This release celebrates harmony singing within the genre of folksong and the accompaniment of cello, banjo, ukulele, accordion and body percussion really lifts the songs. Moira Smiley is joined by six other voices, in a compelling blend of voices as VOCO and we are given the energy of street singing and the elegance of some fine arrangements. This is music that both dances and mourns at the same time. There is an ethereal element to proceedings, not unlike that best traditional music of Ireland of Scotland, with 17 tracks to enjoy. I Live in California, Deportee, Oh Winter and Orphan Girl are all fine examples of the craft at play here. Original and compelling.
Red Bird Sky 'The Unravelling' - Saira Records
A debut record, Every Lesson in its Turn, brought this talented duo to the attention of music fans in England and further afield. Bringing together an eclectic mix of Folk, Americana and Celtic influences, Red Bird Sky create original songs of real depth, whether looking at the more difficult aspects of life or just observing the intricacies of relationships. Bernie Maguire sings with a confident and mature voice and combined with Mike Seal's restrained guitar playing, their songs are engaging and interesting.
Produced by Nigel Stonier (Thea Gilmore, The Waterboys), "The Unravelling" sees the band joined by a number talented musicians and backing vocalists, including Rod Clements (founding member of Lindisfarne) and Paul Beavis on drums (Andy Fairweather Low and The Lowriders). Rod plays Dobro, Baritone Guitar and Mandolin on several tracks, whilst Nigel Stonier's multi-instrumentation adds an energy and colour to every song. She Ain’t Lookin’ Back is an observation on domestic abuse and having the will to leave. Being Human deals with the innate ability within us all to be compassionate and reach out to each other. Barney Soanes plays some great harmonica on this track as does Oliver Garrett on the track Travellin’ Light. Ben Cashell (Cello) and Gabriella Gemesi (Viola/Violin) also feature and the excellence of the various studio musicians is a strong influence throughout.
Outdoor Boogie 'Self-Titled' - Sepia Tones Records.
This is country rock played with enthusiasm and a smile. Jewels & Johnny Nation are the two musicians behind all but one of the ten songs here. They play a simple guitar sound with harmonica and percussion adding to the grooves. Vocally they are very complimentary and the easy shuffle of Highway 27 captures their sound perfectly.
They used to perform in California circles under the name of City Fritter but have decided to perform as themselves these days. There are some blues elements in the music but mainly it is a journey through the lightness of upbeat arrangements, produced, engineered & mixed by Fulton Dingley (Kula Shaker, Susan James, The High Llamas).
Outdoor Boogie and Blues in the Morning show off the guitar playing of Johnny Nation and Winter Rose is a sweet country arrangement with Jewels singing out in a clear and confident voice. The final track speaks of a night out with friends when you meet that special one, If We’d Have Met When We Were Young; although I get the feeling that it’s autobiographical in tone also.
Haas Kowert Tice 'You Got This' - Self Release
Roots music trio Haas Kowert Tice come together after years of playing on local circuits and crossing paths whenever they could. Brittany Haas played with Crooked Still and Paul Kowert was a member of the Punch Brothers. Jordan Tice lived in the Boston area and played in various collaborations, releasing a solo record in 2012.
Together this trio make a compelling sound across the nine instrumental tracks on show here. The playing is wonderfully loose and right on point as Brittany Haas soars on fiddle, ably supported by strong double bass lines from Paul Kowert and subtle flowing guitar from Jordan Tice. The tunes remind me of the open road where the sights and mood of a motor bike ride in the heartland of the USA is perfectly captured.
Playing off each other in a joyful uplifting swirl of melody and harmony, the tunes seem effortless and free. El Camino and The Switchback Games are two examples of compelling arrangements that highlight each member and their virtuoso playing abilities. However it is the closing song Tell Me Whatcha Gonna Do Now that brings the full package together to a fine conclusion.
The Alt 'Self-Titled' - Under the Arch Records.
Irish Traditional music, mixed with English Folk traditions and played by John Doyle (guitar, bouzouki, mandola), Nuala Kennedy (flutes, whistles) and Eamon O’Leary (guitar, bouzouki). All three members share vocals and the eleven songs are performed with an easy flow and gentle quality that soothes the listener. There are some fine jigs, The Geese in the Bog/ Covering Ground and there are a few reels, The Green Gowned Lass/ Danger Mouse/ Dan Breen’s. Old songs from the archives, The Eighteenth of June, singing of the Battle of Waterloo. A trio of songs that reference the sog-writing craft of Sam Henry with Lovely Nancy, Willie Angler and Finn Waterside. These three experienced musicians are a perfect fit and blend seamlessly together in their ensemble playing and restrained harmonies. The Scottish Gaelic song, Cha Tig Mór Mo Bhean Dhachaigh (Mór, My Beloved Wife will not Return) is a lovely piece of music and a fine example of the delights contained on this recording.
