That this album has taken so long to get released, it was recorded over two years ago, is surprising. On the other hand I can see the reaction to an album of newly written classic-style country songs written by two English singer-songwriters might be a hard sell. However it shouldn't be as this is superb. From the singing, through the songs and the exemplary playing through to the solid, warm production. This must rank as one of the best country music albums to come out of the UK and that's not to damn it with feint praise as it also stands tall against similar albums released in the US and elsewhere. The assembled players are Martin Belmont on guitar, Alan cook on pedal steel, Bob Loveday on violin, Geraint Watkins on keyboards and Bobby Irwin and Jim Russell on drums and Kevin Foster on bass. All deserve praise for the way they deliver a classic country setting for the songs of Michael Weston King and his real life partner Lou Dalgleish. While Weston King has written the majority of the songs Dalgleish is equally adept at getting the mood right. Witness her song The Other Half wherein she delivers what might be her best vocal performance here and both vocalists deliver emotional and expressive singing throughout. That both writers have absorbed their obvious love and understanding of the genre shouldn't be a surprise given their track record. This is an album that is immersed in the golden age of country music as well as having an ear to contemporary takes on the form like Isobel Campbell and Mark Lanegan. At the heart of these duets is an understanding of the human condition and the interaction between couples when love can go wrong and be twisted into something more malevolent and spiteful. There's also regret and recognition of weakness. But in the end it's the sound that counts and even if you don't listen too closely to the lyrics the sound here is uplifting and entertaining. It is an album that repays repeated listen and one I will return to often. I plead guilty to loving this album. All involved should be justly proud and let's hope the undoubted praise it will receive will turn into more substantial sales for this fine, well-packaged album and its accompanying lyric booklet.
Merle Haggard 'Working in Tennessee' Vanguard
That he is still making albums of this quality is reason enough to enjoy this album but Merle Haggard is a legend who has remained truer to himself than many of his contemporaries. That he hasn't crossed over to a wider audience by recording songs written by names that they may be familiar with also says a lot about his attitude and aims. What I Hate is an uncompromising reflection on his views about what goes on around him showing that Haggard is still in touch with the world around him. He is also writing songs that reflect on his life and those close to him. Sometimes I Dream looks inward while Under The Bridge is about eternal hope. Too Much Boogie Woogie sees the writer hearing too much boogie woogie on the radio and not enough Hank Williams Sr, Ernest Tubb, Connie Smith, Marty Stuart, Willie Nelson and Emmylou Harris. People like himself who rarely gain radio play in these times, a sentiment I think we can all agree with. The playing throughout is spot on with players like Reggie Young, David Hood, Rob Ickes and Scott Joss involved that's not unexpected. He also picks some well know songs to cover and while they might not replace the originals are all given an satisfying Merle method-acting. There's Cocaine Blues and Jackson, the latter a duet with wife Theresa. She also co-writes several other songs and that's not the only family involvement with son Ben joining in on vocals and guitar and Jenessa Haggard also co-writing. Family means a lot to this man. He also appears, especially on Laugh It Off to be enjoying himself here. That's important here is man at ease with himself, his life and music and that comes across and counts for a lot.
John Henry Olthoff 'Selfish Portraits' Self-Release
Another singer-songwriter in a world full of them. Maybe but there's something about Olthoff's songs and voice that help it to stand it out. There is an underlying humour alongside a certain bitterness, regret and isolation in these tales from the fringes. One song that sums that up is the stripped down Weekend In Jail - "Drove his rusted Chevy through the window of the gas station store. Filled up the backseat with beer and cigarettes 'til he couldn't fit no more, surveillance cameras saw the whole thing and when the cops came came to his door he said "when you need beer and cigarettes you'll do anything for sure". Then we he spent the weekend in jail". These songs are sung in Olthoff's downbeat nasal voice that once you get into it seems right for these tales from the other side of the tracks. Their may be a kinship to the territory covered by Willy Vlautin with Richmond Fontaine. Though Olthoff uses a full band here the two acts only have a passing similarity as both acts can be loosely be placed in the roots rock corral. The album was recorded by Frank Schiazza, who also plays lead guitar, bass and keyboards. David Ciolino-Volano is the drummer and Glenn Spivack plays some nice pedal steel touches. There are some full on songs here like the driving No Other Kind that sit easily beside the acoustic sadness of Anymore and Broken Meter or the buoyant 99 Cent Store where the protagonist wishes he "only had 20 dollars more I'd buy 20 things at the 99 cents store". The 15 songs on his latest release all have merit and while the overall mood of the writing looks toward the darker end of the street Olthoff's music is, once explored, something to savour. This New York based musician has something to say and here's where he's saying it, selfish or otherwise.
