Joni Harms 'Live - From Oregon to Ireland' - Harms Way

This is a double album recorded in Moate, Co Westmeath by noted singer and songwriter Joni Harms. She is well supported by the Sheerin Family Band who give a solid performance throughout and demonstrate their ability to play country music straight, no chaser. The various members of the family perform in their own right as well as backing other performers. This album came about when Tom Sheerin asked Harms to come to Ireland to sing at his parents 50th wedding anniversary which resulted in this live 22 track album. It comes with the atmosphere of a live show with intros, comments and audience all left in. This shows Harm’s warm outgoing personality and that she is a very good singer and writer of traditional country songs. She had a hand in writing all but one of the songs, The Only Thing Bluer than His Eyes which was a top twenty single from her debut album. As it was her first album she had been given outside songs to record, but that changed with later albums and now she co-writes her own songs.

Harms had been signed to both Capitol and WarnerWestern in her career,  but now releases her albums on her Harms Way label. She now, when she not recording or touring, works her family ranch in Oregon and that allows her to record the material and get the sound she wants without have  label interference. The music on this album comes from various points in her career and culminates in the title song which finds the band in traditional Irish mode which shows the versatility of the musicians. This move into a different style is effective, but might have paled if it had been used on more than the one track. Then again I’m sure there are many listeners who would have liked a whole album in that style. The first encore find Harms back on stage to deliver a solo song I Want to Sing for You, which shows she can hold an audience with just voice and guitar. The final track is titled Let’s Put the Western Back in the Country and it does that just that in a lively uptempo western swing mode. Joni Harms feels as at home on the Moate stage as she would back in Oregon and this album captures the occasion just beautifully. 

The Henry Girls 'Louder Than Words' - Beste

This talented Donegal trio of the McLaughlin sisters fits neatly into a broad Americana/roots Irish musical mix. The girls’ harmony vocals are given a strong musical base that sees them joined by a bunch of respected players including producer Calum Malcolm, Nick Scott on bass, Liam Bradley on drums and Ted Ponsonby on acoustic and resonator guitar, among others.

The  majority of the songs are also written by the sister and these include such strong songs as James Monroe and Here Beside Me. The latter features just the voices and Hammond organ and gives the song a different sound that is nonetheless a very effective and appealing album closing track. One of the two non-originals is Bruce Springsteen’s Reason to Believe. Their version uses, as do many of the songs, the distinctive harp playing of sister Joleen. Sisters Karen and Lorna also play fiddle, ukulele and accordion respectively, but all bring their vocal skills to the fore. The trio alternate lead vocals throughout,  with the other two adding the harmony and chorus singing. So Long but Not Goodbye is the other outside choice. It has a 50s style vocal over fiddle and brushed drums and highlights the different influences brought to bear on the album.

They make the blending of their voices seem effortless, but it is that almost uncanny way that siblings are able to bring their voices together to create something that goes beyond just technique to create something so special. That they also write the bulk of the own material further emphasises their talent and in the end the music will speak for them louder than any words. Having said that, they package the music in a very attractive way, better than many a big label and that speaks volumes about commitment.

Parker Millsap 'Self-Titled' - Okrahoma

The debut album of this Oklahoma born singer shows a singer/songwriter with an outlook far beyond his years. He wasn’t even 21 when he released this album. There are religious and old time overtones in his outlook, even if they are about moving on and finding his own worldview away from his Pentecostal upbringing. The opening songs Old Time Religion and Truck Stop Gospel are the sort of dissertation on faith you might have found in Sixteen Horsepower and their frontman David Eugene Edwards. The songs have a strong, compelling and tightly delivered sound that finds multi-instrumentalist Millsap joined by drums, bass, fiddle and brass on several songs. Producer Wes Sharon has got it pretty much right throughout.

From the ballad The Villain, which is stripped back to bass, acoustic guitar and fiddle the music is countered by the clatter and claustrophobia of the aforementioned Truck Stop Gospel and the song’s God-fearing Christian on fire. Elsewhere there is a bluesy feel to When I Leave, which is underlined by plaintive harmonica. Quite Contrary takes a similar path and builds from the guitar intro to something bolstered by bass and electric guitar under Millsap’s fevered vocal. The rhythm section brings the drive and weight into these songs which are as much contemporary folk and country/blues as much as anything. Suffice to say that although many of the songs are taken at a similar pace, the strength of the lyrics and Millsap’s voice hold your attention and make you realise you are in at the start of what should be, with any justice, a long and fruitful career. 