St. Paul & the Broken Bones 'Half the City' - Single Lock Records
Half The City is the debut release of this Birmingham, Alabama-based sextet, who have already created great interest with their live shows. Produced by Ben Tanner of Alabama Shakes, and recorded and mixed in the renowned studios of Muscle Shoals, the album harkens back to the region’s classic soul roots while adding an exciting new mix to the genre. The playing is really tight, with elemental rhythm and plenty of feeling. Paul Janeway sings with real passion and the arrangements are very bright and full of rich sound. The brass section is very dynamic and the keyboard/organ swell augments the backline that fuels each of the 12 tracks here.
St. Paul & The Broken Bones deliver R & B, Motown and Memphis soul in an impressive and heart-felt manner.
Reviews by Stephen Rapid
Laura Benitez and the Heartache 'Heartless Woman' - Copperhead
Recording with her road band on her second album gives Benitez the firepower she needs to bring these songs to life in the studio as they surely do in a live setting. Her tight and focused band play country music with a view to the past and an ear for the future. This is identifiably country music and not some pop crossover. There’s twang, there is steel guitar and there’s an understated but entirely effective rhythm section pushing things along. Then there are Benitez’s songs and her clear and concise delivery. All of this makes this a very good album.
Benitez’s voice reminded me a little of Laura Cantrell at her most country in overall tone though she is plowing her own furrow. Heartless Woman shows a lot of understanding of classic country themes and temptations. Benitez recorded the album in San Francisco, and though there is no credit for a producer, I would imagine it was something of a collective effort as these are musicians who would be familiar with each other from many gigs and hours on the road.
Her songs are both catchy and captivating and show that she has a full understanding of life, love and leaving. For instance Worst Vacation is a description of waking up in a hotel after a separation and, once realising where she was, considering it an unwanted vacation. Others songs were all written in the wake of that break up. So titles like I Know You’re Bad, This Empty Bottle and Where You Gonna be Tonight?are all reflections of heartache -an essential ingredient of classic county. However the uptempo attitude of Take Me off the Shelf shows a determination to move on. The title track finds the subject wishing she was a heartless woman, then the break-up would not affect her in the ways it did. Benitez is clearly someone who is far from heartless, or hopeless, and the pain in some of the songs is palpable; but, as with the best country songs, these are about empathy and a sense of universality.
The one cover is a version of Gillian Welch’s Tear My Stillhouse Down. While Benitez does a good job of it, it doesn’t surpass the original but it has attitude and is a reference point. Laura Benitez and the Heartache together have produced something worth hearing; a blend of a number of Americana influences and a worthy addition to the tradition of California country music, of Bakersfield and of the Palomino Club in its heyday. It would indeed be heartless not to recognise a strong talent in the making.
Eddie Seville 'Ragged Hearts' - Self-Release
Seville’s opening song, A Crooked Mile, quotes from a brief comment in “No Country For Old Men” with the line “if that ain’t a mess, it’ll do till a mess gets here”. The song is one of desperation and suicidal thoughts delivered over a sturdy beat with mandolin well to the fore beneath Seville’s strong vocal presence. These eleven self-written songs are all in the tradition of painting pictures and telling stories, often of hard times and hard faces. But there is tenderness there too, as in Ashes to Ashes, a tale of ongoing abuse that doesn’t end well.
And so it goes through a set of songs laced with both pain and perception. Seville co-produced the album and gathered a set of finely attuned players, including Augie Meyers of Doug Sahm fame, as well as some evocative steel guitar that give this robust roots country rock its heart and soul. They can put their boot to the floor on songs like I’m Pacing Myself which sets your toes tapping on a song that could have been made in the 60s. Excuses are at the heart of the cheating song Horseshi,t which is a slow-paced tale of a partner drinking “another man’s beer”; it has some atmospheric accordion that gives the song added depth. Blind Love, The Last Train and Save My Soul all attest to the turmoil that permeates these songs, though that is offset by the energy and assurance of the delivery which makes all these songs highly listenable.
