Annabelle Chvostek Ensemble 'Rise' - Borealis

Canadian singer-songwriter Annabelle Chvostek has released a number of fine recordings over the last ten years. You may know her from her association with the Wailin’ Jennies and on this set of songs, Annabelle displays her political and social concerns with tracks like the G20 Song and Do You Think You’re Right (Jesus Camp). We get a Polka influenced rhythm and an acoustic strum reminiscent of Joan Baez at her most indignant.

In between, we are treated to some fine musical arrangements and understated guitar motifs from David Celia, who really fills out the songs and shines throughout this strong set. Cover versions of a Lou Reed song, Some Kinda Love, and Equal Rights by Peter Tosh finish the twelve tracks in a slow groove that leaves the listener wanting to hit the play button again, just to soak up the diverse soundscape on display here.

The track Rise paints a picture of corporate greed, while All Have Some is a rebuke to the taking of Indian lands by a Government, where native people found themselves ‘imprisoned in the land of the free’. Bruce Cockburn turns up on this track for moral support and the themes of injustice and community standing strong, run through many of these songs like a bright light. I am reminded of the great talents of Eliza Gilkyson in the vocal delivery and writing of Annabelle Chvostek; both warm and full of powerful inflection.Songs for the expanding community of socially aware musical brethren.

Lowlands 'Beyond' - Gypsy Child

This is the third release from a band that was formed in Pavia, Italy in 2008. The main influence is UK born, singer – songwriter Edward Abbiati, who penned the ten songs here and who selected Joey Huffman, ex Soul Asylum, to produce and play both Hammond organ and piano throughout. We also get the talents of Mike Brenner (Marah, Magnolia Electric Co.) and Richard Hunter (harmonica virtuoso) together with a terrific rhythm section of top Italian musicians.

The music starts out like a train and rocks through the early tracks with a Mellencamp/ Petty stride and strut. The band displays a tight sound and the mood slows into a more country groove with standout tracks like Ashes and Homeward Bound, showing a softer side to the arrangements.  Fragile Man is another reflective song that looks at life’s challenges and the resolve to face down the demands made in order to persevere. The counterbalance to the driving beat of Hail Hail and Waltz in Time is provided by the soft strum of tracks like Beyond and the celebratory final song Keep on Flowing sums up the mood perfectly with a classic rock line ‘we’re on this boat together darling, you and me’. All aboard then

Rebecca Pronsky 'Only Daughter' - Nine Mile

Rebecca Pronsky hails from Brooklyn, New Jersey and she has three previous releases to her name, the earliest of which dates back to 2003. She writes all of the songs and has her husband, Rich Bennett, to add not only guitar, keyboards & ukulele but also production credits. The one cover version is an interesting choice, Glenn Tipton by Mark Kozelek. It is a dark song whose ambiguity caused many discussions upon its release. Rebecca Pronsky brings innocence to the song arrangement and a new perspective with her airy vocal. Equally on the track The Garden, she sings that these are dark times while laying down a strong beat to the rhythm of uncertainty.

We also have Suzzy Roche and Lucy Wainwright Roche, guesting mother & daughter, singing on the up-tempo beat of Better That Way, reflective lyrics and all. Another is an interesting song that speaks of the passing of idealism for a cause. Having implored everybody to Rise Up against mediocrity with the opening track of this cd, it is as if the protagonist has admitted the defeat of the weary traveller who has lost her thunder and now only aims to please.

The final track brings a jaunty swing to the otherwise serious lyricism of the earlier songs by pleading for a lover to Please Forget Me. The playing displays a light touch throughout with some fine guitar parts by Rich Bennett. This is an engaging release and worthy of your attention.

Rob Heron and the Tea Pad Orchestra 'Money Isn’t Everything' -Self-Release

Well, this is refreshing discovery. Based in Northern England, but sounding every bit like a Cajun band, born of the Bayou and grooving with a New Orleans swing, Rob Heron and the Tea Pad Orchestra combine jazz boogie, barrelhouse piano, mandolin and accordion into a mix that makes this debut CD a compelling listen. We have folksy blues skiffle on Great Fire of Byker and the title track. There are drinking songs and laments about lost love, taxes and debt. There is even a song about the dubious joys of fish.