The ten self-written songs here are testament to that. I find new favourites each time I listen to the album, but I also realise how the whole album works as piece and it should be heard as that. If Millsap further explores the fundamentals of his religious upbringing, or if his experiences give him a different perspective, there is no doubting his perception and expressive way with words. His is a voice that resonates with feeling. 

The Stray Birds 'Best Medicine' - Yep Roc

This folk/bluegrass trio have been refining their music since they first released an EP in 2010. This, their second full length album is their first for the Yep Roc label. Best Medicine features the sensitive playing and tight harmonies that have built their excellent reputation and adds to it with 10 new original songs and two traditional songs. Of there own songs there are immediately some songs that stand out like Feathers & Bone, The Bells, Simple Man and Might Rain. It is a craft that they are continuing to explore and find their place with. Their last EP Echo Sessions had the advantage of featuring a set of cover songs written by the likes of Townes van Zandt, the Louvin Brothers and Jimmie Rodgers, songs that have stood the test of time. These new songs show that they are developing their skills and these song will easily bear repeated listening.

The trio of Maya de Vitry, Oliver Craven and Charles Muench are a self contained unit with strong vocals that see them alternating lead vocals with the others bringing their harmonies to bear on making the song special. The Stray Birds are also multi-instrumentalists, playing fiddle, guitar, piano, banjo, resonator and bass between them. They have co-produced the album with Stuart Martin which has a sound that is born of experience and progression.

Who’s Gonna Shoe shows how they can breathe new life into a traditional song and make it theirs as they have shown they can do with more recently written outside songs. They bring a directness and honesty to the way the deliver a song. Finding the essence of each song is something that they have managed from the start. So what it comes down to in the end is to connect with a larger audience in the long term, something  that working with a label like Yep Roc should prove valuable. Undoubtedly their music is “the best medicine they sell”.

George Strait 'The Cowboy Rides Away' - Humphead

This recording of George Strait’s final record-breaking attendance concert from the AT&T Stadium in Arlington, Texas is already raising some controversy due to the alleged use of Auto-Tune throughout. This is something that is hotly debated online. What you get is a star studded event that finds some of Strait’s best known and loved songs given the live in concert treatment. Over the 20 tracks you have a rake of duets with such guests as Vince Gill, Jason Aldean, Eric Church, Sheryl Crow, Martina McBride, Faith Hill, Kenny Chesney, Martina Lambert, Alan Jackson and Strait’s son Bubba.

Strait’s long time Ace in the Hole Band does a fine job throughout, but the surprising thing is how flat it whole thing sounds overall. Why is difficult to figure out, as, if anything, it should have sounded like a huge celebration with songs like Marina Del Ray, Ocean Front Property, All My Ex’s Live in Texas, The Chair, Here for a Good Time and Murder on Music Row. The guest stars represent a mix of old hands and the new breed and I doubt the seasoned performers like Vince Gill or Alan Jackson would ever need outside assistance to sing in tune. In fact, the duet of Strait and Jackson on the attack on the direction that radio and the labels were heading is a highlight on the album.

When you have released as many albums as Strait has, the choice of final songs is always going to be difficult as fans will feel has missed out one of their own favourites. In the 20 tracks he has chosen he mixes songs from different points in his career so that fans are bound to have firm favourites. All My Ex’s Live in Texas finds all the guests onstage for the choruses. The final song, the title track, finds Strait thanking the audience and guests for their support and he also says that, like Schwarzenegger character quote “I’ll be back”. So while this is his live swan sing (for now) he is likely to deliver further studio albums. It’s just a shame that this album, to some ears, doesn’t sound quite like it should. Others however will enjoy this souvenir of a steadfastly traditionalist entertainer. 

