This collection of covers and traditional songs celebrates the voice of Norianna Kennedy. It is, undoubtably, a strong and striking one capable of expressing and emoting these songs, of understanding the ebb and flow of songs. The album has been co-produced by Kennedy with Trevor Hutchinson and Gerry Paul and it allows the voice its central role while giving a solid and varied musical setting of acoustic ambiance. There are fiddles, 5 string banjos, bouzouki, guitars and double bass and flute to give texture to the songs that veer toward the traditional on this release. Ó Fill A Bhruinneall is a pleasant excursion into her native tongue while many of the other songs are traditional arrangements. The more recent songs include a take on Damien Dempsey's Beside The Sea which is a simple but thoroughly effective voice and guitar reading. Kennedy plays her banjo ukulele on Ain't Got No Use a song which sounds more like the Americana side of her work, something that comes across stronger in live performance that is readily apparent on this album. Some have likened her to a young Mary Black and while there is no doubting her interpretative and vocal skills are paramount her direction may ultimately take a different path than that of the rightly lauded Black and time will add depth and experience to her singing. However the talent is there and it will be interesting to see how it develops to see if she can capture the onstage dynamism in her future recordings. For now Ebb 'n' Flow is an entertaining and rewarding first step to a talent artist and her playing and production team.
Farrell Spence 'Song For The Sea' Self-Release
This is singer/songwriter second outing for her delicate crafted songs. The album was partly recorded in a hotel room, on a portable studio, in Rome. This was to avoid over-thinking and over producing the songs. She wanted them to develop in an organic style that was based around her and her musical foil guitarist Francesco Forni, Three additional musicians where later added to bring keyboards , guitar and ukuele to blend with the overall sound. It is otherwise a very sparse sound built around the bottom line of voice and guitar. The theme, as evidenced by the title, though tangential is the tides of life. Songs include effective readings of the traditional Wayfaring Stranger and I Never Will Marry, the latter delivered unaccompanied but with a multi-tracked vocal chorus. There's a impressive take on Nick Lowe's The Beast In Me which maintains the same sense of inner pain that Johnny Cash's version had though, understandably, at the other end of the sonic scale than Cash, but still capturing the song's essence. The remainder of the songs other than Good Morning Bird (written by Barbara Spense) are from Farrell and have an intimacy and life outlook that fits with Spense view of her life and times. The album closes with Going Down The Riverside where she goes to wash her blues away and she adds a percussion element on spoons. Spence offers a serious take on not taking yourself too seriously and while she won't be troubling the X Factor generation is making music that those who came across her A Town Called Hell debut will be glad to be re-acquainted with her muse and music.
Murray & Falkenau 'The Leipzig Sessions' Tree Tone Music
A Galway based duo who blend Irish and American folk traditions into a series of original songs, written by Ivan Murray and Anna Falkenau, and well chosen cover and versions of traditional songs delivered in an understated setting, recorded in Echolux Studio on Leipzig, using just the playing skills of the duo with Falkenau on fiddle and lead guitar and Murray on rhythm and vocals. Falkenau also adds backing vocals that help fill out the vocal delivery. There are, by their nature stripped down arrangements but must reflect the duos live sound and therefore be a fitting souvenir of such a performance. Murray has a soft vocal style that suits the delivery of the songs. There are also a number of instrumentals that highlight the playing skill of the duo, especially Falkenau's - as witnessed on the title track. Their cover of Joseph Arthur's In The Sun is well suited to Murray's voice and it's effective directness. This duo are enjoying themselves and this album is awaiting you to do the same.
Reviews by Stephen Rapid
The Good Intentions 'Someone Else's Time' Boronda
This Liverpool based trio have recorded their second album in their hometown and in Los Angeles. It was produced by the experienced hand of Rick Shea and recorded by Dave Raven (with others), both who play on the album alongside a set of players including David Jackson, Brantley Kearns, Wyman Reese and Eric Brace. Key to their sound are the balanced harmonies of Gabrielle Monk, Francesco Roskell and songwriter R. Peter Davies who together make up The Good Intentions. The songs have a warmth and depth that touches on simpler, but no less difficult, times as witnessed by songs such as Coal Miner's Lament, Send The Devil Back To Hell and Dark Stranger. Though the songs tell their stories in a way that is captivating and rewarding. The playing and production enhance that overall mood and give the songs an acoustic based sound that is rhythmically driven by a tasteful upright bass and drum foundation. The fiddle, banjo, acoustic guitar melodies are bolstered by keyboards and steel guitar. All of which makes for a very appealing and repeat listening experience of assured Anglo/Americana folk-country. Davies' songs are all strong enough for him to find a place alongside some of the better contemporary songwriters currently and will please those who make the effort to look out this accomplished trio who highlight that there is much on offer in this area outside of the US. Someone Else's Time all round it's time well spent.