My favourite song is Hot Bath which jumps out of the speakers with a real ragtime groove; ‘hop right in while I give you a scrub’. Barro Alto shows a different side to the band and stretches their playing into new areas of finesse. The happy stomp of She Don’t Like Fish is pure Django Rinehardt territory with fine guitar parts complimenting the cornet playing.

Top marks for the production which is bright and airy. The eleven songs are perfectly paced and make this CD a really vibrant listen. Highly recommended.

Livewire 'Livin’' - Way Out West

Livewire are a straight down the middle, country rock band. The vocals are right out of the Garth Brooks stable and the song arrangements are melodic, with some fine guitar playing laced through the driving beats. The production is very strong and the ten songs are a pleasant listen overall. 

The band has been around for quite some time but has only released a 6 song EP prior to this, their first CD. Trying to get recognition in an already crowded country music arena is very difficult and I guess that Livewire have paid their dues on the touring circuit in honing their sound.

Songs of love lost, the power of the female form, longing and regret are all tinged with a sense of aimless wishing and a failure to move beyond the past. Breakup songs coupled with the threat of prison in protecting family; reading the good book and whiskey based tales do not stray very far from the country music formula.

‘Our history is history’ and ‘forever turned to never ‘ are clever lines in the track History and this song  stands out, along with the sombre tale of a righteous life lived in What Makes you a Man.

Closing on the rocking Gone, Livewire make a statement that they are here for the battle and looking at the band pictures on the gatefold sleeve, I would not like to disagree and pick a fight with any of them. 

Ash Gray & the Girls 'Born in the Summer' - Luv Rock

This CD opens with a jangling guitar sound and a summer of love vibe. The bright opening is maintained into the next few tracks with plenty of up tempo backbeat and chiming guitars, plus excellent backing vocals from the girls, reminiscent of the B52’s in the song arrangements.

 Ashton Gray gets songwriter credits on ten songs and the final track is a cover version of the famous Hollies hit from the 60’s Bus Stop, which they would have been better advised to leave alone. We get songs about good girls, hot chicks and the only woman on earth. Some of the later songs drag a little and could be stronger with the vocals from Ash Gray somewhat lacking. The backing vocals are most appealing however and never more so on the charming, Buddy Holly inspired, shuffle of Goodbye.

Time, I think, to let the girls out Ashton and give them a greater presence in the songs. Marks for effort, with some fine moments, but runs out of road overall.

The Statler Brothers 'The Definitive Collection - MCA Years' / Tracy Byrd 'The Definitive Collection ' / Gary Allan 'Set You Free ' Humphead

Humphead is a UK based label that releases country albums originally released in the U.S. The albums are either a range of two for ones, compilations or recently released albums. Below are three such releases that span a time period from 1970 to 2013. 

The Statler Brothers are a vocal harmony quartet perhaps best know to some for their first hit Flowers on the Wall and it's use in Quentin Tarantino’s Pulp Fiction. TheStatlers were hugely popular in the U.S. and this collection draws together some 50 songs from 1970 to 1989 when they were with MCA Records. The songs are presented in a chronological order. Though long associated with country the Statlers always were closer to  mainstream crossover than honky-tonk. Yet a number of these songs take a down-home country theme that was integral to what was then considered country music. Their vocal prowess was always a distinctive well honed sound. 

Lead singer Don Reid was also a prolific songwriter who, along with other band members and co-writers, wrote the bulk of the material that The Statler Brothers recorded. There is a fair amount of humour involved as well as autobiographical songs including the story of working with Johnny Cash in the song We Got Paid by Cash. Other titles included How to be A Country Star and Let's Get Started If We're Gonna Break My Heart. This generous 50 track round-up includes four number ones and practically all of the featured songs made the top thirty with the bulk hitting the top ten. The sound is of another era but is not without a nostalgic charm that will appeal to those who know the band. They retired after a 2001 album and farewell tour so this collection serves as a handy reminder of their talents even if it doesn’t include Flowers on the Wall.  

Picking from where the previous collection ends is the music of Tracy Byrd. Byrd comes from Texas and is a deep voiced singer who obviously loved traditional country music and played it at a time when the music was making ruled by the likes of Garth Brooks and Clint Black. Tracy’s first single was released in 1992. That's The Thing About a Memory was a co-write by Byrd with Keith Stegal, producer of Alan Jackson. At the time, Byrd was considered fairly mainstream,  but by today's standards he is deep country. The twenty tracks here run from that first single to When Mama ain't Happy released in 1998. Funnily enough, after that first co-write his name is not attached to any of the other tracks, so he is largely known as a singer. He’s a good one too, his deep voice a lesson in old-school attitude and approach, a smooth, warm voice that could handle a ballad with ease. Witness Why Don't The Telephone Ring or I Wanna Feel That Way Again. Against that there is the dance floor movers of Lifestyles Of The Not So Rich And Famous, The First Step or 4 to 1 in Atlanta. 

