New Album Reviews

The Allman Bros Live at Warner Theatre, Erie, PA. 19th July 2005  Peach

When looking at the history of the Allman Brothers band, it’s important to frame the length and breadth of a career that has spanned over four decades, included several different line-up incarnations and overseen numerous album releases, with many more live albums than studio works. The final band members that brought the wonderful journey to a close was reputed to be as great as the original band that started out in the 1960’s with the Duane Allman/Dickie Betts guitar axis; ultimately replaced here by Warren Haynes and Derek Trucks. They were joined by founding members Greg Allman on keyboards & vocals and drummers Jaimoe and Butch Trucks - plus Oteil Burbridge on bass and Marc Quinones on percussion.

The band never enjoyed being called a Southern Rock band, a tag that was defined by lazy journalism, as their sound included elements of RnB, Jazz, Blues and incorporated extended workouts in which the members were given plenty of room for self-expression. The focus on improvisation led to some of the most dynamic interplay, with both melody and harmony being explored simultaneously in the soloing.

With Country Roots influences also running through a number of the songs written, the band also attracted a reputation for being a Jam Band, a term that stuck and something that they shared with the Grateful Dead. It led to inspiring quite a number of associated acts over succeeding years, with Widespread Panic and Gov’t Mule being two prime examples. With such a dedicated fan base plugging into their live groove, it was the strong touring ethic that earned the Allman Brothers the greatest praise and revenues over the years. As much as they fulfilled their studio commitment to make records for various labels, it was that live appeal that always endured.

This live concert from 2005 has been considered by the band themselves as ‘one that got away’ and they were very proud of the performance that was captured on these two discs. Everything starts slowly as the band find their way into the collective groove that is Mountain Jam and once the drums, percussion and bass lines lock in, the 11 minutes pass by in a reverie of superb playing with all the band sitting snugly in the pocket. Statesboro blues follows in a celebration of the genre, Greg Allman singing in his wonderfully whisky sour tone that adds so much character to the overall sound.

Tracks like Melissa, Ramblin’ Man The High Cost of Low Living, Firing Line and Midnight Rider show all that is creative and restrained at the same time, a type of spontaneity that allows for breakdowns in the song structures, only to build back up the melody and tempo as they go in search for one more high.

The concert includes covers of other songs, something that the band enjoyed doing throughout their career. This night saw Good Mornin’ Little Schoolgirl, Into the Mystic, The Night They Drove Ole’ Dixie Down and Don’t Think Twice, It’s Alright. Whether covering a song like Trouble No More (Muddy Waters) or Statesboro Blues (Blind Willie McTell), the band always find inventive ways of putting their own unique stamp on the songs. Finishing off the evening with the blues of One Way Out, it seems an appropriate choice to bring the curtain down. It is preceded by a sixteen-minute version of the classic, Jessica, which is a joyful celebration of all that this band stands for, a bedrock for inventive expression and flights beyond the giddy heights of imagination. You would struggle to find a better live set among the many recorded shows over the years – this was a night that all the stars aligned.

Review by Paul McGee

Dan Krikorian Alive In Costa Mesa Self Release

After a steady run of five studio albums, dating from 2008 to 2019’s GRANDEUR release, this singer-songwriter has decided to release a live album that captures a show he performed in his hometown of Costa Mesa last year. The challenge with a live album is in trying to replicate the unique atmosphere of the night and to keep the production quality at a level which engages the listener. Not always an easy task and on this evidence Krikorian got it just about right with a clear sound and good separation on the various instruments to be heard in the final mix. There is some echo on the drum sounds occasionally and the guitar is not as prominent in the lead runs as it could be; however, it’s nigh on impossible to get everything perfect and the spirit in the playing wins the day.

Starting with the gently acoustic sound of Long Days and a message about returning home, the mood is set for the rest of the evening and the generous inclusion of 22 songs that are performed over a two hour set. High Heels and Words follow in quick succession, the former name checks Bruce Springsteen and Josh Ritter, plus a r’n’b groove, while the latter has a slow melody and a bluesy feel. California is pure Americana with a nice easy tempo and a warm keyboard sound, while on Joe Purdy the blues sound is heightened by some fine saxophone playing. Know Me is the sole track featured from the debut album in 2008, Oxford Street, with a nice Americana feel to the arrangement. Thief Like That follows in a very similar vein, all strummed guitars, easy beat and inventive keyboards.  