Various Artists 'The Lost Notebooks of Hank Williams' Sony Music
There has been a lot of debate and controversy surrounding this album, largely about the artists chosen to contribute to the collection, the time it's taken to complete and the nature of the project itself. The original notion was for Bob Dylan to take from these notebooks of unfinished lyrics a selection of song to complete but in the end he passed on that and finished one song and the lyrics were passed on to other artists to complete. With all such major label there is going to be a suspicion that marketing and salability plays a greater part than artist credibility. The end result is going to divide people, as the end result is so subjective to personal taste and ideals. But in the end it comes down to the music and one's own taste. So for this listener the most successful tracks include Alan Jackson, Norah Jones, Lucinda Williams and even Jack White, who some have found his vocal a little too mannered but I think it works in the context of the song and the source. That Hank Snr's granddaughter Holly Williams is here rather than his grandson Hank 111 has upset some too but again it comes down to something very personal. Most of the artists have approached the concept by either channeling the legend or by adapting the lyrics to their own style and the results may vary but are all delivered with some conviction and commitment. The last album released on Bob Dylan's imprint was also the subject of similar "who, why, what-ism" and you can never satisfy everyone. In the past we have had tributes to an artist like Merle Haggard where there was a major label tribute and an independent version and in most cases the indie release beat the major label version hands down. But in the end there\s more than enough on this album to make it, at the very least, worth a listen and in the end is is good to see these lyrics finally being used and one can hope that similar to the Woody Guthrie Billy Bragg/Wilco project that more of these songs will be finished by sympathetic and sensitive singer/songwriters.
Various Artists 'Inspired' Frontier
An important factor in the appreciation of music, especially live, is an understanding and appropriate venue. The Bronte Music Club is one such venue it is situated in Rathfriland in Northern Ireland and with Andy Peters' Frontier Promotions brings a variety of Americana and roots artists to play there. Funding for such a venture is always difficult and no more so than in these financially restrictive times. In that light Peters asked many of the artists if they would contribute a track to this CD the profits of which will help to keep the venue in action. This 21 track double CD compilation is reflective of his and the Bronte Music Club's choice of artists. As with any such collection each listener will have his own favourite artists and tracks. The range of choices includes Lynn Miles, Kimmie Rhodes, Madison Violet, Kevin Welch, Ian Matthews, I See Hawks In LA and The Believers. It is a good way to introduce yourself to some artist you may not have heard before as well as to remind yourself of the power of this largely intimate music. The album is available from brontemusicclub.com and by buying this and attending the venue itself you help keep the music that is so necessary at all times alive.
George Strait 'Here For A Good Time' Humphead/MCA
The latest album from the dependable Mr. Strait is another straight down the line album of his trademark country. Nothing much has varied here from the last few albums other than Strait is now writing a lot more of his own songs. Seven songs here bear his name, all co-written with his son Bubba and long-time Strait scibe Dean Dillon. Production is again shared between Strait and Tony Brown who has been in that role for quite a few albums now. The players are, like the production, smooth and right on target. The vocal delivery is reliable as ever and he seems more connected here than he has at some times in the past and songs like Drinkin' Man show one side of the song direction while Three Nails And A Cross shows another way to gain some deliverance. Other self-penned songs are strong like Shame On Me. The them of drinkin' appears again in Chuck Cannon and Allen Shamblin's Poison. Veteran writers Gary Nicholson and Delbert McClinton co-wrote the rodeo rider reminisce, the uptempo Lone Star Blues which allows the players to strut their stuff. Jesse Winchester's A Showman's Life features harmonies from Faith Hill and is a song about the downsides of life on the road. He delivers it with conviction and some understanding of the subject matter. George Strait ain't going change much now and for that many of his fans will be thankful. Strait is what he is and while here been here for a long time he's also here for a good time and on this album he delivers just that.
