Steve Spurgin 'Folk Remedies' - Blue Night Records

I could tell, even before I listened to the CD, that this was to be a special treat. The cover art is simple, stylish and spot on; the support band is spectacular. 

Steve Spurgin and I have been email buddies since I first found his Distant Faces album on eMusic Live many years ago. I have followed him since on his various journeys with the bands California and Sundance then duetting with Dan Crary and in his own band Sawmill Road as well as several most enjoyable Spurgin solo projects.

With stellar musicians Jim Hurst, Missy Raines and backing vocals from Chris Stuart and Janet Beazley Folk Remedies was a winner from the start for me. I’m hoping that this combo might just tour on this side of the pond. Steve has a most pleasant voice with more than a passing resemblance to the great Gordon Lightfoot and his compositions are storytelling tributes to his formative years in West Coast folk, folk/rock, early electric bluegrass and a mis-spent youth in the company of some of the finest musicians ever to grace my musical memories.

This particular CD, as the title suggests, is a return to the sounds of his folk roots and would sit very well in the middle of my well thumbed LPs from my own Irish folk boom days of the 60s and 70s. Shades of Gordon Lightfoot, early Bob Dylan and Ian and Sylvia vie with the guitar styles of Red Shea, Terry Clements and Dick Rosmini to totally enthrall on this timeless set of Spurgin originals.

The album opens with Whiskey Town which sets the tone for 12 other fine, well-balanced vocal/guitar driven tracks. The second track Long Gone introduces the tight vocal harmonies of Back Country ‘s  Chris Stuart and banjo heroine Janet Beazley. I must also mention If I Never See Ireland Again which manages to get an emigrant’s feelings across without sounding all ‘Oirish’ or patronising. The CD finishes with Carolina in the Fall, one of the best from the Kruger Brothers.

This album is a very welcome addition to my Steve Spurgin collection and only helps to reopen my interest in and enforce regular airplays of all his previous CDs. And I can't finish without saying a big thanks to him for introducing me to one of my most played signature tunes on my radio shows It's A Great Place To Be When You're Lonesome which really says what the I feel that Lonesome Highway e-zine and radio shows are trying to get across. 

Various Artists 'Pa's Fiddle: The Music Of America' - Compass Records

From the rousing opening by Ashton Shepherd to the final All Join In of the Pa's Fiddle Ensemble this DVD and CD are a fine tribute to the sound and visual treat that is the Loveless Barn in Nashville Tennessee. Having recently seen a recording of Music City Roots there earlier this year, this was a welcome revisit to one of the finest venues it has been my pleasure to attend.

Pa's Fiddle is a twin DVD/CD set of a concert in January 2012 which pays homage to the music remembered in the writings of Little House on the Prairie author Laura Ingalls Wilder and her memories of music played by her Dad as she grew up. Under the sympathetic stewardship of musical director Randy Scruggs an A List backing band lays down a top class musical red carpet for the equally A list of performers to strut their stuff  on, in an audience-pleasing evening of glorious nostalgia.

It would be unfair to single out any particular track or singer and there are too many to individually list here, but I guarantee that if you see the DVD then the CD will be a permanent passenger in your car for personal or family sing-a-longs.Much credit is due to Compass Records for their continued commitment to projects like this and we in turn should support their efforts by putting our money where our hearts are in making this a success.

Selfishly I have to admit that seeing and listening to the Roys is always a treat and its great to see Randy Travis looking good and sounding just like his old self. As a bluegrass radio DJ, I get a special kick out of seeing Shad Cobb on banjo, Matt Combs on fiddle and the ubiquitous Dennis Crouch on bass included in the band. Ashton Shepherd is riveting with her opening song O California and 16 tracks later, like the attending crowd, I was hollering for more.

There are a lot of recent rootsy Americana collections available but this one is special.Like the author whose memories it celebrates it should be around for quite a while to come. 

Hadley J Castille 'Refait (Remakes)' - Swallow Records

If you like your Cajun music fiddle rather than accordion-based and with more than a tip of the hat towards New Orleans jazz, then this little beauty is for you. For once I wished that my school French was up to speed so that I could have enjoyed the storytelling element of this re-recording of Hadley Castille's most requested songs and tunes.