As expected, the majority of the songs played are taken from the most recent release, GRANDEUR , the 2019 album. In all, there are nine tracks featured and previous albums from 2009 and 2011, COLOURS & CHORDS and WINDSOR BLUE respectively, are represented with four tracks each. There is a new song also, with the funky jazz arrangement on Groovin’ sounding really strong and full of rhythm.  Something Good is a fine track to end the night, with the band in full flight mode and the crowd also really respond to Costa Mesa My Sweet Home, a theme song that Krikorian wrote for the city.

There is also an acoustic set with Krikorian playing four songs in the middle of proceedings. One of the songs, Lyla, written for his wife, is repeated later in the set with a band arrangement this time. The full band is Dan Krikorian (lead vocals, guitar), Mike Teague (guitar, vocals), Randy Querry (bass), Dustin Robinson (keys, vocals), Jack Carlino (lead guitar), Bruce Gallucci (saxophone) and Eric Berringer (drums). Something here for every taste with the variation and the ensemble playing showing the talent and versatility on display.

Review by Paul McGee

Peter Mulvey with SistaStrings Live at the Café Carpe Righteous Babe

Fort Atkinson is a city in Jefferson County, Wisconsin and it is home to the Café Carpe, a small bar-restaurant and music venue that was opened back in 1985. The music takes place in a talk-free listening room, separate from the main bar-dining area, making it the perfect place to record an intimate live performance.

Peter Mulvey has been playing guitar his whole life. With an incredible touring ethic and no little street smarts for keeping a healthy career in music on the right tracks, he has overseen the release of numerous albums since his debut, back in 1992. Of course, way before then he was busking around America and Europe learning his trade and honing his craft. An intelligent, witty man with an easy stage disposition and good manners; someone that you would let have your couch for a prolonged period of time (if asked). He is also a master guitar player and full of invention and skilful fingerpicking style, combined with a compelling percussive guitar style. He was born in Milwaukee and SistaStrings also hail from the same city, something that binds them together when they come in search of finding the musical crock of gold at the end of their collective rainbow. SistaStrings bring so much to the party, mostly their wonderfully intuitive playing. They are sisters, Chauntee and Monique Ross, playing violin and cello, singing beautifully as only siblings can and they are also classically trained. Combine their melodic, inventive, lush sound with the resonance of Peter’s voice and guitar and you are sure to have backed a winner. Now add the subtle drumming technique of Nathan Kilen and his ear for the right percussive touch – mix it all together in a musical blender across 18 songs, recorded over two nights in January 2020 and you have the perfect cure for the Covid-19 blues.

This is a really wonderful project, packed with superb musicianship, spontaneity and harmonious interplay across all instruments and voices. There are special moments throughout the recording and it seems churlish to elevate any particular song above the overall mood and texture but Are You Listening with minimal percussion, simple strum and cello interweaving with violin is a standout. As is The Details, filled with tension and attitude, restrained and resonant strings, Peter killing it on vocals as the melody stretches.

Trempealeau, a village on the Mississippi river, holds a personal memory and the gentle, understated playing reflect a melancholy, as the lines repeat ‘Why can’t you just say I Love You.’   The Trapeze Singer, an Iron & Wine cover, is quite hypnotic in delivery with the wistful lyrics about death, memory and the passing of time. There are five cover songs in all, including Devil Town (Daniel Johnston), Bicycle (Gary Louris & Marc Olsen), Red Rose Motel (John Statz) and Ingrid Bergman (Woody Guthrie & Billy Bragg). Peter knows hundreds of cover songs and how he can remember so many lyrics is anybody’s guess – all those busking years have sharpened his memory greatly, no doubt.

There are songs that have not been recorded yet, like I Have This Friend and He Is Dying, new songs such as Everything Is Ending, Don’t You Ever Change and You Are the Only One.  Four of the songs are from the 2017 album, ARE YOU LISTENING, with a further five songs taken from three separate releases.  With over one hour of sublime interplay and music of the highest calibre, this is a release to be savoured and purchased for anyone who enjoys the fine balance between the beauty in restrained playing and the grace to let the silences speak for themselves. 