Chris Cuddy 'The Best Kept Secret' - Self Release

Cuddy is an eclectic singer/songwriter who encompasses many different musical directions, although they could all conceivably fit under the broad ‘roots’ banner, over the 13 songs on this, his 10th solo album. Responsible for the writing of all the material featured here, Cuddy has a distinctive enough voice to handle the various ways these songs drift. Players such as Keith Glass, Jim Hurst and Steve Conn join Cuddy and a host of other players who play steel and pedal steel guitar, mandolin, fiddle. harmonica, accordion and keyboards over the bass and drums foundation to give these songs their rootsy flavours. 

Cuddy gives a brief descriptive note under each title that sum up the songs pretty well. For instance Amy is described as “a jazzy tribute to one of the greats who left us too soon”. It is a laid back song with double bass and soft brushed drums and subtle guitar in which Cuddy tells of his feelings of loss for the late singer. By way of contrast IBMA Blues is a bluegrass influenced song that features Jim Hurst and Emory Lester on guitar and mandolin. The title track sounds as if it should be coming out of a ‘50s jukebox where country meets rockabilly. Another song, Whiskey Train, tells of perils of a old soldier who needs alcohol to take many pains away. (Got a) Brand New Heartache sounds like a classic country songs and is finely wrought song with a effective second vocal and prominent fiddle. It is an album highlight.

Drive-Thru Daiquiri Bar is another strong song with accordion that tells of “just another day on the dark side” and Cuddy uses his voice well on the chorus. She Reminded Me of You tells a story with a south of the border feel that is simple in it’s delivery, but memorable in its telling. A slightly heavier tone suits the closing song There Goes My Mind Again, a tale of a slightly unhinged sentiment of a man left alone.

Overall Chris Cuddy is an interesting  writer who can make all of these varied sounds work as an interesting whole and each listener will soon find their own favourites within this collection of songs.

Ben Rogers 'Lost Stories: Volume One' - Self-Release

These are story songs delivered with a lived-in voice by Canadian Ben Rogers. The Dealer tells of the bad breaks and hard life suffered by surviving on the wrong side of the law. The Cheatin’ Kind tells of a crime of passion and a jilted husband who takes his revenge. Cowboys and Indians is a tale of love across the ethnic divide that ends in pregnancy and death. 

There are other songs about jailbirds and bums on easy street, railroad workers and lonesome travellers. The arrangements are simple and dominated by acoustic guitar and harmonica, but Ben Rogers also chips in with mandolin, banjo, piano and organ at different stages across these ten songs. So, a solo effort and a self- realised project that entertains. A pleasant and relaxing listen. 

Kyle Carey 'North Star' - Americelta Records

This second release from Kyle Carey is a mixture of Scottish Gaelic and American folk influences. Carey has lived a colourful life as a citizen of the world and absorbed traditional influences from various sources;  living in an Eskimo village in the Alaskan Bush, studying language and music in Cape Breton Canada, the Isle of Skye and New York City. So we are given a truly transAtlantic artist who includes both American and Celtic styles into her songs. This set of twelve tracks was recorded in various locations; Scotland, Ireland, New England and Louisiana.

Produced by Seamus Egan and including two traditional songs, one in Scottish Gaelic, the self- penned music is rich and played with real heart. The arrangements possess great harmonies and the melodic feel of the many musicians used here translates into a very smooth listen. Kyle sings in a beautifully clear voice and the accompaniment of fiddle, banjo, mandolin, dulcimer, viola, cello and guitars help to lift the songs onto a higher level. Wind through Casper, North Star and Winter Fever are all fine examples of the themes of longing and immigration that run through her songs and the cover of Kate Wolf’s Across the Great Divide is a fitting way to bring matters to a satisfactory conclusion. 

Wurster 'Raw' - Self release

This is the 13th release from Florida based singer-songwriter Jim Wurster. It contains 5 original compositions and 5 cover songs; all recorded in a live setting. The acoustic feel is very important to the artist as a true representation of the live shows performed. The playing is understated with various guitars and vintage pedals augmented by stand- up bass and drums.

The roots feel of the music is true to traditions of the American heartland with stories of love affairs and rough justice, city living and hard lessons learned.  Covers of Neil Young (Southern Pacific), Sonny Bono (Bang Bang), the Doors (Riders on the Storm) and Fred Neil (Dade County Jail) join forces with the original songs of Jim Wurster. Big Surprise and Ojus both work well in this context and the final track, a cover of Sunshine Melody by Jimmie Davis and Bill Withers, closes the recording with a Johnny Cash style delivery that is both unsettling and mellow at the same time.