The album closes with a summation of the overall mood with The Hardest Thing to Do. It starts with a drumbeat and piano before building into a powerful song that uses mariachi trumpets to punctuate the painful understanding that to comprehend and accept another’s point of view may in fact be the hardest thing to do. The song runs over five minuets and finds the singer looking to find that light, that place where you can let someone else in. Everyone’s cumulative efforts mean that the song is a fitting end to what is a powerful piece of work. This latest album from Eddie Seville has been described as a cross between Bruce Springsteen and Steve Earle, which to my mind puts him close to John Mellencamp which is not a bad place to be. However Eddie Seville is just being his own man and those comparisons serve only give an approximation of his music. Eddie Seville is very much his own man and Ragged Hearts will appeal to those who understand where he’s coming from.
John Lewis and His Trio 'Sanity' - Self-Release
John Lewis proves that roots music is just a vibrant and authentic coming from Wales as it would from anywhere in theStates. Lewis is a member of The Rimshots and this latest album with a trio of Stuart McIlroy on piano, Paul Woodmansey on double bass and Billy “Duval” Roberts on drums is a fine mix of styles that makes this album a cut above the one dimensional retro recreations which emerge from that genre.
Tracks like It Hurts, 6 Months Gone and Money Troubles have a feel that sounds as if they belong in an enjoyable western B-Movie, while others are right up to speed as rockabilly riots. Flat Top Cat, which opens the album, is a tribute to the late Mac Curtis. The title tracks, where he is joined by The Jets on backing vocals, is a doo wop styled song. Please Don’t Let Me Love You is a rockin’ reworking of an old Hank Williams Snr Ralph Jones written demo. Sosban Fach is a Welsh traditional song given a guitar workout and has, at one point, an almost Russian texture to the second part that makes it an interesting mix of influences. And let us not forget the uncredited brief spot of yodelling that closes the album with a smile.
Lewis is a skilful and engrossing guitarist and has a voice that is well able to adapt to the requirements of the different songs. All bar two are originals and show that the veteran player continues to progress while still staying true to his roots. The band are right up there with him, laying on the pressure and building up a head of steam. There is no doubting the commitment that John Lewis has made to his music through the years and while it may never sell in the large quantities that a major label or a careerist might seek, it will nevertheless keep his own fan base happy and give him the reason and means to continue touring, playing and delighting those who are drawn to rock ’n’ roll, rockabilly and beyond. That this music keeps him sane in what is an all-too-often insane business is indelibly stamped on his music.
Jim Keaveny 'Out of Time' - Self-Release
Listening to this album reminded me of mid-period Bob Dylan, not that Keaveny has set out to re-create a particular sound rather it is a précis of an overall musical stance. Keaveny is no newcomer though, having four previous solo albums out and a history of playing in bands before that. This is my first encounter with him and it is one that I would happily repeat. Keaveny has one of those distinctive voices - sort of Dylanesque - that some will love and others won’t. I enjoyed it as it gives the music much of its personality.
The album was recorded in Santa Fe, New Mexico with a bunch of musicians who get into the groove and add flesh to the musical bones. There are moments of brass, fiddle, Wurlitzer and accordion over the solid rhythm section and the sensitive guitar. The first song that immediately makes an impression is Ridin’ Boots, a harmonica laced song with a campfire chorus, laced with fiddle, accordion and guitar that suggests all are having a good time making this irresistible brew. That kind of mood pervades much of the album, and soon sets up a signature sound built around dance floor rhythms, the vocal and the backing vocals and prominent guitar and accordion.
Brevity is not one of Keaveny’s strong suits as the majority of the fourteen songs run to over four minutes, with the longest running over five and a half. So you will either be happy in Keaveny’s company or you will depart after a song or two. Keaveny is the main writer here, with a hand in all the songs; two are co-writes. At their heart these are folk songs given the extra energy of drums. There are times when things are taken to another dimension, like the very electric Out Of Time. This is a song that has a solid (almost motorik) beat and an incessant guitar repeated phrase that flows into some more freestyle atmospheric guitar and brass that set a mood. It’s quite different from the main set of songs but somehow fits with them and shows the range of influences that are at work in Keaveny’s head.
Brass plays a big part too in Changing, a slow song with an almost spoken vocal over subtle backing vocals on a song that speaks of the need for change that comes to all. In a way there’s a touch of Leonard Cohen to this song - again more in feel that in actuality. Another song, Someone to Talk to Blues, takes that last word as its mojo and mood. The album closes with that longest running song The Yippee-I-Ay Song which sets the tone with accordion and guitar and provides a long instrumental mid-section over which Keaveny speaks. It closes what is a very individual sounding album that may bring to mind others and may not be to everyone’s taste, but he certainly manages to leave an impression. Out of Time may be compared to much that is out there right now, but Keaveny clearly delivers to his own timescale and muse, and that is no bad thing.