Review by Paul McGee

DL Marble One Line At A Time Casa

This album as recorded in Tempe, Arizona and produced by Eric “Roscoe” Ambel, which for those who know the name will know the kind of robust roots rock that usually emerges from one of his productions. Marble is the writer and singer of the bulk of the songs here, bar one song from Rob Baird.  The assembled musicians are a solid rockin’ band with Paul Williams on bass, drummer A.D. Adams, Gigi Dixon on keyboards and Ambel and Roger Singleton on electric guitars. Marble adds acoustic alongside Ambel.

Some of the songs like Tonight ring out with drive and connection. Vocally Marble reminds me of another vocalist who I can’t quite pin down but could be Bob Woodruff - who had a major label deal in the 90s. That could just be me though but, from memory, the outlook was similar. There is some harshness in these songs, exemplified by Undefeated wherein Marble looks at some darkness in the life story of the song. “I lost a friend of mine last week, he was a brother to me / now my dad’s got cancer - what the hell does that mean?” There are strands of that bitterness  in other songs such as One Line At A Time's slow death path of “killing myself, one line at a time.”

Break Even has a more hopeful outlook to a relationship and is played at a more considered pace, with some steel guitar added to that overall feel. California Memory is similarly taken, with a thoughtfulness which contrasts with the hell-for-leather nature of the harder songs. It offers a nice break from the otherwise uptempo nature and energy of the songs that, even when they deal in the hardships displayed, do so in a way that has a spirit of looking for the light. Bombay has nice twang to the guitar riff as Marble sings about playing for saints and sinners and singing for drinks in the Club Bombay. The final of the ten songs (Chasing You) is a breakup/leaving song but which is again imbued with a strong melody and chorus and is a fine way to finish the album.

This is Marble’s second album, his previous release Hard To Quit came out five years ago. He was, prior to the pandemic, a road warrior taking his band to whatever gigs paid their way. This is an album that will have its strongest appeal to those who are acquainted with Marble in a live venue or through his previous recorded work. Yet anyone who encounters this album and listens and likes the attitude the music encapsulates will no doubt be pleased to add a new name to their roster of similarly engaging artists.

Review by Stephen Rapid

Tom Mason Under A Mistletoe Sky Gas Station

Christmas albums can cause a love/hate reaction for some listeners or a combination of both. Personally, there are only a few that I really like and they tend to be the less sentimental ones. In that category is Tom Mason, whose latest release is his third chapter of original Christmas tunes. Tom is a multi-instrumentalist who has a team of talented players with him including keyboard player Michael Webb, who is also the album’s producer. They are joined by bassist and drummer Jeff Thorneycroft, Pete Pulkrabek, and backing vocalist Fawn Larson amongst others.

I don’t think that Tom Mason thinks this is high art, rather it is a work that they had some fun recording. The songs have a certain ambience that is definable from the titles - Crazy For Christmas, Christmas Boogaloo, Santa’s Little Helper, Gift Wrapped Girl and Come On Mr. Claus. So the subject matter is obvious, but what is not so until listening is the professionalism and enthusiasm they have brought to laying these song down.

But even with the nature of the seasonal themes, some songs stand-out as having the potential to have a life beyond this CD. Songs like All Covered In Snow and Christmas Boogaloo, alongside others, have the feel of songs that would be right for covering by a wide range of artists in the search for new seasonal standards. An immediate stand-out too is the spot on feel of Little Elvis King Of Elves, which gets that vintage feel right in what is a very enjoyable romp.

Mason’s voice is one that is well up to scratch with his accomplished vocal. His playing on a half-dozen different instruments is also a big part of the results. When you're seeking out something a little different to play over the festive (or indeed not so festive in 2020) season, this still has the potential to cheer one and all up. Kudos to Mason for writing or co-writing a solid selection of new songs rather than heading for the often over-recorded standard selection. 

Review by Stephen Rapid

Jerry Joseph The Beautiful Madness Decor

Having Patterson Hood and Jason Isbell describe you as one of the best songwriters and performers ever is high praise indeed. Being invited to tour with Drive By Truckers and Richmond Fontaine also reinforces the regard that Jerry Joseph is held in by his peers.