Blind Lemon Pledge 'Evangeline' - Ofeh Records

This singer-songwriter, based in San Francisco, has released three previous records and this collection of ten songs clocks in at just over 40 minutes with a variety of musical styles. We visit the blues, prison chants, salsa beats and ballads from the heartland. The playing is sparse and rootsy with an authentic feel and the ensemble of 8 musicians blend well together, as they deliver a mix of all that is strong in folk, roots and blues based music.

From the southern swing and jive of Brimstone Joe we visit the prison farm Jubilee singers and we can detour into a light jazz workout with Go Jump the Willie before parking into the salsa beat of The Language of Love.  The easy shuffle of Ham and Eggs is an early morning blues, while the closing title track is a deeper version of the slow blues with some fine playing. 

Danny & The Champions Of The World 'Live Champs' - Loose

     This well recorded album captures the band in full flight and serves as a reminder of what sounded a good night for all on both sides of the stage as well as a perfect introduction (and greatest hits collection) to their blend of soul, country and rock with a little jazz thrown in for good measure.
     The band are fronted by Danny George Wilson who has previously released solo and Grand Drive albums as well as several albums fronting his Champs. The double album of thirteen tracks shows a band at the peak of their powers and perception. Firing on all cylinders with Danny acting as host and heart. The five piece band all show their skills and combine the textures of pedal steel and sax to give the songs a Caledonian via Camden soul setting. But guitarist Paul Lush does’t let the side down either with some edgy and tasty solos, witness the solo in the song of Elvis and Tom Parker The Colonel And The King as one example. This is all delivered over a robust rhythm section who give the songs the solid base they build on.
     Wilson has a distinctive voice that fits right on top of  his strong and evocative story telling songs that have an obvious connection while offering enough diversity of mood to show the versatility of the band. There are a number of highlights across the two albums and those highlights can change with each listen. A knockout for all involved.

 

Malcolm Holcombe 'Pitiful Blues' - Self release

     Those who are acquainted with Holcombe knows his ragged sandpaper worn world weary voice and songs that draw from the depths of pain and gritty hope. To capture the real moment of these songs they were raw recordings done live in a small home studio and the musicians were then added later in the process. The result manages to capture the essence of Holcombe while adding the depth of the additional musicians. This proves to be a worthwhile process and makes for something that may well be easier to assimilate that a purely solo situation might otherwise elicit.
     Again these are all original songs, tales of the haunted souls and moments of enlightenment. Songs like Savannah Blues, Words Not Spoken and the title track are deep, hurting blues that are perfectly enunciated by Holcombe’s lived in voice.
     Co-produced by Holcombe and long time collaborator Jared Tyler the result is one of the finest of his albums to date and something that those who have previously encountered the man live or recorded will be happy to have. This, his latest instalment of his real expression of pain and real emotions. Music made from the need to express some humanity in a world that is more usually about something more superficial.

 

Justin Townes Earle 'Single Mothers' - Loose.

     Good to find Earle finding a home with London indie label Loose. A label who believe in the music they release and who punch above their weight. For his latest release Earle has found a more personal and slightly introspective space. The album opens with Worried Bout The Weather wherein two people circle round each other and talk about the weather rather than what’s actually on their minds. 
     This is a more personal album and one recorded since he got married and found some solace and happiness in that situation. He still hasn’t lost his anger completely as shown in the title track which is directed against absent fathers and perhaps one in particular. Though there is some comprehension of the causes that create that situation - not forgiveness but not entirely with understanding. Elsewhere the tight band rocks out a little more (My Baby Drives) or cuts the song back to just voice acoustic and steel guitars. Sympathetic in many ways to the expression of the mood for It’s Cold In This House. The album closes with Burning Pictures, an up-tempo song that deals with moving on from the emotional turmoil expressed through burning pictures and breaking frames.
     Produced by Earle with the assistance of engineer Adam Bednarik it has a tight sparse sound that entirely suits this set of songs. Aside from Earle on acoustic guitar and vocals the trio of players includes Paul Niehaus on electric guitar and pedal steel, Matt Pence on drums and Mark Hedman on bass. Simple and direct yet expressive and full of tone. It is perhaps slightly more country than of late but without any of the overtones that that brings and conjours in some younger minds. Today and A lonely Night and White Gardenias finds Niehaus underlying the longing and loss of the songs.
As with most of Justin Townes Earl’s albums these songs require a few plays to get to know them and bring out the melodic depth that he has imbued in them. Single Mothers is a singular success.  