Throughout there is an abundance of piano, pedal steel and twangy guitars that probably wouldn’t  stand a chance at country radio these days,  but serves as reminder of what mainstream country radio once was and what a good country song and singer is. Byrd could also be more soulful,  as on the Gary U.S. Bonds co-write Don't Take Her She's All I Got. In fact he could be summed up by the song I'm From The Country, which was co-written by singer Marty Brown, a song which sounds like a forerunner for the list songs that proliferate these daysThis collection is a fitting tribute to a solid singer who knows how to handle a song and knows how he wanted it tosound. Tracy Byrd's website shows no dates and his last album was released in 2006 on an independent label. One can only hope that he will return at some point with the music he so obviously loves, even if Music Row no longer does.

We come right up to date with the new release from Gary Allan. Set You Free is his 9th studio album following his debut Used Heart For Sale. It shows his path from the traditional styled country singer of 1996 to the hard edge rocker of 2013. This may be the direction he wants to take with his music or it may be accounting for the direction that country music has moved in the last few years towards a mix of either pop or more rock focused music. I have always liked Gary Allan and this is an album that may well find favour with his newer fans.

The last few albums Allan has released have been increasingly contemporary and have moved away from a traditional setting. The guitars are upfront and central to this album with Allen himself taking on the lead guitar role for several tracks. Set You Free would seem to be his ongoing perusal of his creative freedom. But then his music over recent times has tended to be a reflection of where his life is. His 2004 album Tough All Over was written following the suicide of his third wife, an event that he tried to work out in his music through recording and touring. 

Allan co-produces here with both Greg Droman and Mark Wright on different tracks and Jay Joyce also produces four songs. The sound is full with a strident rhythm section, swirling keyboards and no less than eight electric guitar players credited throughout. So while this won't excite the Dale Watson fans out there, it will fit right in with those who picked up on Allan’s more recent albums and those who like Brad Paisley or Dierks Bentley live. The songs are heartfelt and recognise that life is hard for many. There is though, a sense of hope in songs like One More Time, Every Storm (Runs Out Of Rain) or You Without Me. On the other side Hungover Heart, Tough Goodbye and It Ain't the Whiskey (the most obviously 'country' sounding song here) talks of pain, loss and drowning ones sorrows. 

No Worries adds a reggae-ish lilt and a sensuous backing vocal to the song’s positive title. Drop takes a different mid-paced direction with swirling keyboards. By using different players and producers, Gary Allan seems to want to ring the changes. This album, in context, is one of the best he has done in recent times and he has made the choice to bring his music to a place he seems more than happy to occupy. 

 

Rich Mahan 'Blame Bobby Bare' - Snortin' Horse

The title of Rich Mahan's debut solo album is explained in a short sleeve note that tells of his Dad's stress-breaking routine of playing country songs at home like Tequila Shelia, songs that had a beat, some bounce and not a little humour. Mahan has recorded Blame Bobby Bare in Nashville and co-produced it with Brian Harrison. It is recorded with a warm analog sound which is perfectly suited to the music's 70's outlaw country ambience.

Though all but one of the songs (Bob McDill's Put A Little Lovin' On Me) are written by Mahan throughout, they feel so familiar you feel you have known them a long time. They feel easy and are enjoyable slices of a soulful country that seems to have largely been eradicated from the airwaves.

There are some top-notch players involved here too. PT Gazell’s harmonica playing adds the same kind of colour as it did when was he was playing with Johnny Paycheck. Steel player Robby Turner is a legend and there are a bunch of other fine players involved which include the solid rhythm section of Bryan Owings and David Phenecie. Add to that some sterling guitar, keyboard and brass playing and you have an album that's sounds damn good. But without a vocalist that has the strength to hold it all together you may not have the whole enchilada.