Reviews by Paul McGee
Sister Speak 'Rise Up For Love' - Self Release
This is a debut release by Sister Speak, a folk/ roots band based in San Diego. The ten songs have a soulful sound and the vocals of Canadian singer/songwriter/guitarist Sherri-Anne are a highlight throughout. At times she is reminiscent of Natalie Merchant and at others, Rickie Lee Jones with her breathy and strong vocal style carrying the song arrangements down a road that reveals a dynamic power. The vocal harmonies of Tolan Shaw add to the mix and this five-piece band, augmented by four guest musicians, colour and compliment the songs. Sister Speak received a ‘Best New Artist’ nomination at the 2011 San Diego Music Awards and songs like Rise Up for Love and Mirror display a finely tuned writing talent. Comin’ Back sings of a need to return to community and there are songs of love and optimism. However, it is the song Say You Will that steals the show with its passionate refrain and heartfelt lyric. Impressive.
Spike Flynn 'Rough Landing' - Self Release
Spike Flynn was born in Forbes, New South Wales and is now based in Sydney, Australia. This is his second release, with his first album It’s Alright achieving a number 10 slot on the September 2010 Euro Americana charts. Rough Landing contains a high standard of song-writing with the 13 tracks displaying a lived-in quality of storytelling. The songs explore life with its beauty, sorrows, and joys, and often have a philosophical and spiritual aspect with meaningful, thought provoking lyrics. His voice has a tired edge and reminds me of Johnny Cash or John Stewart in tone.
There are shades of the blues and country influences and the playing is of a high quality throughout. Fiddle, mandolin and banjo mix seamlessly with harmonica and guitars. Fate and Freedom is a terrific opening song that pits enduring love against death and bitter fate. Wonderful words delivered in a true country style. Songs like Trying to Get Home Blues, Frozen Words, Ragin’ against the Wind and All you Lonesome Hobos speak to the inner strength in all of us and our need to endure. Don’t Let Her Sail Away and Hero’s Mask also impress with fine ensemble playing and a great production by Damian Flynn throughout. This artist is a really fine example of the talent that exists out there in music land but sadly, under the radar. Highly recommended
Root Doctor 'New Attitude' - Self Release
Michigan soul band Root Doctor plays a diverse mix of classic soul and R&B alongside traditional blues and original material. Along with over 20 years of club, concert and festival performances, they have released four previous recordis to local and national acclaim. This latest release features all original material, and the guitar work of Bill Malone is crisp and exciting against the wonderful keyboards of Mike Skory. The horn section of eight players is a real joy and the song arrangements contain much to excite with a heady mix of trumpet, sax, trombone, harmonica and accordion to augment the traditional four piece blues band. With Freddie Cunningham delivering a soulful sound on vocals, the groove is infectious across these songs of lovin’ and leavin’, together with a salutary look at social inequality on the final track Land of the Free. You can bet that this collection delivers at all stages and song titles such as Baby, You’re Bad, Set Me Free, Pay the Rent, You’re Gonna Lose, and Someone Else is Steppin’ In do exactly what it says on the tin … Wonderful stuff.
Rob McHale 'Fields' - Wooden Door Records
Rob McHale is a North Carolina-based folk-Americana artist whose songs can take you through a small town, down a dirt road or on an historical journey – and bring you back home again. What we have here is ten beautifully realised songs, arranged, produced and performed with maturity and a style that is very appealing. The production by Chris Rosser and the band ensemble of 11 musicians deliver on all fronts. I can hear early Jackson Browne in the gorgeous Back Home with harmony vocals to lift you away from your reality and the songs Mother’s Love, Fields and Wishing Well add to the feel of authentic folk music. Real and mature, reflective and sincere, this is music for the spirit and a really excellent release.
Reviews by Stephen Rapid
Cory Branan 'The No-Hit Wonder' - Bloodshot
There is truth, irony and realism in the title of Cory Branan’s fourth album. However hits may always be measured in pure sales terms while hitting the creative mark should count for a lot. In that light, Branan is a hit maker. He is an erudite and skilful writer with an individual voice who has put together a strong package that includes producer Paul Ebersold and guest appearances from the likes of Jason Isbell on the opening You Make Me and on The Highway Home. Like Isbell, Branan has found his groove and has made a winning album. The title tracks find him being joined on the catchy chorus by two members of The Hold Steady on a song that considers the lot of a jobbing musician. Caitlin Rose, Austin Lucas and Tim Easton also guest, all worthy artists in their own right who wouldn’t be here if they didn’t respect Branan’s music.