His backstory itself is extraordinary and one that has fuelled his insatiable desire for travel and adventure. His escapades kicked off at an early age. Born in Los Angeles, Joseph ended up in all sorts of bother at school as a teenager, resulting in his parents sending him to boarding school in New Zealand. The relocation proved little more than passing the parcel and Joseph, following further behavioural issues, was deported back to California after a short spell in New Zealand.

He formed his first band Little Women in 1981 while still in his teens, before the launch of his solo career in 1993 and he has recorded over twenty albums since then.

Though well known in America his profile has remained under the radar in Europe and THE BEAUTIFUL MADNESS is his first European release. The album was recorded at Black Dial Sound Studios in Water Valley, Mississippi and was produced by Patterson Hood. The backing musicians consisted of Hood’s colleagues in Drive By Truckers. Jason Isbell contributes guitar on Dead Confederate, his first recording with The Truckers since he left the band in 2007.

Joseph has a lot to say on the album and he’s in no hurry to say it. Nine of the ten tracks run over the five-minute mark and the album’s powerful standout track Sugar Smacks weighs in at a hefty seven minutes. His piano led David Bowie tribute Black Star Line also runs north of the seven-minute mark.

The opener Days of Heaven recalls The Waterboys at their rockiest. It’s named after the film of the same name directed by Terrence Malick. In keeping with the movie, Joseph’s lyrics recreate vivid landscapes. He wrote the song on his brothers’ front porch in Mexico, with a gun on his waist to ward off any drug pushers who might get nasty. Equally expressive is the sweeping San Acacia, held together by a punchy bass line, tingling piano, thumping drums and Joseph’s raw vocals.

The aforementioned Dead Confederates is a power ballad that was written four years ago. The song is composed from the perspective of a Confederate statue and is all the more pertinent given the issues with such monuments this summer, both in the U.K. and America. Sugar Smacks finds Joseph spitting fire as he recounts the horrors and inhumanities he’s witnessed in his endless travels over the years.

Those travels included time spent in war zones such as Kurdistan and Afghanistan where he experienced first-hand the atrocities of wars and their aftermaths.  Joseph founded NOMAD Music Foundation which is a not for profit project to provide music and instruments in refugee camps.

THE BEAUTIFUL MADNESS is Joseph’s reflections on a world in disarray and on the verge of self-destruction. It’s a powerful presentation and commentary by an artist with the ability to absorb the darker side of his environment and channel it into music. It’s an album that is highly recommended and guaranteed to be playing in your subconscious long after you’ve listened to the final track.

Review by Declan Culliton

Jack Henderson Where’s The Revolution Fretstone

Over a career that spans two decades, Glasgow born singer songwriter Jack Henderson has toured with The Cowboy Junkies and Over The Rhine, supported numerous luminaries including Buddy Miller, Ron Sexsmith and Sarah McLachlan and performed on stage with Patti Smith.

His recorded his debut album CHEAP TATTOO in 2001 and his most recent release, prior to this album, was an EP titled Sharkey’s Parade from 2019. Henderson challenged himself to record and produce his latest offering WHERE’S THE REVOLUTION, as well as the song writing duties, vocals and all instrumentation. He is quoted with the caveat ‘I wanted to let the songs dictate their own course and allow the imposed imperfections to constitute the very soul of the record.’

To his credit, it’s difficult to discover any imperfections on the ten songs here. The writing is strong, the song constructions are thoughtful and packed with melody. The first single taken from the album is the impressive Don’t Drink The Water, which is built around bluesman Robert Johnson’s alleged proverbial pact with the devil. Henderson considers fake news on the equally notable Jesus & Jezebel and the ageing process and passage of time raises its head on Hey Batman.  The smouldering political unrest and its driving factors come to light on the title track. These tracks are all pitched at just the right tempo and sit comfortably beside the more hushed tones of Stars, Next Time I Meet You and Nobody Gets Hurt.

WHERE’S THE REVOLUTION is an album that works remarkably well as a whole with songs that flow from one to another. It’s also an album very much in the present messed up world.  The lyrics question the increasing lack of empathy and social ethics in times when strong moral leadership is all too often lacking.

The constraints that faced Henderson when producing the album may be a blessing in disguise, as the arrangements are clutter free and fitting. As previously noted, Henderson has opened for Ron Sexsmith in the past, and fans of that notable Canadian songwriter and indeed of Elvis Costello at his most mellow, will love this album. Let’s hope it gets the exposure it richly deserves.