In Refait, Hadley and his long time band The Sharecroppers revisit and re-record 20 of their all time favourites, much beloved of Cajun music loving audiences all over the world.The sound owes a bit more to Chuck Berry than our beloved Balfa Tojours and is a real crowd pleasing collection of danceable two steps and waltzes featuring the unique fiddle style and equally unique vocal talents of this long acknowledged master of Cajun heritage music.

I can't profess to a great knowledge of Cajun or the traditional music of Louisiana, but like all amateur art critics I know what I like. I found this CD to be infinitely more listenable than most of the commercially available Cajun albums that I have previously encountered. If, like me, you bopped to Diggy Liggy Lo or tapped your foot to the great sound of recent visitor to these shores, Sarah Savoy and the Francadians, then top up your collection with this well stuffed goodie bag of the real deal from Hadley J Castille and The Sharecroppers.

The Honey Dewdrops 'Silver Lining' - Self-Release

There are so many really top class duos out there these days that it can be hard to keep track when a new one jumps up. But the Honey Dewdrops  (Kagey Parrish and Laura Wortman) went straight for my ‘must listen’ nerve centre. Information is sparse on their website, classifying them as a Virginia based duet who write all their own songs, which however true, doesn't do them justice at all. The blend of vocals and instruments here is pure Goose Bump City as clean as an Appalachian mountain stream and tight as a handmade Killorglin bodhran.

Their sound is timeless and yet fresh as today’s bread which I'm sure was in plentiful supply on the mountain farm in Catawba, Virginia where this little gem was recorded in April this year. Drawing on the skills of guitarist Caleb Stine and mandolinist Barry Lawson, they have put together a collection of their own compositions which are so good that it makes it almost impossible to select any ‘best of’ tracks.

Kagey and Laura swop lead vocal duties and lead instrument work so naturally that the fine banjo and guitar backing blends seamlessly on each track. The two instrumental tracks Catawba and Somerset and the acapella Bright Morning Rain are little island breaks in a secret lake of listenable folky, rootsy old timey songs that need a lot more exposure than The Honey Dewdrops seem to be getting right now.

This is a very well produced CD, both visually and musically, and I, for one, intend to check out more on their background and heritage. Have a look at www.thehoneydewdrops.com and you won't regret it.

Furnace Mountain 'The Road To Berryville' - Self-Release

This is the 5th album from a band that has been together since 1995 and it is a culmination not only of all their combined musical talents but also the influences of their travels which have taken them from  Furnace Mountain to the waters of the Yangtzee. This no CD to visit casually, instead it is one to sit back and enjoy the range of Furnace Mountain’s musical mystery tours which are not just folk, bluegrass,old timey or Americana but rather a very pleasant mix of all the above in a genre-busting 12 tracks which allow all the band members to showcase their specific talents, yet without bragging or boring the listener.

Aimee Curl lays down a solid bass foundation for the intricate string skills of Danny Knicely, Morgan Morrison and David Van Deventer on fiddles, guitar, bouzouki and mandolin. Aimee and Morgan handle the vocal harmonies which sound as relaxed as a Sunday afternoon family sing-a-long on a back porch in their native Virginia.

W.B.Yeats "Fol De Rol" sounds just right next to Bob Dylan's "I Want You". The rest of the fine tunes and lyrics are drawn from a circle of friends' or are the band’s own  compositions. I found it hard to pick out my favourite tracks but "The Crow on The Cradle" and the almost western swing lilt of "Bonaparte's Retreat" stand a little higher on my rating scale.

I fully agree with the comments on the cover from none other than Bruce Molsky; this CD made me happy from the first moment I listened to it and I found that The Road To Berryville runs closely parallel to the Lonesome Highway and should feature regularly on my radio shows.