Joshua Radin - The Rock & The Tide (Warner/14th Floor)
I was worried about this one. I've given it two spins. My worries were justified. Do you like white bred?
Frankly, this album doesn't belong on a bluegrass / folk reviews site. It doesn't even belong on a singer/songwriter reviews site. I'm sorry to sound harsh but why sign a folky singer/songwriter and then try to turn him into a top 40 charting artist? The album from start to finish sounds like overly polished, auto tuned, pro-tooled, producer led soft pop. And just because there is a synth banjo on track two 'Streetlight' doesn't make it a 'folky' song. Way down the back end of the album there are a few softer, more folky numbers that actually sound half-decent. If you read between the lines here it seems to me that Radin wrote a soft, folky album and the label has brought in producers and writers to try and 'Radio' it up. Thus they've bumped the better songs further down the tracklisting and moved the 'radio' songs up front.
I have to stress actually that the auto tuning is so bad on the lead into track three 'I missed you' that you can hear the vocal actually being cut up in the transition from pitch to pitch. Not good. Also there seem to be three writers credited on this track. It always amazes me how songs with more writers can be WORSE than those written alone.
The ONLY song worth half a listen on this ten track indulgence is a track Radin wrote himself 'You Got What I Need'. He's written a beautiful mid tempo guitar ballad. Played out on what sounds like a strat or a tele his voice echoes Ray Lamontagne a little and we can actually start to feel with him. Minimal production of guitar, bass, drums, a beautifully warm rhodes/Wurlitzer type keyboard sound and vocals on this leads me to believe that this album should have been a one track single - with this song plugged to death. This is THE one for sync as far as I can tell.
Each to his own, but I'd like to hear Radin if he ever makes a real down to earth, heart on his sleeve record produced with no budget. I think that's the place we'll all connect deep down with Radin. The writing and production of this album reminds me far too much of that annoying hat-wearing popper Jason Mraz. Unfortunately, a thumbs down from me on this album barring the song 'You Got What I Need'. If you want to listen to a Josh, try Josh Ritter or Josh Rouse.
by James Cooper
Water Tower Bucket Boys - Where The Crow Don't Fly EP
I'm not sure why it has taken me so long to review this EP. Perhaps it's the fact that I liked it so much straight away. There's a possibility that I was waiting for it to wear out on me. Well, it hasn't done anything of the sort.
Garrett Durant's cover art grabbed me straight away and as soon as I started spinning the CD in my car I was hooked. 'Meet me where the crow don't fly' opens the EP. It has a lazy blue grassy feel that sort of sucks you in. What with its banjo pickin' and upright bass boom you can't help but be won over. Vocally the song gives us a great introduction to where the WTBBs are going to take us.
Moving on then to 'Walkin' down the road' we're sort of running down the road! With the fast tempo, high strung mandolins, banjos, blues harp and again, thump of the upright bass, this stuff just gets under your skin. I'm surprised I have not seen these guys on a double bill with Old Crow Medicine show in Dublin.
If vocal harmony is your thing like me, then 'Pilgrim song' is your song. The two and three part harmonies and resonator backing are dead on.
Track four 'Easy Way Out', is not as well written as the first three songs and the appearance of drums disappointed me (as they're not needed on a blue grass release). However I suspect it's a good, up tempo, show opener. And closing with the intimate and delicate 'R Song' is a good move.
These guys are tight. It's a good thing when an EP makes you want to find out everything you possibly can about a band.
I was longing for a new Gillian Welch record this year and even though it has now arrived, I feel like this EP is a more exciting prospect.
So from the Water Tower Bucket Boys - Josh Rabie, Kenny Feinstein, Cory Goldman & Kyle McGonegle we ask 'More Soon Please!' Buy the EP at: http://www.watertowerbucketboys.com/music.html
By James Cooper.
Reviews by Stephen Rapid
Norianna Kennedy 'Ebb 'n' Flow' Self-Release
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.