Fiery Blue 'Our Secret' Doubloon
The second album from the singer Simone Stevens, Instrumentalist Gabe Rhodes and songwriter Paul Marsteller continues from where the previous album left off. Again they explore the possibilities of these songs with some adventurous production from Rhodes allied to strong arrangements, playing and writing. Stevens is again the vocal heart of these songs which have developed melodies and are strong on atmosphere. The sole outside song is a cover of Lennon/McCartney's I've Just seen A Face which scores through familiarity and being reworked into a uptempo version that has Rhodes mother Kimmie adding harmony vocals over a backing which has Tommy Spurlock's pedal steel guitar well to the fore. This track alone should gain Fiery Blue some attention. However the other songs are likely to reward repeated listening due to their overall quality. They range from the quieter songs like Half-a-Dance and The Moon And I to more drum bolstered songs like Sharpshooter and Crystal Ball. Throughout the elements come together to make Fiery Blue a positive slow burn that is not really roots music but rather playful folk-pop. Our Secret should really be an open one but as with any independent release it will need exposure to breathe.
The Weber Brothers 'Baddest Band In The Land' Self-release
You need something special to live up to a title like that and whether the Weber Brothers have achieved is open to debate. This is robust rock that incorporates some roots rock influences. Formed by Baltimore brothers Ryan and Sam the aim to be bad to be the best, as I think most band do, and set about trying to prove it. They have a tight and full sound owe a debt to the Band and indeed the press release comes with an endorsement from Ronnie Hawkins who previously employed The Band as his band The Hawks. Hawkins see these guys in a similar role. And it's not too difficult to see the debt and the reasoning though The Band had a deeper, more sensitive understanding of the various forms of American musical forms. The Weber Brothers sound like a hot live band and have a workmanlike approach and have recorded this album in a live in the studio situation that gives the songs some vitality and grit and if you like high octane bar-band roots rock then the Weber Brothers deliver but there's not a lot going on here that hasn't been done before. The ideal place to see this band is an a hot, rockin' bar then this album will make more sense and a be good souvenir of an exciting evening. Nothing wrong with that and these guys know how to strut their their stuff but I'm not too sure about being the baddest. I'd say that there may be others who would contest them for the title. But it might be fun to see who wins and in the meantime a listen to some early Mott The Hoople wouldn't go amiss.
JT Nero 'Mountains/Forests' Dishrag
This band are fronted by JT Nero, who would appear to be a singer/songwriter Jeremy Lindsay who has written all the songs here and performs them with a full band which includes singer and banjoist Allison Russell, who have appeared as a stripped down duo in the past. Here producer Zach Goheen wraps the soulful voices of these two in a full sound that has been likened to both of the Buckeys, Jeff and Tim. There is a certain lightness of touch here and some vocal dexterity that would make that comparison seem possible. This is not however an album that will appeal to every Americana listener but rather to those who like it's subtle melodic take on old-time soul. Nero has a very distinctive voice that can soar and swoop and is equally matched by Russell and the accomplished band who deliver these 10 songs with verve. The opening title sets the groove which is followed throughout the album across such rootsier songs as descriptive Gallup, NM and the slight guitar twang of Red Balloon. Oh! Sunny Day has a airiness that matches its title and suggest that nature plays a part in these songs very structure. Making Mountains /Forests a veritable breath of fresh air for some.
Reviews by Stephen Rapid
Fur Dixon / Steve Werner Songs of the Open Road - Volume One Grass & Gravel
This well travelled duo have celebrated their troubadour lifestyle on this, their third, album by recording a set of songs themed to the open road. The songs are all favourite songs from the traditional cannon or from writers they admire. The duo are essentially know for the blend of their voices, his deep and hers hitting the higher register, a combination that works well and allows each to take the lead or to harmonize together. Their sound is Americana folk music that sees them bringing in various flavours from the open prairies, open skies, open roads to closed roads and dead-end options. They add to each song a flavour of the songs location with additional players like Brantley Kearns on fiddle, John McDuffie on pedal steel, Otono Lujan on button accordion and Paul Marshall on bass. They use these instruments to add subtle but telling textures to these songs that give the songs greater scope for telling the stories. These range from Woody Guthrie's Do Re Mi to Southbound by Doc and Merle Watson and Clay Pigeons from the late Blaze Foley through two Mary McCaslin sounds and the traditional De Colores and Dreary Black Hills. The journey you take with them is a pleasure and they mass the metaphorical hours with ease. The arrangements and their captivating singing and choice of songs will leave many looking forward to the (possible) next installment of their American journey. May the road rise with you.
