in Bakersfield, raised on rock 'n' roll, parented by punk the sound of Girls, Guns & Glory is a product of all these influences, conscious and unconscious, which makes them exponents of a very contemporary country infused music. Not the sound of Nashville today but rather a more vital one. Bands like Big Blue Hearts and The Souvenirs, to name but two, have previously played this blend of Holly, Orbison, of Cash and Hank Williams influences with solid songwriting, memorable melodies, strong voice and tangible twang to create something positive and vibrant. The band are led from the front by Ward Hayden on vocals and acoustic guitar, he is also the band's songwriter. He is ably backed up by guitarist Chris Hersch, bassist Paul Dilly and drummer Michael Calabrese. The are joined, on the recording by a number of guests who add keyboards, pedal steel, mandolin and accordion to the sound. Production by Paul Q Kolderie and Adam Taylor allows these songs a sonic excellence which makes for some striking music. The album plays as a cohesive whole that balances the uptempo driving songs like Nighttime alongside a more heartbreaking ballad like Last Night I Dreamed, complete with a spoken verse. Lost, strayed and broken relationships are at the heart of all these songs, as they would be in the majority of classic country songs. The duet with rising star Sarah Borges on 1,000 Times is a balanced male/female interaction that makes it an album highlight. But not a highlight that stand head and shoulders above the rest of the songs here, all of which add up to one fine album and the best that Girls, Guns & Glory has so far delivered. Here is a band that obviously loves music rooted in the 50s and 60s but who have not tried to slavishly replicate that sound but rather make it a living and vital format. Fans of Dwight Yoakam, Chris Isaak and early Mavericks should check this Massachusetts band out. It's likely you'll like it as much as I do.
Gillian Welch 'The Harrow & The Harvest' Acony
By now everyone should know what the duo of Gillian Welch and David Rawlings sound like. They have carefully perfected their distinctive sound over the years and though there has been a long gap between this and their last album they have been looking at ways to capture that sound and to distill the nature of their performance. They are looking for a purity of sound that harks back to another era without ever getting lost in the past. The songs are as striking as ever and have a clarity of purpose that allows their two voices to intertwine in much the way that the instruments - guitar and banjo, with touches of harmonica - do. The music is elegantly beautiful. There are those, fans of Revival, who wish to hear some additional instrumentation, adding texture, but here it is difficult to see how that would work so intimate is the delivery. It is an album whose subtle and supple performance will reveal much over repeat listening. A song like The Way It Goes is a perfect example of the alchemical interaction between the two persons who play under one name and are balanced parts of a complex and intriguing whole. There is a depth of serious intent in these songs which are in many ways ageless interpretations of a time honoured tradition that could easily be on a remote front porch as in the confines of a recording studio. Welch and Rawlings have an instinctive interaction that makes their music special to those who are in tune with their musical zeal and zeitgeist.
Various Artists 'The Best Of Times' Sleeveless
This album features the songs of Sara Hickman, a declared Official State Musician of Texas, who has used that platform to reach out to Texas-based musicians to produce this double CD to benefit and publicize the Theatre Action Project. TAP's aim is to bring arts into the classroom as funding for arts education had been cut in Texas. As with any such project featuring such a diverse range of acts, styles and musics not everyone is likely to like all the tracks here. But by the same token there's bound to be something here for everyone. There is folk, rock, blues, country, soul and everything in between. The album opens in style with the venerable Willie Nelson delivering Simply, his memorable voice and guitar over a string quartet backing. False Pretenses is sung by (Wagoneer) Monte Warden and Colin Boyd on a Everly's style duet.Tiny Movies is a synth sound based rendition by Gretchen Peters and Rob Halverson that may be different to some people perception of what she usually does. After The Fall is from Colin Gilmore and his band. Last Night Was A Big Rain is a solo performance from the Old 97s frontman. Eye Of The Storm by Elizabeth Wills shows off her strong vocals and there are a lot of striking female vocalists who are featured throughout the album. However all of these recordings also highlight the songwriting skills of Sara Hickman (and her occasional co-writers) and how they are open to such wide ranging interpretations and influences. It's In The Water by the Djembabes, as the name suggests has a world music feel which adds to the overall diversity on offer. Robert Earl Keen closes out the first disc with a bluesy Under The Sycamore Tree. Disc 2 will have different highlights for different listeners. For this particular listener it was Jimmy LaFave on Standing Ground, Comfort's Sigh from the ever distinctive Flatlanders. The guitar and vocal Joy from Ana Egge, a sultry No Name For Love by Darden Smith, Jess Klein's ghostly The One, Ruthie Foster's late night soul on Look At It This Way and Middle Of A Little Country Road from multi-instrumentalist Matt The Electrician. With 38 tracks it serves as a sampler of the diversity of current Texas-based music. It's largely music that falls outside of the more recognized country or blues directions that Texas is renowned for but it highlights the diversity of music in the State as well as a worthy cause and a equally talented songwriter. www.theatreactionproject.org
Josh Harty 'Nowhere' Magnolia
The first thing that hits you is Harty's world weary voice on Whiskey & Morphine as song that talks of self-destruction and sets the tone for what is to come. This 7 track mini-album follows in the same vein with Harty voice and songs featuring simple and subtle backings under his voice and guitar delivery. Harty draws you into his songs and you are a part of his world. Yesterday's mandolin and accordion add to the sense of melancholy that pervades these songs. There is sparse honesty that Harty brings to these songs which includes a compelling live version of Richard Thompson's 1952 Vincent Black Lightning that shows his voice and guitar skills are equally convincing on his choice of covers as they are on his own material. Though it is a short album it has the effect of making you want to hear more of Harty.
