Justin Townes Earle ‘Absent Fathers’ - Loose

A companion piece to Single Mothers, Absent Fathers continues in the same vein with a tight trio of musicians notably Paul Niehaus on guitar and pedal steel and the rhythm section of Matt Pence and Mark Hedman. Both albums are being made as a double vinyl album release that will officially tie them together. This second album continues the introspective nature of the songwriting and reflections on the effects of family on a overall outlook to life that the previous album started. While there is the contest between the full band sound on songs like Round The Bend or Farther From Me which themselves offer a tight, concise sound with that of the stripped down voice and pedal steel mediation of Day And Night or Least I Got The Blues the overall approach has been to make the delivery of the songs as simple and direct as possible. The titles of both CDs may give a clue to the origin of the songs inspiration though they are opaque enough to allow for interpretation and individual themes.

It continues Earle’s development as a writer and singer and shows that on each outing he has considered the music that sits behind his words and there has been a different approach to each album to date up to the sessions for these two albums. Earle has co-produced the album with engineer Adam Badnarik and they have allowed the songs a space that is free of gloss and the sanitized sound that is sometimes the hallmark many a more mainstream recording. Real has also created his voice that is an integral and recognisable part of his sound. A slight slurred and entirely captivating instrument that, in itself, is at the core of his music.

The ten tracks clock in at just over a half hour and that makes for a concise mix of folk, blues and country that are appropriate for the sense of the journey from feeling abandoned to a growing resilience and slow recovery from whatever demons were inherent in that upbringing to one where a new sense of purpose and one’s own future is more apparent and approachable. These are not however the type of songs that can be assimilated in an instant but rather need to be assessed over time. Doing that reveals their true value, though those who have appreciated Justin Townes Earle previous work will find that the two albums may well constitute his best work to date.

Matt Townsend and The Wonder Of The World - Eternal Mind

Fitting neatly into that rootsy electric folk/rock mix of Dylan/Band/Neil Young influences Matt Townsend and his band have produced an album that has harmonica, acoustic, electric and pedal steel guitars with a solid rhythm section and the embellishments of keyboards and, on occasion, musical saw to give body to Townsend’s songs. Produced by Jamie Bright, who is himself a multi-instrumentalist and integral part of the band here, it has a warm and relaxed overall feel. Townsend’s voice has solid timbre and it suits his songs to a tee without every being overly showy or, in truth, as unigue as some of his influences. But overall the sound is eminently listenable.

The cover artwork has vaguely eastern element that might suggest something more psychedelic in nature though there is a hint of William Blake in the lyrical direction which makes the words worth analysing. They take on a more mystical tone with tltles like Seventh Story, Hollow City (Free Me to My Soul), The Garden Where The Grass Forever Grows and Gratitude In Being. These are not the usual tales of dark streets and alcohol fuelled nights but have a deeper spiritual message with lines like “ thank you for this air, this earth, this life” or “like a man of constant trial, been searching’ for the answer to repression and denial”. There is a booklet featuring the lyrics which makes a useful companion when listening to the album and helps avoid any ambiguity.

These nine songs are certainly ones that would find favour with those people who like their music with a solid foundation that can be built upon and will warm to the overall familiarity of the musical path it treads. Matt Townsend has an obvious talent but he might find it a bit of a struggle to gain recognition outside of those who encounter this album or a live performance and who take the time to warm to it’s strengths. However there is music here that deserves consideration.

Annie Lou ‘Tried And True’ - Self-Release

The album opens with the sound of a plucked banjo and sets you up for another folky/bluegrass album. It is such but there’s more to it than that. By the third track Roses Blooming the fiddle becomes more country something underscored by the inclusion of pedal steel and the tone of the vocal. This mode is repeated on the more honky tonk orientated It’s Hard To Tell The Singer From The Song. Canadian Annie Lou Genest shows how she can ring the changes with her mix of roots music sources. She is blessed with a clear and captivating voice that shows her well capable of delivering in any of the forms that these songs bring her to. 

Elsewhere she touches on old-school folk harmony, folk gospel and Appalachian ballads (My Good Captain, Weary Prodigal, Tried and True). Aside from Annie Lou’s central contribution there is able support from fellow Canadian players such as Chris Coole on fiddle, Chris Quinn on banjo, fiddler Trent Freeman, Burke Carroll on pedal steel as well as producer Andrew Collins on mandolin and guitar. She is also ably supported throughout on vocal harmony front from these top notch players.