Malcolm Holcombe 'Down The River' - Self-Release

Malcolm Holcombe is easily recognizable with a voice that sounds like sand-blasted gravel and that voice tends to divides opinion. However there is no doubting his writing talent and the respect that his peers have for him. On his latest (his ninth) album he is joined by such notable musicians as Ken Coomer, Russ Pahl, Tammy Rogers and Darrell Scott,  with vocalists Kim Richey, Steve Earle and Emmylou Harris all of whom acknowledge Holcombe’s skills as a writer and performer.

There is anger, frustration and understanding in these songs and the music underscores these fragmented emotions. Twisted Arms has a tough hard edge and some cutting guitar, while by way of contrast, the next track The Door has a gentler acoustic edge with steel guitar. That contrast runs through the album with Holcombe's song alternatively full of understanding for the lives of others or howling in rage at the injustice, imbalance and greed that exists at many levels of society.

Some song are stripped back to a bed of voice and guitar, with subtle atmospherics. Holcome uses his guitar as another means to bring his country-blues based songs to life. The Empty Jar uses strings behind the voice and guitar to lend a sense of hope. In Your Mercy, has a beauty and the beast aspect with Holcombe's gritty voice contrasting with Emmylou Harris' clear voice - a pairing that works well. Steve Earle plays harmonica and trades verses on Trail of Money which contains the lines *"My instincts are wounded, my schools bleed with guns, my children are recklessly, lost in the sun" as a sample of his distaste for the corporate greed that runs through society at many levels. Those who have heard and seen Malcolm Holcombe will not need encouragement to seek this out; others should check him out on his site and on Youtube. Holcombe is a true troubadour, a truth teller and a man with human frailties that are reflected in his music. Ray Kennedy's production has given this album a sound and structure that makes it one of Holcombe's best and well worth exploring its rivers and tributaries.

Whispering Pines 'Whispering Pines' - Self-Release

A tree with many branches, Whispering Pines opens with the rock of Move On and then slows the pace down with Come & Play,  which has a more country-rock feel. Much of what you hear here sound like it could have come from the late 60 and 70s country rock movement. Add to that touches of Southern Rock and blues and you have a rootsy sound that will have immediate appeal for many.

There are four writers in the band and that gives the songs a wider range that is apparent in some single writer bands. There is also an attention to the vocal harmonies within the songs that are effective and easy on the ear.

Purest Dreams opens with a burst of guitar that is followed by a strong harmony laden song with harmonica and a long guitar break. The tracks are divided into sides A and sides B though there is no immediately discernible difference between the two sides. Wolfman which opens side B has a slight Stones-ish feel. while Love Is Free is an uptempo songs with strong joint vocals and a good hook. The quieter Sunrise To Sunset again highlights the band’s tightness and also the band’s production, which has them firmly in control of their own sound and musical direction. The songs are immediately and could fit in any number of formats. Fine Time again sounds like it was recorded back in the early seventies, as does the gentle country rock of Broken Spoke which is another highlight of the vocal contributions of the four writers, each of whom sings their own compositions, while the others provide strong vocal support.

Whispering Pines cover a number of bases with their music but do so in way that absorbs their influences to create something that , while being rooted in previous times is  ready to bring it to a contemporary audience.

Awna Teixeira 'Where The Darkness Goes' - Self-Release

This is a singer/songwriter who, her biog tells us has had something of a mixed past,  but that music has  always been the key to her life. In 2004 she became a member of Po' Girl and this is her solo debut album. It's a joy,  with Teixeira's voice an immediate and powerful presence.

 Awna’s music crosses barriers and draws from any number of sources and inspirations. Teixeira is a multi-instrumentalist and is joined by other musicians who bring these essentially folkish songs into rich territory.

 It is the  vibrato in her voice that is the key quality that makes her the focus of the album. Her banjo playing is dominant on many of the songs and gives them rootsy grounding that can then take you to different places and differing moods.