Hillfolk Noir 'Skinny Mammy's Revenge' Self-Release
A raw-boned quartet from Boise, Idaho who have recorded this album the way that many recording were made in the past, all playing into one microphone in a single location. The music is drawing on a legacy of local community string band music. This music has inspired these players to write and perform their chosen songs with enthusiasm and to leave them unadorned by studio trickery and refinements. The original writing and arrangements of older songs are by Travis Ward who plays resonator guitar and harmonica as well as providing the lead vocals. The spirit of punk as well as the back porch informs this music's underling earthiness. The 20 songs covers titles like Washboard Blues, Choo Choo Stomp, Fast Train Blues, The Lord Will Come and the immediately attractive picking of L&N, a song that has been recorded before but has an ageless quality and tells of progress and its path of destruction. That these songs all take a similar sounding path will either appeal greatly if you appreciate what Hillyfolk Noir are trying (and largely succeeding) to get across but others will find it's directness and abrasiveness a little difficult to warm to. Either way the second outing from this band has it heart and soul in an earlier time and that is no bad thing as it offer's its revenge on the homogenized sounds that are even to be found in certain areas of old-time and bluegrass music.
Patrick Sweany 'That Old Southern Drag' Nine Mile
A rock, soul and blues influenced singer/songwriter who likes to rock it up. Nashville based Sweany has recorded this album there with a small number of musicians joining Sweany to realize this set of 12 self-written songs. The focus is a voice that has power and poignancy. Which for a man who lists Doug Sahm and Ray Charles among his influences would be de rigueur. It was produced and mixed by Joe V. McMahan who is central to the free-flowing sound here, he also contributes guitar, keyboards and percussion throughout. This tight unit allows the songs room to breathe easily and find their own space without too many restrictions or pre-conceptions. In many ways this has that classic rock-blues-soul sound that was pre-eminent in the 60s by such artists as the aforementioned Sahm as well as the likes of Al Kooper or Muscle Shoals guitarist and producer Eddie Hinton or in recent times Gregg Allman solo album. Sweany, in truth, is continuing rather than expanding or creating new innovations in this blend of roots based American musical forms. But he's doing it with a style and passion that gives this album its heart and, yes, soul. Listening to this album also brings to mind some other recent exponents of this format but that doesn't detract from what Patrick Sweany brings to his music and to what is a very listenable album that will find him a fans who get to hear his music and understand his measure.
Simone Stevens Right On Time Self-Release
Know to some via her vocal contribution to Fiery Blue, a trio of writer Paul Marsteller, musician Gabe Rhodes and Stevens as vocalist. Right On Time sees her stepping up front and centre to deliver some of her largely self written folk-pop songs. They are warm and attractive songs that utilize a wide range of instruments including at times, cello, clarinet, sax, pedal steel and guitar. This is all topped by Stevens versatile voice which has elements of 60s stylings rather than the over-cooked of many of today's dynamic divas. The production is shared by Stevens and Nadim Isa and again those touches of that earlier era are apparent but underplayed as to never fall into pastiche. Listening to the album I was at times reminded of Tift Merritt, another strong vocalist, especially on the title track, which is actually the only song that Stevens didn't have a hand in writing. It is a Lucinda Williams song which Stevens makes her own. A piano-based ballad it highlights her vocal skills in a tender and tells a story in fleeting glimpses of detail of a loving relationship. However that shouldn't diminish her own writing rather it shows how she can take another writers words and give them her own interpretation. The final track, for instance, tells a relationship that has perhaps run its course with her checking her partners temperature and it is below zero - a cold, cold heart. But Right On Time is anything but cold and while it may not be considered country or even country-pop it has some elements of that mixed among its hybrid influences. The end result is a striking debut that will make Simone Stevens a contender.