But no worries here, as Mahan has the voice to carry the frontman role with ease, giving each of the songs the right feel. From the mariachi trumpet /accordion enhanced humour of Tequila Y Mota - a great track detailing a weekend bender. Favourite Shirt is about a call to locate the missing titular item that leads to something more rewarding. Mama Found My Bong is a pretty self explanatory story of teenage misadventure. Drink holds a prominent role in many of Mahan songs especially Rehab's For Quitters and I'll Get Of The Booze. 

There is a soulful Southern element here too when Bekka Bramlett joins Mahan on several songs and making a sterling contribution to the vocals. You might blame Bobby Bare for thi, s but you can also thank him for being the inspiration for Rich Mahan. This is a easy-fitting favourite shirt of an album that even if you are new to it will soon feel like that warm and worn garment. Try it on – see how well it fits.

 

Larkin Poe & Thom Hell 'The Sound Of The Ocean Sound' - Lost Boy

The subtitle of  a ‘collaboration album’ between the two artists is a pretty good description of what's on offer here as it combines the talents of both parties. The vocal harmonies and interaction are central to the album sound with the balance of the male/female axis giving the songs their heart and soul. The instrumentation is a careful blend of acoustic instruments including mandolin, lap-steel, resophonic guitar and piano over a subtle but effective rhythm section, percussion and keyboards. The overall effect is enticing and one that rewards repeated listening.

It is a genuine collaboration with sisters Rebecca and Megan Lovell and Hell all contributing songs. The album has an overall soundwhich is explored across the ten songs and it is perhaps wrong to pick an individual track from the overall experience of the album which flows and ebbs as the ocean of the album title. Though the slower I Can Almost where voices blend together over a restrained musical backing with prominent resophonic guitar and Tired which opens with Hell's voice leading the vocals or the layered vocals of Missing Home all have an immediate attraction.

Larkin Poe have featured in these pages in the past,  while Thom Hell is a new name. He is a Norwegian singer-songwriter with several albums to his credit. This albumwas  recorded in both Norway and Atlanta and is a testament to the talent of both parties and a very viable and worthwhile collaboration that will enhance the recorded work of both. The production by Audun Borrmann is perfect for the aims of the album which will hopefully lead to further recordings and to some investigating the work of both participants.

Lisa Matassa 'Somebody's Baby' - It Is What It is

Another EP release;  this time 7 enhanced tracks which is what might be called a contemporary country outing from the big voiced singer. This is decidedly non-traditional with a production that pushes the hard rock guitar and upfront rhythm to the fore. The title song introduces the album and the sound is then reinforced by the NY remix version of Wouldn't You Like to Know which you can see finding favour with the ladies out for a night. Matassa is a co-writer on the third track which I think in many ways sums up her attitude: Girl With a Rock 'n' Roll Heart, another NY remix.

The ballad Learning As You Grow is another big sounding song that leads to her version of Bryan Adams' Heaven. The final two songs are further covers with Lisa’s take on Dolly Parton's I Will Always Love You as a live recording and then The Christmas Song. All show Matassa's range as vocalist but nothing here will be of interest to anyone who has a hankering for honky-tonk or alt-country. This will make a good introduction to those who will be taken by Lisa Matassa's upfront sound and vision.

Petunia & The Vipers 'Self-Titled' - Petuniamusic

When the album opens on a yodel you know you can expect something outside of the mainstream. This Canadian band are fronted by the man know as Petunia who is vocalist and songwriter with this band who explore a roots music that has it origins in a time that was less defined that is the usual today. It is a mix of vaudeville, old time, country, rocakabilly, ragtime jazz, swing and blues. A formula that a number of current bands use to produce their own particular elixir. Petunia has gather around him the like-minded Vipers whose sting includes Jimmy Roy and Stephen Nikleva bit of whom served time in the like-minded Ricochets of the late Roy Condo, the line-up is completed by Mark L'Esperance and Sam Shoichet. Frontman Petunia biog tells that has played with numerous musicians over the years and has been a busking entertainer for many of those. He knows how to front a band with verve and vigour. Songs like Gitterbug are immediately appealing with it's rockabilly rigour. But his take on the song Stardust is a more reflective affair taken at a slow tempo that befits the mood. (Never, Never Again) The Ballad Of Handsome Ned is a story song that is delivered in a cinematic style that has some likening The band's wide ranging approach to that of director David Lynch. There is a slightly unnerving mood that is indeed similar but it is one that enhances the music overall. There is an empathy at work within this combo that fully realises the breadth of vision that is on show. Broken Down Love has an eerie quality and a sound like a musical saw that underlines Petunia's crooned tale of heartbreak. His song Che (Guevara's Diary) is a musical evocation of the famed revolutionary's tale at a certain point in his life. By contrast the cover of Forbidden Lovers is taken as a and old style country ballad with sweeping steel guitar and a straight down the line vocal. The closing cut It Ain't has a robust double bass riff and kazoo upfront on a swinging rhythm under the high-style vocal that caps an intriguing and inventive album that marks the entry of an compelling singer and band who doubtless deliver live as they do here. Catch them either way or preferably both.