As well as the names above Branan has gathered together a crew of seasoned players to bring these song to life. The music is varied enough to give a pleasing spectrum of roots Americana that hits the big beat on the title track and ends with a simple voice and guitar Meantime Blues which easily bears comparison with the latter day Steve Earle or John Prine. This reflective closing song works in its stripped down setting just as well as the full band performance of the other tracks. Throughout, the songs tend to remind you of some of the other good artists playing roots music, but that never takes away from the strength and satisfaction of these songs, all written by Branan, which show a maturing and perceptive writer.
There’s a high quotient of twang too. Tune in to Sour Mash, All the Rivers in Colorado, Daddy Was a Skywriter and Highway Home. Veteran steelie Robbie “Man of Steel” Turner adds his talents to several of these tunes, boosting their country feel and flavour. All of these ingredients make this an album worth of attention, and sales. Branan has hit his stride and the real wonder is; why he has been flying under the radar in the past? This collection should find him at the forefront of contemporary troubadours making music that actually matters.
Nudie 'Remember This' - Self-Release
This is another cool Canadian who loves classic country music as it was. The Ontario born singer previously fronted the band Nudie and The Turks whose name came from renowned country couturiers Nudie Cohn and Nathan Turk. That reference alone is enough to signal where this singer/songwriter’s heart lies. This Nudie’s debut solo album is a little different from the music that can be seen on YouTube where he plays something more hardcore with the band.
The album opens with If a Heart Could Tell, which features Molly Rankin, of the noted musical family, on the song about defining real feelings. It has an interesting mix of Spanish guitar and trumpet. Sex Kisses is more upfront in every sense, but the title song is a big sounding mid-tempo ballad with twanging guitars and organ and features a strong vocal from Mr Nudie. This is something of a defining song for the overall mood. There are some up-tempo songs like Why do We Keeping Hanging on, which is a song that questions the reason a relationship continues. It has a nice Cash-lite twang as Nudie doesn’t yet have the patina of the Man in Black’s seasoned vocals . The album has no player or producer credits so it’s not possible to name names, but these guys sound as if they know what they’re doing. Pawn Shop has steel guitar and some good lead guitar to give it direction. The Pain in You is a fast paced Telecaster-led tale of a temptress. The album closes with the kiss-off of I Miss the Love (But I Never Miss You).
Remember This is a highly enjoyable album with a taste of Bakersfield and the music that sustains some of Nashville’s Lower Broadway bars. It isn’t going to change your mind about country music one way or another, but Nudie has written some good songs and sings them well with a tight band behind him. However without touring Europe as Petunia and The Vipers have, Nudie may remain a local attraction. Those looking for real country music, not something pulled from another era, rather one that references those earlier times yet sounding fresh, should be happy to listen to, enjoy and remember this album when you're looking for something that feels real.
Doug Seegers 'Going Down to the River' - Humphead
This album comes with a back story which is explained in Buddy Miller’s sleeve note. Basically it’s the tale of a hard working musician who never got the breaks and eventually moved on. Now having been heard busking in Nashville, Seegers has been given a chance to make an album with some very talented players. He has such craftsmen and women as the aforementioned Buddy Miller, Emmylou Harris, Al Perkins, Barbara Lamb, Phil Madeira and producer Will Kimbrough playing here with him; names known to those who’ve heard some of the better albums coming out of Nashville in the past few years.
Seegers has written all the songs here bar the Gram Parsons/Chris Ethridge song She where he is joined, naturally, by Emmylou. The only other cover is There’ll Be No Teardrops Tonight from the pen of Hank Williams Snr which features Buddy Miller on vocals. There two voices work well together as both are suitably aged, soulful and rough around the edges, but this quality just adds necessary reality and truth to their delivery as they take a verse each and join together in the chorus. The main focus however should be on Seegers’ own songs, tale of heartbreak and transient relationships such Memory Lane, Gotta Catch that Train, Lonely Drifter’s Cry and Pour Me. On these tracks the catch in the voice reminds you of such masterly purveyors of pain as James Hand and Marty Brown.
He can also rock out, as on She’s In A Rock ’n’ Roll Band, with its prominent guitar and banjo. This highlight again the pure joy of the playing involved here and how this album works on a couple of levels and is real grower. I have returned to Gone Down to the River often and enjoyed the performances of all involved as well as the sense of passion invoked.
This may be Seegers one shot at success, or the start of something more long lasting. Either way he can be proud of this album. Kudos too, to Humphead, for releasing it in Europe and giving it Seegers a chance of bringing his music down to the river.