The songs show a writer who understands the nuances of traditional folk and country genres. Annie Lou is the main writer here with two non-originals including a cover of Hazel Dickens’ aforementioned It’s Hard To Tell The Singer From The Song and the traditional Weary Prodigal added to her own eleven songs. All of which could easily become covers in their own right by astute song seekers.

Annie Lou has brought a freshness to the album by not sticking with a particular direction, something that sometimes brings criticism on an album for not sticking to one particular style throughout but here proves to be one of the albums strengths and shows she could easily record an album in any of the musical tributaries here and a straight country album would doubtless be a delight. This is an album that is well summed up by it’s title.

Charlie and The Regrets ‘New Night’ - Self-Release

A four track release from the Houston, Texas four piece who play some rough edged roots rock. The EP opens with Baytown an uptempo tale about a part town where one goes to let off steam and then, hopefully, live to regret it. That is followed by the slow regret of New Night that sees the singer channeling his regret through playing some love songs to the object of his unrequited desire which features some distorted lap steel to heighten the bluesy feeling on his mind. Start A Company kicks up the tempo and again features the edgy lap steel to the fore front giving the songs some fire over the tight rhythm sections that is pushing the beat. The closing song again take it at an slower pace and has a solid rhythm under the acoustic and lap steel guitars.

New Night serves as an introduction to this solid four piece who are sure to kick up a storm live and suggest they have the makings of a fine full length in them. While there may be nothing new in terms of an overall sound they show their commitment to themselves and to their music. These four self-written songs have enough going on for them to make them a welcome return to the CD player and over a full album they will have the opportunity to explore further options that shoild give them no regrets with what they might deliver.

Blind Willies 'Every Day is Judgement Day' - Self-Release

Blind Willies is a San Francisco band led by singer/songwriter Alexei Wajchman. They have released three previous records, The Unkindness of Ravens (2007) and Everybody's Looking for a Meal (2008) and Needle, Feather and a Rope (2011). These albums defined their growing sound and the current band of five musicians, accompanied here by various guests, span diverse genres with alternative country, mixed with some restrained rock and light classical in their use of instruments such as cello, trumpet, flute, accordion, banjo, harmonica and the standard guitars, and drums.

All the songs on this release concern freedom and the means by which we define it. Whether using the word as a tool or a badge, we can end up in a place where freedom is just another word for nothing left to lose  with a Kris Kristofferson credit in the liner notes.  Cremo Tango kicks off with a tribute to those who inhabited Auschwitz-Birkenau and is inspired by a story collection written by Tadeusz Borowski. It is a tango and played against the dark message contained in the lyric "Ladies & gentlemen, this way for the gas". 

The view of the politics and atrocities of war continue with songs like 42 Jews and when we switch to personal relationships there is the freedom message of Break Fee and I Need a Woman. Singing with an earnest delivery, Alexi Wajchman certainly displays plenty of passion and the 15 songs come and go with pleasant playing from the band. However, the length of the release is probably working against it and a ‘less is more’ approach would have been of  benefit overall.

Terry Davidson & the Gears 'Sonic Soul Sessions' - Bangshift Music

Terry Davidson plays the blues and has been a veteran of the music scene around the United States for over fifty years. His band, The Gears, deliver a solid support to the guitar dexterity of Davidson and the harmonica playing of Mike Gilliland is quite prominent across the thirteen tracks. The horn section adds colour to the song arrangements and the keyboards swell with the backing vocals, adding to the dynamic of songs like Chicagoland and So Hot.

Styles and influences range from Texas blues, with the Too Late to Change track channelling Stevie Ray Vaughan, to traditional Chicago blues (Stomping Ground) and some traditional blues rock (Tapped Out).

The playing is dynamic and full of energy with the production, by Terry Davidson and Joe Viers, both crisp and clean. Anyone who enjoys the sweet sound of blues guitar workouts, backed by restrained and sensuous ensemble playing will have plenty of happy hours with this release.

King of the Tramps 'Joyful Noise' - Old School Records

King of the Tramps is an original roots-rock group from Auburn, Iowa, whose sound calls upon influences from rhythm n’ blues and country rock. The group cites The Band, Little Feat and the Allman Brothers among their primary influences. There are nine tracks here and the overall vibe is one of flowing, loose workouts with plenty of gritty character in the vocal delivery of Todd Partridge, the guitar playing of Justin Snyder and the keyboards of Adam Audleheim.