Review by Declan Culliton

Becky Warren The Sick Season Self Release

Lockdown and quarantine have become the norm over the past six months. Not so in 2018 when the very thought of such constraints featured only in novels and farfetched movies. Having released her second solo album Undesirable that year to consistently positive reviews, Nashville based Becky Warren found herself struck down by a debilitating depression that remained with her for sixteen months. Having previously dealt successfully with the illness, this particular dark period did not respond to medication.

Rather than touring and performing on the strengths of UNDESIRABLE and her debut album WAR SURPLUS, Becky was holed up in her Nashville residence, barely having the will to leave her house. Fortunately, the illness did eventually lift and became the subject matter of her powerful new album THE SICK SEASON.

The writing on her debut album  sympathetically featured the true-life story of a veteran and was  based somewhat loosely on her husband at the time, who had  returned from service in Iraq and suffering from PTSD.  She followed that with an album that was based on conversations with the homeless in Nashville and their individual stories which lead to them sleeping rough. Her motivation this time around was profoundly personal. The touching lyrics that feature here are directed towards self-examination, lifting the lid on a difficult period, thankfully now in the past.

The bluesy Appointment With The Blues opens the album and it’s a prelude for what’s to follow.  Warren’s distress and the subject matter of the album is often cloaked with humour, most particularly on Me And These Jeans (‘Me and these jeans, I’ve been wearing for weeks, we’re out on the town, if the town is my mind, if it’s not we’re back on the couch’). The chunky Favourite Bad Penny, personifying the return of her dark mist, needs little explanation. The distressing lyrics of Tired Of Sick recall happy and carefree childhood times prior to her illness. It’s also a stunningly beautiful song, all the more so for its honesty and frankness, and features Emily Saliers of The Indigo Girls on backing vocals. The rocky Dickerson Pike is a plea from the heart for relief and a return to normality.

The album was recorded at MOXE, a picturesque studio located in the clearing of a woods outside Nashville. The studio was designed by owner Jordan Brooke Hamlin, who undertook the production duties on the album. Warren surrounded herself with people that had supported her through that dark period. Joining her were guitarist Avril Smith of Della Mae, bass player Jeremy Middleton and drummer Megan Jane.

THE SICK SEASON is a hugely impressive listen that covers the emotional baggage triggered by mental illness. It has the swagger of Lucinda Williams, gritty vocals, streamlined guitar riffs and brooding bass lines. A hugely enjoyable album that I’ll be returning to regularly.

Review by Declan Culliton

David Quinn Letting Go Self Release

My introduction to David Quinn came about by way of Bloodshot Records and their excellent compilation album TOO LATE TO PRAY, DEFIANT CHICAGO ROOTS, which was released last year. One of twenty-two artists featured on the album, his track Long Time Gone made an immediate impression. On checking out his back catalogue, I came across his impressive debut album WANDERIN’ FOOL, released in 2018. 

This is his second full album and he certainly thought big when assembling his crew to get the album down. The production duties were carried out by Nashville based Mike Stankiewicz, who has worked in various capacities in the past with Willie Nelson, Maren Morris, Sunny Sweeney, Drive By Truckers, Chris Isaac, Margo Price and Jason Isbell.  The musicians that contribute on the album are equally impressive. Members of Margo Price’s band Micah Hulscher (keyboards), Dillon Napier (drums) and Jamie Davis (guitarist) all feature. Pedal steel wizard Brett Resnick (Kacey Musgrave, J.P. Harris) and guitarist Laur Joamets (Sturgill Simpson, Drivin N Cryin) completed the line-up.

It’s one thing having a bunch of ace players and a master producer at the controls, but to Quinn’s credit, he also brought first rate material in to the studio. Quinn confesses that the bones of most of his songs come to him when he’s driving around the Midwestern countryside. Not surprisingly much of the material features travel references. With a sound that encompasses outlaw, classic country and southern rock tracks, the result is an album that flows freely from the short opening intro track to the dreamlike closer Maybe I’ll Move Out To California. In between these two tracks the album is loaded with show stoppers. Ride On leaps out of the speakers with a sound that lands somewhere between Johnny Cash and Dwight Yoakam, laced with wicked guitar breaks and weeping pedal steel. The title track Letting Go is a similarly paced toe tapper and 1000 Miles and Born To Lose are brooding Southern rockers.