 

Fayssoux 'I Can’t Wait' - Red Beet

     A well conceived album from Red Beet that finds producers Peter Cooper and Thomm Jutz surrounding the voice of Fayssoux McLean with a group of understanding players whose skills give these songs a quiet beauty. Fayssoux is a name know to some as the harmony singer with Emmylou Harris on albums like Pieces Of The Sky. Maybe not quite as distinctive but certainly cut from similar cloth. She released her debut album early in 2008 and now returns with I Can’t Wait. A sentiment that her fans would doubtless echo.
     A largely acoustic folk orientated album it has a gentle tone that gives Fayssoux’s voice it’s place at the centre of the songs. A well chosen set of songs too that includes numbers from David Ball, Kieran Kane, Mose Allison, RB Morris, Jim Lauderdale and Merle Haggard alongside original songs from McLean, either written solo or with the producers. One song I Made A Friend Of A Flower Today written by Tom T and Dixie Hall previously appeared on a Hall tribute album and features the man himself trading verses.
     All of which makes this an album that will have a wide-ranging appeal. It is an album that is easy to listen to without becoming easy listening. It is thoughtful and timeless and well worth the wait.

 

Red Dog Run 'Red Dog Running' - Self-Release

     An acoustic folk/bluegrass that includes versatile Donna The Buffalo  guitarist Jim Miller alongside the trio of Rosie Newton, Jed Greenberg and Richie Sterns. A guitar, bass, fiddle and banjo quartet who all add their voices to give these songs a attractive vocal blend that is immediately pleasing to the ear.
     What makes them slightly different to some of the many other outfits working in this area is the choice of songs; many not the standard choice of bluegrass. So you get songs like No Lonesome Tune from Townes Van Zandt, Talking Heads’s Heaven, Lazy Eye by Kathleen Edwards and Black Keys’ Dan Auerback’s When The Night Comes. There are a number of traditional songs alongside other titles and one original Walk Past Your House. 
     Bluegrass styled bands that cover rock songs are nothing new - think Hayseed Dixie or even Pink Floyd’s The Wall reimagined by Luther Wright and the Wrongs. What makes this album stand out is the power of the voices and the subtlety of the playing which is restrained but thoroughly effective throughout. Their take on the traditional songs Little Girl and The Dreadful Snake, Rainbow Mid The Willows and Jim Jones are all equally effective choices and the use of Sterns and Newton as vocalists, either together or solo gives the material a variety that keeps the performances interesting and make the album such a pleasure.

 

Bob Cheevers 'On Earth As It Is In Austin' - Private Angel

     The title says a lot about the album and Austin based singer/songwriter Bob Cheevers who has recorded this album using his voice and guitar as the central focus in this recording. To add an exta musical element he has brought in a selection of friends who are also, all but one, Austin based. So for each track he brings in one extra player  - mainly acoustic and electric guitar players but also accordion, banjo, fiddle and pedal steel. Familiar names include Bradley Kopp, Chris Cage, Marvin Dykhuis and Chip Dolan. Familiar that is to those who read the credits on Austin recorded albums anyhow.
    The other thing that you immediately notice is summed up in the title of one of his own songs and that is You Sound Just Like Willie. Something that may attract or distance potential listeners. While not phrasing his words as Willie does there is a definite similarity. But set that aside and there are some good songs here among the fifteen included. Notable are My First Rodeo, Snake Oil Man, Falling Hard On Easy Street and Paradise Lost.
     Some may find that, even with the guest players, the tone and pace is very similar throughout. Others may think that if I want Willie I’ll play Willie but that would be to ignore the positive aspects that this album has and that once you get into the mode you find an album that has some fine playing, singing and writing. With that you may wish that all were as it suggests in the title