The songs are observations of her life and times and travels. She uses the full ensemble where appropriate and elsewhere strips the sound right back. Her Po' Girl companion Allison Russell joins her on vocals on many of the songs and the end result is, from start to finish, a thoroughly captivating experience. On the liner tray she offers a short dedication for each of the songs that show a woman who has a wide empathy for her fellow humans. The Little Review is for the staff and children in a Polish orphanage. The title songs is dedicated to those friend who were there during difficult times, while others are for lost friends. All are equally honest and heartfelt which comes across in the music which has a gentle and effective strength.. With her strong and direct songs, Awna Teixeira has opened a door that takes you in disperses the darkness. 

Allen Thompson Band 'Salvation In The Ground' - Palaver

The cover reveals a hirsute bunch of guys and the one lady who make up the Allen Thompson Band - a collective which realizes Thompson’s songs and takes them to a new level. They have a sound that has roots in the 70s West Coast sounds of rock, soul and country-rock.

Based in Nashville the music they makes is a million miles away from that emanating on Music Row even though they are only about a ten minute drive away from that industry hub. This is a full band sound with keyboards and guitar providing the melodic structures over a solid rhythm section. Thompson sings his songs with conviction, if not in a totally distinctive voice. There is a lot here to get acquainted with and the music is honest and no doubt works well in a live context but may not have enough individuality to make it stand out from the crowd.

A song like Everybody Knows which is a more stripped down setting of voice and piano by its nature stands out and allows Thompson voice its space. The folky acoustic While I'm Young is similar and has nice vocal harmony around Thompson's voice and the accordion is a nice texture that shows this band is capable of versatility and subtle playing. Salvation In The Ground is an album that shows a band developing an ensemble sound that has its share of songs that, given time, will give back what you put into them. When all the elements come together, as on the singalong Love One Another then this band have the potential to create songs that translate across the ether and to connect with a wider audience.

Arthur Alligood 'One Silver Needle' - Newsong

Sometimes when a artist is given the tag folk singer the recorded version of that person's music is a whole lot more. Arthur Alligood is at heart a folk singer, a setter of scenes who doubtless, plays his songs with just voice and guitar on certain occasions but here, for his latest album, his music is often at the centre of a full band session. Though there are some songs like Right Time Rain and Coming For The Heart Of Me which are stripped to essentially voice and guitar and you hear the clarity of his voice and lyric - both of which have an inherent strength. On Ochlockonee his words paint a portrait of a past and of a place "Daddy had that old, brown picture of an old riverboat. He said it was just the kind his Daddy's Daddy rode". His words have a poetic quality and his voice has a restrained passion that suits the songs well. The band has some notable names involved which include the ace rhythm section of drummer Jim Keltner and bassist Leland Sklar, as well as guitarist Michael Ward. Production is from Mikal Blue and he understands how to give these songs the setting that shows them off to best advantage. From the opening uptempo robust Shouldn't Be That Hard through the twangier We Had A Mind To Run about the sense of escapism that many teenagers feel at a young age of restlessness. The title song has a gentle questioning that asks "You got all that golden thread and one silver needle. Think you might mend all my tears?". There is a hopefulness in the wish of the song to change Darkness To Light that again has a nicely building tension over its drum pattern. The swirling organ that overlays another strong repeated drum pattern gives a tension to Go On Back that draws the listener in. It features some strident guitar behind Alligood's emphatic vocal. All in all a well-crafted, roots-orientated album that should have a wide ranging appeal for this Nashville based artist who continues to prefect his musical progression and understanding of the nature of his work.