Quinn doesn’t stray too far from his comfort zone with LETTING GO, taking full advantage of his rich and fluent vocal style and the bullet proof players around him.  It’s a formula that works, combining uncomplicated lyrics that fit the songs like a hand in a glove. Track this album down and, like me, you’ll be left wondering where David Quinn has been hiding for the past decade!

Review by Declan Culliton

New Album Reviews

George Ducas Yellow Rose Motel Loud Ranch

Back in 1994 George Ducas released his self-titled debut album on Liberty Records. It was a mix of traditional and contemporary country, and it was produced by one of the more interesting producers of that time, Richard Bennett (who helped Steve Earle’s Guitar Town album). It sold well but not in massive numbers. The single Lipstick Promises is probably his best know song from the album. Two years later a second album came out on Capitol titled WHERE I STAND, which was again produced by Bennett with the same mix of influences. It was a sound that I liked and  that was current at the time, having just the right amount of edginess to make it interesting without losing sight of its country base.

Some seventeen years later, album number three was released. 4340 more or less carried on from where he left off but with some adjustments to the overall sound to suit a natural progression, and also to perhaps gain some play on radio. It was produced by Ducas and Matt McClure, with elected players on board to get the best sound possible. Now he has released a fourth album and is again co-producing with McClure, and again using a team of top-notch players like Mike Johnson on steel and an array of guitarists including Kenny Greenberg, Jeff King and the recently deceased top-notch session player J.T. Corenflos. As is the norm for Ducas, the writing credits are shared with the likes of Jacob Lyda, Jeremy Crady, Trent Sumner, Neal Coty and others. The songs explore the perennial themes of love - lost, found or misplaced.

The album opens with the 12-string guitar sound underpinning Don’t Leave Her Lonely. It pretty immediately brings you to a sound that has been his stock-in-trade throughout all his musical releases. It is robust but melodic and is enhanced by Ducas’ expressive voice. It is however not exactly a sound that hard core honky-tonkers may totally embrace and has some resonance with some of those with a broader perspective. Not that it ever could be classed as pop-country or infused with rap. In fact, the second track Country Badass takes a pot at those who assume the country mantle without ever really being convinced.

From there on the tracks can feature brass or some high octane guitars and drums. In Eastwood the actor and director are used as a metaphor for seeking what you want in life. There are other times he reflects on life from a more small town, back room perspective as with the ballad Old Timers wherein he sees that life experiences and attitudes make the old timers tougher and worthy of listening to for the wisdom they can impart. Unlove You has a nice guitar riff to underscore the regret at the ending of a relationship. Reflections on lifestyle are covered in I Got This and Cold Bud. Preachers and Pushers has a solid beat pushing the song’s message about those who “sell the one way to heaven and one way to hell”, but it’s a long road that he affirms he will be committed to with his partner.

The final song, the title track, is a slow blues that clocks in at over 6 minutes and closes the album in a different mood to the previous songs. It places the protagonists in a room in the Yellow Rose Motel, Room 29 to be precise. In that room there is some loving, but that turns to anger and ultimately murder, and incarceration in a very different room. All of this places Ducas not as an artist whose time may have been back in the 90s but rather one whose future could well be ahead of him. One hopes that the cards will fall right. 

Review by Stephen Rapid

Sean Harrison Halfway From Nashville Cosmic Cowboy

This is the debut release from a very agreeable singer/songwriter who falls into a tradition of autobiographical writers who deliver their musings with a sense of humour and insight. Harrison previously played in bands in Texas but somewhere he took the wrong path of drugs and alcohol. He was born in Nashville but grew up in the Arkansas town of Fayetteville, a college town with a solid musical heritage. For a time he lived and busked in Europe before returning to the place he grew up in. He has been writing throughout that time and he was also the producer and writer for fellow artist Milton Patton, whose album charted on release in 2016. This debut deserves similar success.

There are 12 songs on the album and, after numerous plays, I have pretty much enjoyed them all. There are well written and played, with the melodies and words staying in the mind. The album was produced by Benjamin Meade and co-produced by fellow players Michael Brinson, Paul Carabello (guitars, drums and bass) and Harrison himself (electric and acoustic guitars). The album includes contributions too from other musicians on pedal steel, keyboards, accordion and mandolin, all of which gives the album a body and depth to its country-flavoured Americana. 