The Highballers 'Soft Music and Hard Liquor'- Woodshed

The title here might easily be reversed here to "hard music and soft liquor". The Highballers have a sound that throws back to the times when the term cow punk was more widely used to describe a hybrid of rock and country played with energy and drive. The band have evolved from their beginning in 2007. Chief song writer and vocalist Kendall Jackson has led the band since then and has a voice honed in honky-tonks and bars to a level of believability and bash. A key factor here is the harmony and unison singing of Victoria Patchen who does a fine job of adding depth to the vocals. Add to that the Telecaster twang attack of guitarist Sean Lally and the robust rhythm bed of Michael Barrientos and Drake Sorey. All show a love for country music as well as for elements of punk, garage rock, rockabilly and other influences which they have blended into something that feels right for them and with enough twang to make it appeal to country music fans the world over. It's not the 50/60s retro fitted sound that some bands use. Rather it's a template that's been tried and tested right back to the early eighties and with numerous bands who took their lead from Rank 'n' File and Jason and The Scorchers, but one that is still valid. The songs equally fit the bill with titles like Doing Time In Pennsylvania, The Price You Pay, I Didn't Mean To Get Drunk or Close To The Line. These are songs that are not without some humour and honesty. All in all The Highballers are an all round package. Though a lot of the album is taken at an uptempo pace they can do slower songs like Virginia and Better Man with ease and without going too soft. The album closes in the spirit (pun intended) of the album title with I Take Pride In My Drinkin'. An unashamed ode to a vocation that seems central to the Highballers sound and vision. 

Thea Hopkins 'Lilac Sky' - Self-Release

The music on this e.p. belongs to a woman with a voice that has some life and love for her art in it. It has a richness beyond some of the more lightweight voices that are associated with country music on the radio these days.Thea Hopkins latest release is that increasingly frequent format the e.p. Not quite an album, but more than a single, it allows an artist to release some product without having to make a full album and is a handy touring item. Two of the six tracks here are covers. She does a good job of Linda and Teddy Thompson Do Your Best For Rock And Roll, a song full of yearning and hope and likewise puts some meaning into her cover of the Marianne Faithful/Barry Reynolds song When I Find My Life. She has gathered some good players around her for the recording. There are three guitarists featured all play with conviction but Andy Hillinger's twang on Hopkins' Down By The Water giving the song a cutting edge and a stamp of Americana. The rhythm section are solid and Tim Ray's piano is used effectively. As a writer Hopkins reveals a depth and an understanding in her songs like Might've Stayed In Memphis and with the title song. Thea Hopkins joins the ranks of singer/songwriters whose role is to perfect their craft rather that redefine it. But she does so with enough of her own identity that these six tracks leave you curious to hear more. That in itself is an achievement that makes Lilac Sky a pretty good reason to have made it and an equally good reason to listen to it.

Russell Kamp 'Night Owl' - POMO

Ted Russell Kamp is a fine talent and largely unknown on this side of the pond. He has delivered a consistently strong back catalogue of solo records, together with playing Bass in Shooter Jennings, one of the more interesting acts to emerge from the alternative country scene over the last decade.

This is a terrific release, spanning 14 songs and some 50 minutes of great music, fine individual playing and not a little stardust. This self -produced collection was recorded at various locations across the USA, including the occasional hotel room, and the sound quality is both intimate and bright.

Right Down to the Wire; A Whole Lot of You and Me; I Been Watching You, all come and go in a swirl of fine arrangements and atmospheric  playing. The uncertain future painted by When the Radio Goes Dead should be a wake- up call for all free thinking music lovers.

The experience and maturity of all the musicians employed is clear to hear and enjoy across these tracks and the future should hold greater recognition for Ted Russell Kamp on this evidence. A visit to these shores in 2013 is something to consider. In the meantime there is always You Tube to see this fine artist perform. Go out and buy this CD…