Matt Keating 'Wrong Way Home' - Sojourn

With a previous nine albums to his credit Matt Keating has a pretty good idea of what his is aiming for with Wrong Way Home. That seems to be a blend of some subtle pop sensibility in terms of melody mixed with a little alternative root and branch exploration that sees brass, accordion, lap steel and strings all given space in a sixteen song set. Keating co-produced the album with Jason Mercer and they appear to enjoy the freedom that had in the studio. From the brass underpinned Too Good To  Lose, to the country tinged Maybe He'll Meet You. Like fellow singer/songwriter Neal Casal Keating has a number of different cards in his hand that can be laid on the table for a winning hand. The title track has a roots feel blended with a more uptown pop feel that makes its appeal  more crossover. Keating is a solid writer who makes his words count as in the restless relationships of Here And Then Your Gone. Baby's Mind has a piano based jazzy feel that emphasizes the somewhat eclectic nature of the songs and also does the same for Keatings versatile vocal delivery. 1913 Coney Island has a historical context that is also subtly hinted at in the music. There is no doubt that Matt Keating has his act together and that his songs are the product of a progressive musical mind that wants to explore the possibilities it creates without making explicitly progressive music. Keating's music is never far from a melody without ever being overtly "pop music". He is an example of the type of musician who may never experience mass success (but may only be one song away from that if the right circumstances arose) but who will continue to follow his muse and his heart to create albums that he is proud of. There is a theme on some of the songs that mention the attraction of lights, carousels and company (Maker of Carousels, Jersey Sky). There's also the  bright acoustic-led sunshine songs like Sound Of Summer Days against the darker sentiments of the folkish Factory Floor. All in all an album to get to know at your leisure and to explore some of it's 16 track delights, there's enough here to at least appeal in parts if not all.

The Agnostic Phibes Rhythm & Blood Conspiracy 'Campfire Tales' - Shoutin' Abner Pim

With a band name like that you don't expect some soft-focused folk picking. No, these self-written folk tales are written in a deeper, darker part of the woods. This Canadian quartet includes punk singer Jackson Phibes (Tom Bagley) from garage punk legends Forbidden Dimension which goes part of the way to explain the ragged electrified nature of this, the bands, fourth album. Previous albums are described as pre-war acoustic blues and banjo workouts. Not so Campfire tales. Here Phibes joins Bob Keelaghan, Vladimir Sobolewski and Jay Woolley on a range of instruments that deliver their punkified, roots blend of blues, country, psychobilly and mountain music. Keelaghan and Phibes take the lead vocals on a set of spikey, howling songs that tell of such nocturnal pastimes that are the essence of Campfire Tales. They ask Who Fears The Devil?, tell of Wolfman Franz, they hear Voices and ask who us Butcher, Maker, Undertaker and listen for the Blind Ghost Moan. These are songs that surely Roky Erickson would understand and applaud. Maybe not for the faint hearted or the traditionalist but those who have come to roots music through the storms of punk rock will understand this rough shod spookiness and applaud the underlying skill with which it is being delivered. Crossroads blues, midnight murder ballads and ferocious folk fables that breath life into songs styles that have been left for dead but have now been given a jolt of electricity that brings them back to a new life. Dancing along a new path that leads from hillbilly hideaways to raucous nights in local hostelries. These campfire tales will warm the hearts of many but, be warned, this is not easy listening but is an easy listen for those who understand.

Sean Taylor & Brendan McCarthy 'The Baltimore Sessions' - Self Release

The Baltimore Sessions is exactly what it says on the label, an album of 11 tracks fine tuned in 18 months of Sunday sessions in Jacob's Bar in Baltimore West Cork. It's a hard one to categorise as it's neither a Trad or Roots Americana package. Instead it brings me back in fond memories to the thriving folk club days in Dublin in the 60's and 70's when the current heroes of Irish Folk and singer somgwriters honed their performing skills on the willing ears of many a late night audience. 

Sean and Brendan have pulled in all their regular session buddies and added the extra talents of one of my favourite visiting bands "The Foghorn Trio" to bring us their own particular read on some fine Americana tunes. I found the lack of sleeve notes a bit of a problem as I had to dig into the memory bank for writer and background details. The album opens with 1952 Vincent Black Lightning culled from either Richard Thompson or Del McCoury and sets the trend for the rest of the set. In a similar vein you'll find Midnight Special, Poncho and Lefty and Evangeline. All folk club favourites over the years. The rest of the CD is made up of some fine instrumentals showcasing all the musicians' obvious trad backgrounds. I would have liked a little bit of frailed or 3 finger banjo on some of the tunes as the flatpicked banjo style held some of the tunes in a very Irish mode but this is the way of the Irish Pub session and in a live performance the enthusiasm on athmosphere takes over. All in all this is a perfect memory of what is obviously a very popular regular session and should be viewd as that. The musical skills are there with some excellent Guitar, Fiddle, Box and Banjo breaks to kep the listener happy and to provide a great rememberence of the sessions or to entice a new potential audience.