This is the third release from the band and the impressive War has a fine duelling guitar work out. Wandering Kind shows the band playing an acoustic, reflective song that builds-up to an ode to the road. The slow strum of Deadman continues the change of pace and Cowboy Boots follows in a similar vein with some expressive guitar work. Joyful Noise brings the recording to a swinging conclusion with advice to celebrate life as ‘one of these days you’re gonna wake up dead’.  

Laura Rain & the Caesars 'Closer' - Self-Release

What do you get if the sound of Detroit is taken and mixed with some old fashioned blues and driven along by a funky backbeat?  Answer? Laura Rain and her impressive band.

This lady sings like a powerhouse and attacks the eleven songs here with attitude and sassy confidence. With a backing band this good and a brass section that wrap the tunes in a tight grip, the rhythm is infectious. Think Etta James and Aretha Franklin, mixed with Anastasia and you are getting near the groove here.

George Friend on guitar is particularly influential and his playing is really impressive, from the slow feel of Your Love is Not Broken to the strut of Squawkin’. Keyboard player Phil Hale and guest Duncan McMillan on organ also add to the warm sound and deliver some fine ensemble playing. All the tracks are strong but the tight beat of Super Duper Love and the slow burn of He Is take some beating.

Their debut CD Electrified appeared in 2013 and is followed by this impressive collection to add further claims to a career that can only get bigger. This is Memphis soul, Chicago blues and Motown funk, all in a Detroit, Motor City vehicle that is flying up the highway. Grab a seat while you can.

Awna Teixeira 'Wild One' - Self-Release

This second album from former Po’ Girl member is every bit as good, if not better than, its predecessor Where the Darkness Goes. It again highlights her distinctive vocal style, her writing and song arrangements. A multi-instrumentalist, Teixeira recorded this album in Toronto with co-producer Dave MacKinnon. The end result is a striking combination of words and music. The music is subtle, but highly effective, with bass and drums laying down a solid foundation for the electric guitar and piano as well as the numerous other textures from the instruments played by Teixeira throughout. It is the layered vocals however which give the focus to the whole project. In this she is joined for harmonies, at times, by fellow singer Oh Susanna.

Without a lyric sheet it is not always easy to follow the lyrical content, but you are soon absorbed into the heart of these rewarding songs, while additional plays give you more lines and you gain a greater understanding of their meaning. One is drawn to the emotion of a person who has an obvious affinity for her fellow humans and the way that life has a way of getting in the way. These are personal songs and Teixeira has been touched by the destructiveness of metal illness in her family and use her music as a means to raise awareness of that. That is done with a lightness of touch and a gentle approach that will make Wild One something of a healing song for many.

Many of these songs were written by Teixeira while in Salt Lake City and the landscape and people of Utah provided her with inspiration. The cover artwork comes from another Salt Lake City affiliate, Claire Taylor. It’s a depiction of the wild animal as a metaphor for a free spirit. This is what Teixeira is and this album is a reflection of that and a thoroughly rewarding experience on every level. One listen to the closing song here, Away We G,o will confirm the special talent that is Awna Teixeira.

The Westies 'West Side Stories' - Pauper Sky

The Westies are named after a notorious Irish related gang that held sway around Hell’s Kitchen in New York in the 1960s and ‘70s. The six piece band is fronted by Michael McDermott and Heather Horton and includes (on this occasion) guitarist Joe Pisapia and keyboard player John Deaderick. The album was recorded in Nashville and produced by the band’s bassist Lex Price. The songs are presumably written by McDermott although there is no writing credit on the actual CD. They are story songs that draw from the dark end of the street. They could be said to be in the same ball park as Bruce Springsteen, but you can also add the likes of Graham Parker and Elliott Murphy to list of acts who have a sound that is a mix of rock, r ’n’ b and roots music. McDermott has a rough hewn voice that is convincing as conveyor of combatative city culture. 

The songs follow a cycle of  slow paced intensity that features both the voices of McDermott and Horton to good effect. McDermott has previously released a series of solo albums and has been honing his writing skills over a period of time that shows in this album’s strengths. None of the songs clock in at under the three minutes mark and several run over five minuets. However all hold the attention and create audio world that runs in the head like a gritty movie.