Reviews by Stephen Rapid
Rod Picott 'Welding Burns' Self-Release
As the title suggests Rod Picott gets under the skin of the working man. He sees the ingrained dirt, he feels their need to work and understands their despair when they, for whatever reason, can't. On his latest album he has assembled a group of working men, musical craftsmen (and women) to bring these songs to life. They live and they breathe. They also make a strong testament about people and place and the times we live in. How values have changed and much that is decent has been lost. Picott's gift is to take us into this world and make us welcome through his memorable songs and his world weary but hopeful voice. Picott has produced the album with David Henry who plays B3 organ and mandolin on the album alongside such gifted team players as Will Kimbrough, Paul Griffith, Lorne Rall and Amanda Shires on fiddle and vocals. The songs flow and they make you feel good, from the title song's evocation of a father's life and how it follows through to further generations. Then there's 410 another tale of where unemployment might lead in more desperate times. But, of course, alongside the songs of blue collar days there are those of lonesome nights and lost chances. Songs like Jealous Heart and Still I Want You Bad tell of disfunction, distance and deep feelings. The album closes with hen My Running Is Through a promise to someday settle down. But when your making music this good one can only hope that it won't be for a longtime yet. Picott's fans mention him along side Woody Gutrhrie and Bruce Springsteen and his ethos is well placed beside such illustrious names. But in the end it comes down to the work you put in and Rod Picott has toiled well and Welding Burns should soon be making its mark on any listener's heart with its rooted, real and soulful Americana.
Fearing & White 'Fearing & White' Lowden Proud
This duo of Irishmen, one from the North and one from the South, have been friends for some time but this is the first project together. They are both know in their own right with a track record of some nineteen solo albums between them prior to this collaboration. Both have distinctive voices which blend well and give the album its focus and heart. It's lifeblood is the songs that the duo have written together. These songs incorporate rock, roots-rock, folk and pop flavours which gives the album a interesting diversity. Let Love Be Your Direction has a anthemic chorus that is a plea for love and is delivered against a background of electric and acoustic guitar. Elsewhere they're joined by drummer Ray Farrugia and become a regular trio with Fearing on guitar and White on bass. Other songs look back at relationships that, for one reason or another, have faltered and become a cause for reflection. These are songs written by men who have lived some live and observed more. They're not storytellers in the traditional sense but rather leave spaces for the individual listener to insert their own experience and to relate to the songs. Beyond that even if the songs were sung in a different language the music on over here gives you much to admire. Under The Silver Sky is an driving song with some textured resophonic guitar from Fearing while others like Faithful Heart again comes down to the two voices and guitars. This is an album that has not suffered from over-production or excess adornment. The duo's production focuses on the songs, the voices and just the right amount of instrumentation to give them melody and memory. The are moments here that remind you of other music but never taking you away from the mood created by these two men's obvious enjoyment of their jointly-created journey.
Old Sledge 'Don't Let Your Deal Go Down' Self-Release
The sleeve notes on this album makes it clear that Old Sledge need to make this music. Music drawn from across the ages from countless old 78s, from different times, different places but not necessarily from a different set of needs. They are young enough to have been raised on different music genres but have been drawn back to this old-time aggregation of country and blues forms. The bring enthusiasm and energy and no little skill to their delivery of these often timeless songs. The trio blend their voices but both Chance McCoy and Sabra Guzmán take lead vocals on the songs, the latter brings a plaintiveness and purpose to the songs she sings while the former sings with conviction and clarity. The songs including some instrumentals with Ben Townsend's banjo to the fore draw from a wide repertoire of songs. These include the title track written by Fiddlin' John Carson, Roscoe Holcomb's Boat's Up The River, Danville Girl from Doc Boggs and a slew of traditional songs like Deep Elum Blues and St. James Infirmary. Old Sledge deliver their old-time music for modern times with an understanding and intent. The bass of Jake Hopping rounds out the quartet of players who are the players who created this life-affirming album. There are a lot of bands out there drawn to this style of music, some are better than others, though all are committed to breathing new life into old songs. Old Sledge skill is in the spirit they bring to these tunes, that a strong sense of where these songs came from and where they need to go now. That in itself is something to applaud, as is this convincing album.