The Quiet American - Volume Two Self-Release
Despite the title this is the first album from Aaron Keim, a folk singer, musician and songwriter. He is joined on a number of tracks by Nicole Keim, with whom he made a previous (duo) album Born in the Country, Raised in Town. Keim is another young musician enthralled by the music of an earlier time. The mix here is of original songs like I Will Be The One, Talk Is Cheap and Break The Hold and a set of traditional tunes that includes KC Jones, Wandering Boy, When Death Come (Creepin' In The Room) and Black Jack Daisy. The accompaniment is sparse but effective, Keim proving adept at banjo, acoustic guitar, banjo and other instruments. However the key instrument here is Keim's resonant voice, one that gives these songs their individual presence. He is joined on a number of the songs the sweet harmony of Nicole Keim. On other tracks feature additional instruments but it is largely Keim on his own. on Talk Is Cheap he plays ukulele, electric guitar, bass, percussion and lap steel. On the instrumental Spanish Fandango he plays some dexterous ukulele. This American may not be a noisy one but he knows his way round the selling of a tune. His own songs fit easily beside the traditional tunes handed down through the ages and while they may not become the traditional songs of the future, or indeed cover topics as dark, that may be more to do with the way music is now dispensed rather than with the overall quality of the material. He also is of the here and now and filters these songs through the experiences and musical influences that reflect the age he lives in and shows why many traditional songs still have a relevance to the world as it is today when delivered with a certain energy.
Mike Cullison 'Roadhouse Rambler' Self-Release
The title gives it a way. This is roadhouse rock a blend of R 'n' B, country, rock and soul. Slide guitar, piano and harmonica bolster the first track of this 6 track mini-album. Next up Whiskey Memory is country barroom heartbreak with weeping pedal steel. Cullison is the writer and co-writer of the featured songs and the no-fuss sapient singer who is equal parts Sun and Stax. Drinkin' Songs is another plea for the music of Hank, Merle and others true to the cause. Produced with understanding by Mark Robinson it features some fine playing from the likes of Mike Daly on steel guitar, Randy Handley's keyboards, harmonica from Ben Graves and Robinson's guitar. These six tracks will leave you wanting more and that's the way it should be. This, again, is not something that hasn't been heard before but it needs to be hard again. It makes you feel good and while it is not the hardcore country of those acts rooted in the 50's takes the spirit of that era and drags it screaming into your neighbourhood bar. The mini-album closes with Who Turned You Loose a song with slide guitar and accordion that makes for a mighty fine noise and closes this self-contained example of Cullison's combustible music worth checking out.
Amy McCarley Self-Release
This is a solo album in every sense with Amy McCarley producing, recording, mixing and playing everything on the album in her home studio in Huntsville, Alabama. A process that gave her complete control over what she is recording but can sometimes make the process insular. Much of the music here is minimal, the essence being the voice and guitar and then this is embellished with touches of percussion and instrumental embroidery as required. The songs deal with relationships and the internal strength to not give up when things go wrong. "... I still won't give it up, because I think for sure that luck, will turn my way again" (Faster Than Truth) or the realization that life can be tough but the truth is "there's so much more to life than what's on tv" (Hollywood). McCarley delivers her songs in a committed clear voice that brings here words the emotional content they require. Her only cover, suggesting one of her key influences in Gillian Welch is Look At Miss Ohio and while she is no David Rawlings, who is?, her guitar skills are strong enough to underpin these songs. There are a lot of singer/songwriters out there right now and it's difficult for one to stand out from another. Amy McCarley has the belief and really needs to see if she can find an audience outside of those who get to see her play in person to take her music to a wider audience. Her songs suggest that she will keep on doing what she does and she can only grow from that endeavour.
Steve Mendick 'Immigrants...and other Americans' Prospect Hill
The title tells that Mendick songs concern his country and the many people and cultures that make it what it is and what it can be. Mendick has been influenced by a diverse set of writers both literary and musical. The latter probably headed by Bob Dylan and The Beatles but including such diverse names as Richard Thompson and Neil Young. From that you'll get an idea of where he's coming from. The album has been co-produced by Mendick and band member, multi-instrumentalist Eddie Seville and the album using a full band that includes keyboards, saxophone, violin, cello and backing vocals to give it a robust and rockin' sound. Mendick's voice is upfront and centre in the mix and at times it seems like it could blend a little more with the music around it as he has a good band here but otherwise a lot of the enjoyment of this album will come from your response to the singer and his songs -how well they connect with your own sensibilities overall. A song like The Third Gate makes me think of Bruce Springsteen though Mendick's chorus here doesn't quite take off as one of the Bosses might. Hold The Line has a, to this ears, slight Randy Newmaneque sound. The more reflective All I Can Do For Now is a thoughtful song that has a simpler piano and violin structure, likewise the acoustic led A Different Mirror show another side to Mendick's music. Over the 16 tracks Steve Mendick makes his case for Americans and immigrants. Europeans are welcome to listen too.