It finishes with a rousing version of Steve Earle's Dixieland and left me wishing for a pint in my hand, a seat in the corner of Jacob's Bar and my trusty Martin D-35 nearby ready to jump in whenever a gap in "The Baltimore Sessions" allowed.

The Mandolas 'My Greatest Day' - Self Release

This 5 song EP is a pleasnat surprise in a time when I get quite a few unsolicited self releases dropping thru the Lonesome Highway mailbox. From the classy cover artwork to the excellently produced vocal and instrumental tracks this is a credit to four lads who are best described in this little snippet from the websitewww.themandolas.com. “The Mandolas are a 4-piece folk/pop group based in Cork, Ireland. The band make use of a wide range of acoustic instruments (mandolin, mandola, acoustic guitar, bouzuki, banjo and viola) as well as incorporating lavish 4-part harmonies into their music. The Mandolas perform original material and combine Irish and English folk traditions with a unique blend of contemporary pop. 

The group consists of Michael Grace (Kilkenny), Colm Hayes (Cork), and brothers Paddy & Dorian Kelly (West Cork/ originally hailing from Yorkshire). Drawing inspiration from the likes of Planxty, The Beatles, The Beach Boys, and Fleet Foxes, The Mandolas unique folk stylings combine a wide array of musical influences to create a fresh, warm sound. 

Again as on other self releases I found the lack of sleeve notes to be a hinderence in checking the background to the band. But the time spent hitting the website was aided by a good listen to a mixture of really tight vocal harmonies and some fine acoustic stringed playing. The band name obviously is derived from the mandolin or mandola skills of three of the four group members. And these skills are demonstrated on all of the tracks in a style that would have Donal Lunny or Andy Irvine or even Johnny Moynihan reminising joyfully on their own debut releases

It’s hard to pick a favourite track as I want to let this one travel in the car with me for a little longer to really soak in the unexpected professionalism on this CD. Suffice to say that very listenable Beatlesque harmonies mixed with the fine songwriting and instrumental talents makes this a very welcome adition to my playlist and will be sure of some regular airplay on my Lonesome Highway radio shows.

Rafe and Clelia Steffanini 'Lady On THe Green' Old Willow Tree

Getting this album set me on a quest to find out a bit more about a name that I have seen continuously since I first became interested in Bluegrass and Old Time Americana but had not really followed up on. Rafe Steffanini is a Philadlephia based, Italian national, and multi-instrumentalist whose skills on fiddle, banjo, mandolin etc etc are most often to be heard in the company of such high end acoustic idols as Bruce Molsky or Dirk Powell. On this fine collection he is accompanied by his daughter Clelia on fiddle, guitar and vocals.Throw in Nikki Lee on Guitar, Carl Jones on mandolin and Eric Frey on bass and vocals and you are on your way to a 13 track trip to another stage of your Old Timey history education. The liner notes on this one are just about right to inform while listening to some of the best instrumental music I have heard recently.

There is no chance to get bored on a full listen to the whole CD as the stlyes vary from track to track. The instrumentals feature some exquisite twin fiddle and stunningly clear old time banjo playing, while the guitar in simple Carter Family feel is just perfect in "I Never Will Marry".  Father and daughter feature some fine family harmony on "Blues Stay From Me" and "The Cowboy Trail" is yet another gem.

The title tune "Lady On The Green" has been haunting me since I heard it and I'm still trying to find out the original celtic name that I may have heard it played as at some time in the past. Emails of assistance would be appreciated on this one. The only problem I have with this CD is that I'm now going to have to set out and collect some more of the music of this excellent Old Time musician who once again shows that Europe can still give as good as it gets when it comes to Old Time or Bluegrass music. In the company of Beppe Gambetta or Red Wine, or The Kruger Brotherts, Rafe Steffanini does us proud.