Titles like Hell’s Kitchen, Death, Fallen, Bars and Devil set the tone for a musical cityscape that takes you into places you may not want to walk on your own. But here the Westies guide you through the urban jungle and its inhabitants.There’s no way that you won’t recognise the strength of these songs, even if the general sound has many precedents. They are memorable and delivered with a conviction that directly relates to the experience of the assembled players. They tell stories that have their roots in a tradition of tales of romance and myth, of reality and truth. You won’t find anything here that breaks down any musical barriers, rather, this is a simple and direct realisation of some really good music.

Kimmie Rhodes 'Cowgirl Boudoir' - Sunbird

Anyone familiar with the songs and sweet voice of Kimmie Rhodes will be happy to hear this new album from the Texas songbird. The title suggests both intimacy and a rootsy musical direction. This is true in the fourteen song set, but there is also vulnerability as evinced in a song like Will You, wherein she wonders who will come and visit her when she is in need. 

The album is again produced by her son and musical foil Gabriel in Texas’ Sunbird Studios and they are joined by seasoned players like Glen Fukunaga on bass and Tommy Spurlock on steel guitar and Dobro. Gabriel Rhodes brings his usual musical and production dexterity to the proceedings, which in the end means it all turns out in a recognisable Rhodes family style.

Fellow singer/songwriter Johnny Goudie joins Kimmie for two songs; the opener, I Am Falling, which is graced by steel guitar on a song that follows the downward path of the protagonists. The two voices blend together well to spin out this tale of self-destruction, while Having You Around is more uptempo and they sing the words together about a non relationship that has reached a base level of a familiarity that simply breeds content. The songs are all written or co-written by Rhodes, with her customary clarity and humanity. Gary Nicholson co-wrote the positive album closer Yes, a bright and uplifting song that counts collective blessings.

There has always been a certain innocence in Kimmie’s voice, even when the words are dealing with situations that are far from light. Don’t Leave Me Like This is about a lost love or even a much deeper loss. That sense of being left alone, or the fear of such, tends to be theme in many of the songs. The Sky fell Down, with it’s distinctive electric sitar sound, makes that clear with it’s repeated title vocal refrain. However, as with all her music, Rhodes has a positive attitude and outlook at the heart of her songwriting that is underlined by her lightness of touch.

The album is dedicated to the late Cowboy Jack Clement who was an inspiration, as were some of the artists who have previously recorded her songs like Joe Ely and Willie Nelson. This cowgirl seems ready for the next round-up, so saddle up and go along for the ride.

Porchlight Smoker 'Water into Sand' - At The Helm

Porchlight Smoker are a UK band who are essentially a bluegrass/folk band, but who take their music a beyond any strict definition of that genre. They have double bass, banjo and acoustic guitar well to the fore, but they play lap steel guitar, fiddle, accordion and pedal steel to broaden the sound. This sound is lively and uplifting with some strong singing and playing which gives the album its bite. The song Maria Kennedy sounds like one you have heard before, but is in fact a Steve Bell original which has all the hallmarks of a traditional folk classic. Bell is joined in the band by Scott Smith, Fred Gregory and Scott Warman. They produced the album themselves in Medway Studio in Brighton and have made a pretty fine job of it.

The band are responsible for all but one of the songs, an old time country reading of Jimmie Rodgers song Waiting For A Train. Their own songs are outstanding, like the aforementioned Maria Kennedy and A Day In Mid-July, which again sounds like a lost ballad. It features some ambient radio voices and a harmonica and focuses on the landmark day of the title. US75 is a fast moving song that tells of the highway of that name with mandolin, fiddle, dobro and banjo showing the band’s picking prowess. Another song that evokes a picture is Cleaner’s Rag, as it asks that you look out for your fellow man. Homeline seem set also in the US but suggest a physical and emotional border that has to be crossed.

This is another album that shoes how buoyant the home grown scene is in these Isles, with bands writing original material and delivering it with an understanding and skill that goes beyond the many copyists are nothing more than human jukeboxes turning out uninspired cover version of well know tunes. Here there are original songs played and sung well, ones that will have a lastingimpact. Porchlight Smoker can feel justifiably happy to have delivered such a satisfying, if undemanding, set of songs.