Reviews by Stephen Rapid
Ted Russell Kamp 'Get Back To The Land' Pomo
The spirit of spirited California country rock pervades this new album from multi-instrumentalist Kamp, who also happens to play bass for Shooter Jennings. There is much to admire here and Kamp can run from the country styled ballad of (Down At The) 7th Heaven which uses brass and steel to heighten the atmosphere to the more brass stylings on Aces & Eights. The opening track California Wildflower is one of the album highlights with a strong vocal and a jangeling guitar riff that is almost power-pop in tone but it rips along at a rate of knots and introduces you to the breath of Kamp's talent not only as a player but also as a songwriter and as the album's producer. As well as a core band Kamp features a host of guests on a wide range of additional instruments that give the album depth and texture. Kamp, obviously enjoys the co-writing experience as he has written all this songs with a number of writing partners. Which means that though Kamp is the central figure here and totally in control he allows the influence of others to add to the overall direction that the songs take on the album. Time Is A Joker opens what is styled Side Two on the album in a heavier mode and it features some tasty guitar licks. This contrasts with the title track which follows. It has a sense of buoyancy and theme of getting back to more solid core values in life. Right As Rain again has a impassioned vocal from Kamp with a little grit in his delivery that the song, about coming to terms with a break-up, requires. There is a level of funkiness in the music as well with brass, Hammond organ and upfront bass colouring the songs. Then there are songs like Half Hearted that are built around a solid uptempo rhythm and are steeped in pedal steel which affirm Kamp's country side. This is an album that doesn't look back, it knows where its come from but is moving forward and marks a high-point of Ted Russell Kamp's solo career to date.
Lake Street Dive Signature Sounds
This album opens with a song that seems full of summer. It features trumpet and an effervescent vocal. Described as a "free country band" there is more here that veers towards a poppy jazz and soul feel that may not appeal to hardened country connoisseurs. The most prominent element here is Rachael Price's strong vocal presence. Behind that the trio of acoustic bass, drums and guitar/trumpet of Bridget Kearney, Michael Kearny and Mike Olson reveal a tightly focused musical bed that might well find favour with those who follow some of the more soulful singers that are out there today. There are a number of guest players and singers involved too but it is the quartet who core of the band sound. There is an undoubted talent on display here but one that will have to find it's audience in the more open minded of those who explore the fringes of roots music rather than those looking for something with a more obvious country connection. Lake Street Drive have recorded this album using analog technology to capture the essence of the music. If songs like Elijah got some radio play it may well expand on their audience as there are many who would clearly enjoy the sound that Lake Street Dive have developed and it would not be that big a leap to suggest that those who enjoy Amy Winehouse and her ilk would find something to savour here. As for the "free country" reference well it's a free country and you can decide for yourselves, though to these ears the closing track My Speed comes closest to that possible association.
Buxter Hoot'n Self-Released
This San Francisco based band are a young band who use a variety of musical sources and references to create their songs from. The end result is this third album that can loosely tie itself to a wider Americana brief with songs like Out The Door which has an early electric Dylan/Band feel but equally brings to mind certain indie rock/pop sensibilities. The quartet work as a unit to give the songs a strong presence. Singer/guitarist Vince Dewald is the main songwriter with contributions from two other members. The production by the band and Greg Magers is solid. As you listen a number of aural associations come to mind but not so strongly as to suggest any singular influences, rather they bring a full rounded sound to each song. The bands two main singers Vince Dewald and Melissa Merrill are both featured on particular songs and have the voices to deliver the songs and do them justice. Those songs cover a range of themes from the social inquiry of Chief Justice Shepard, an album highlight, which questions a outmoded value and judgement system, and does so with a late 60s swirl. While Cover Band details the feels of watching a band play rock 'n' roll covers and hear a song that stays in the memory and inspires. Something that many of us may have experienced at one time or another. They at times can take on a more bluesy rock side as with the song Spill Some Juice Me also they can be more reflective side with songs like In The Morning, a mid-paced piano led song that finds a man looking for forgiveness and fortitude in the morning after a night of gambling with his money and his relationship. The final track, fittingly titled Curtain is an atmospheric, sound collage that suggest different times. Buxter Hoot'n though, as a band, are a product of their times and the music they have heard and are, while delivering nothing particularly new, are, at the very least, capable of creating some strong songs and playing that, doubtless, gives them a sound that they can build their home audience on.