The whole package is produced in longtime Lonesome Highway favourite, Joel Savoy's studio in Eunice, Louisianna which was the home of Rafe's previous CD "Never Seen The Like" This is a project that will sit well in your collection for regular visits when you need just a bit of grit and authenticity in your musical diet.

Random Canyon Growlers 'Dickey Ain't Got all Day' - Hen House.

This band's name suggests that you should know them of old but in fact they were new to me before I jumped headlong into this wild collection of Ozark flavoured tunes played by a band whose instrumental skills where obviously fine tuned by 25 hour days spent woodshedding or jamming together. Don't be fooled by the schoolboyish cover artwork, this is a very professional project produced by Ben Winship whose Fishing Music CD has had me entertained for quite a few years now. 

Most tracks are written or co-written by the guitar and banjo duo of band members Jamie Drysdale and David McMeekin. They are original while showing a love of the genre that makes them seem as comfortable as a well worn pair of old cowboy boots. There are a few surprises in the shape of songs from the Louvin Brothers "Dark As The Night" or "Travelling Kind" from The Country Gentlemen. But the ace in the hole for me was Don Robertson's "Born To Be With You" which I have so many versions of in my collection that this one brings a whole new and fresh approach to such a much loved classic.

I say again that the musical and instrumental skills of this band are way superiour to most of the young blades that have wild noisy old time bands on todays circuit. These lads have put an album together that will stand the test of time and I'll be looking forward to hearing more from them as the years roll in.

As good as they sound on CD I'm sure that a live performance is the right place to see these young guys in action. They are pushing the Old Timey envelope just as far as it will go and the tasters of edgy rock and bluesy vocals show signs of lots more to come from them in the future.

Coyote Grace 'Now Take Flight' - Mile After Mile

The first thing you notice on this most recent of five albums from Coyote Grace is the traditional instruments of a bluegrass band work at a different tempo and styling than we might expect from even the most adventurous of todays grassy bands. So Bluegrass it ain't nor is it folk but instead it's a jazz tinged acoustic set of originals written mostly by Joe Stevens and Ingrid Elizabeth with one from the other third Michael Connolly and a killer version of Springsteen's "I'm On Fire" to complete the mix.

To identify a group that I had never heard of, before getting this little beauty in the post I have nicked a few lines from their website bio. The first thing you notice on this most recent of five albums from Coyote Grace is the traditional instruments of a bluegrass band work at a different tempo and styling than we might expect from even the most adventurous of todays grassy bands. So Bluegrass it ain't nor is it folk but instead it's a jazz tinged acoustic set of originals written mostly by Joe Stevens and Ingrid Elizabeth with one from the other third Michael Connolly and a killer version of Springsteen's "I'm On Fire" to complete the mix.

Armed with a bevy of acoustic instruments from guitar and upright bass to banjo, mandolin, fiddle, and accordion, Coyote Grace’s Joe Stevens, Ingrid Elizabeth and Michael Connolly fill theater, club, and festival stages with a wash of sound seemingly far too expansive for three musicians, mixing bluegrass and blues, soul and Southern twang into a unique sound that hovers just beyond the edge of ‘familiar.

This is obviously a musical democracy with all sharing the vast array of instruments and vocal duties. Ingrid seems to handle percussion and Michael pitches in with hammond on a few tracks but neither of these overpower the mostly lead vocals or the tasteful harmonies and classy instrumentation. The longest track at 5.21 is powerful bass driven and vocal piece that showcases the talents of Ingrid on both. This is followed by the album finisher and title track a very strong and eminently listenable mainly mandolin insrumental that draws you in and insists that you return to track 1 and start the process all over again. 

I can't calssify or categorise this album and nor would I want to. It's a little island of quality modern acoustic music in a sea of mindless pop drivel that we are forced to listen to on mainstream radio these days. These are real musicians who haven't sold out, bringing us a collection their own originals in a style that suits them and is a pleasure to listen to.
I think a visit to their back catalogue is now required to try to see where this very very enjoyable project gets its history and I'll also have to visit my Girlyman CD to hear again what Ingrid Elizabeth does on her breaks from Coyote Grace.