Carrie Clark and the Lonesome Lovers 'Between the Bed Sheets and Turpentine' - Self Release

This is the third full release from Seattle resident who mixes country, folk, jazz and music hall. Backed by her fine band, the Lonesome Lovers and ably assisted by Greg Fulton on a wide variety of instruments, the thirteen songs here are an enjoyable listening experience. There is accordion mixed with mandolin, lap steel and ukulele balanced against clarinet, violins, cellos, violas that contribute to an overall musical feast of different styles and tastes.

Forgotten Time is a tale of life lived and rueful regret that boasts a driving arrangement and some great guitar playing. Where Are You is a gentle ballad that pines after the thrill of attraction and What Have We Done relates a sorry tale of misplaced actions by mankind in search of some sense of immorality. The Night Before is a teasing, sultry song that warns of the dangers in a one-night stand and of passion mixed with carefree abandon.

Fade Away is a highlight with a simple melody and insight into loneliness.  It Burns comes straight out of a noir movie soundtrack with an atmosphere of dark shadows and wet streets, shimmering guitar and restrained tempo.    

Down At My Knees boasts a powerful arrangement with dynamic string crescendos and the song cycle ends with the gentle Sing Me that settles down the spirit with a sleepy lullaby.  

Little Big Town 'Pain Killer' - Capitol Records

This is the sixth release from contemporary country artists Little Big Town. Production credits go to Jay Joyce who has worked with Emmylou Harris, Patty Griffin and Eric Church among many others. He brings a big panoramic sound to the thirteen songs included here, with bright arrangements and dynamic four-part harmonies from the band.

Little Big Town has forged a strong reputation on their work ethic since recording their debut release in 2002. Regular touring to promote their music has seen them reach ever increasing audiences over the years and they were inducted into the Grand Ole Opry earlier this year by Vince Gill, at the invitation of Reba McEntire.

Their unique signature is in their vocal delivery, with no lead singer, preferring to have the songs feature any one of the four members, or all four in varying combinations. They have been compared to Fleetwood Mac previously and there are similarities in the melodies and song structures. Working with Lindsey Buckingham has probably helped the comparison, plus they do a few live cover versions of Mac songs.

However, in an overcrowded arena of contemporary country artists, Little Big Town continue to punch above their weight and songs like Live Forever, Pain Killer, Tumble & Fall and Save Your Sin give them an edge over the opposition. Things You Don’t Think About is a sassy song with plenty of attitude and Turn the Lights On does nod in the direction of Fleetwood Mac. Radio friendly tunes played with panache and plenty of passion.

Kelly’s Lot 'Don’t Give My Blues Away' - Self Release

Kelly Zirbes formed this band in 1995 and with 9 CDs already released, their finely honed blues style shines through on this latest collection of 12 tunes.

All tracks are written by Kelly, with her guitar players Perry Roberson and Rob Zucca, and the production is bright and tight, with plenty of talented experience showing through in the playing. The saxophone and trumpet playing of Bill Johnson and Dave Welch is a driving force behind many of the arrangements and the Hammond B3 runs of Fred Mandel are a joy throughout.

However it is the guitar interplay of Robertson and Zucca that entwines the strong vocal performance of Kelly Zirbes and their impressive playing channels BB King and Robert Cray in style and tone. The blues, with a lot of rhythm and soul.

Steve Hill 'Solo Recordings -Volumes 1, 1.5, 2' - No Label Records

Steve Hill has spent 20 years touring and recording as a singer and guitar player before building this one-man band concept. It has an original source in singing and foot stomping, while playing guitar, before adding other instruments.

Hill explains that “I have a bass drum, a snare and a hi-hat that I play with my feet, and I have a drum stick on my guitar’s headstock, so I play the cymbal. I modified my guitar so I can play bass and guitar at the same time,” - as if it were that simple!

These three releases, spanning three years, are a vibrant overdose of blues music from one of Canada’s most respected guitar players. 

Recorded live in the studio, the sound is raw and stripped right down to the essence of the blues. Slide guitar dominates the 27 tracks across these releases and the playing is really impressive.

There are a few cover versions thrown into the mix but the outstanding theme is the primal recognition of the elements that drive our passion for Blues music. His vocal delivery is very much like a Greg Allman, with the same sense of personality and timing.

Chris Whitley was in this space before he died and the Black Keys have ploughed a similar furrow at times. We are seduced into a laid back approach in the arrangements, with plenty of space and a clear production to drive the songs along. A worthy project and a rewarding listen