However, it is the voice and writing of Harrison which is the centrepiece of this album. The songs have much going for them beyond that such as the accordion in Fingertips, the pedal steel in the title song and so on.  In the song Halfway From Nashville Harrison mentions many influential songwriters whose words have served as a personal roadmap and talisman. The titles may give a hint as to the diversity of topics and reach: Go To Girl (a real foot tapper), Ode To A Goner, Wake Up Dead, Psychedelic, and The Last Water Tower - the tale of a man whose aim in life is to climb every last water tower in his county, bar one which he is working out how to bypass the security, “as water towers are built to climb.” This may give you some idea of the diversity of Harrison’s themes. Breathe Out Her Name, the final song, has a lighter touch on a poetic ballad of love and need.

He may have taken a long path to get to this place but that journey has furnished him with a some insight into the peculiar ways of the world. Maybe his choice of a Sidney Nolan painting of Ned Kelly on the cover mirrors his sense of (mis)adventure and seeking some freewheeling ethos to live by. But whatever the reason Sean Harrison is worth listening to for a whole set of reasons, all of them pretty damn good.

Review by Stephen Rapid

The Pawn Shop Saints Ordinary Folks Dolly Rocker

In the reverse of the usual way these things go, singer/songwriter/producer/player Jeb Barry has removed his name as a prefix to the band name. So this new album offers 9 songs of downbeat deliverances on the ordinary people he has encountered while carrying out his living as a working musician. He made a conscious decision during this time to detour and to visit small towns and the people and places that lived there. 

They open with a story of a particular state of mind that comes from living in Cumberland, highlighting the nature of the depression that exists now in that area. You Don’t Know The Cumberland, as with many here, has something of a melancholy disposition at heart. That may be because of Barry’s laid back but highly impressionistic vocal. It feels right for the songs and their subjects, as if he is letting these people have their place in the songs as against a showboating presentation. The band of Barry on guitar, bass and banjo is joined by Michael O’Neill on guitar and vocals, Josh Pisano playing drums and bassist Chris Samson. The offer a detailed and light-touch approach to the backings that allow each song its own breath.

Old Men, New Trucks kind of speaks for itself in its consideration of the two. Body In The River has an upbeat riff and tempo that contrast with the subject matter. Southern Mansions looks at the buildings that sit on hills off the interstate that probably belong to a different era - there is talk of better days but acknowledgment that the people who live there are open and friendly enough to tell a story when approached and yet recognise that things “could always be worse.” Also graced by a structure that is memorable, Ain’t No Mama Here again is not the cheeriest of subject matters but still manages to feel hopeful in spite of that. Pack A Day deals with that habit leading to a slow self-destruction but that inevitability being in some ways a means of a temporary relief. Dry River Song is again about locality, but with the hope of romance entwined.

Lynyrd Skynyrd is tribute to the band that was a growing-up favourite, that offered respite from the bullying that was suffered for being an awkward skinny kid. It is again set to a low key distinctly non-Southern Rock beat and backing. It works all the more poignantly for that.

There is one song here not written by Barry alone and that is New Year’s Eve, Somewhere In The Midwest which he co-wrote with Jason Isbell, and which fits in with the overall nature of the “ordinary folk” who inhabit this album.

Jeb Barry produced, recorded and mixed this album which was delayed by the pandemic during recording, as well as by an eye injury he suffered during its recording. It is noted that Covid restricted the process and meant that some proposed guests were unable to participate. However there is an end product that is in itself both rewarding and restorative because of or despite of that.

Review by Stephen Rapid

Borders No One Else Self Release 

Borders came about when Norfolk guitarist and songwriter Callum Granger met Gibraltarian Faith S White when they both enrolled in a Contemporary Music Degree course in Guildford in 2017. The acoustic duo have been performing in venues and at festivals throughout the south of England ever since. This is their debut album (apart from an earlier foray in recording an EP) and is self recorded and self produced. Their own description of their sound sums it up well - roots/americana/blues/contemporary folk. 

Callum is the main songwriter, with seven songs here, while Faith contributes two. As far as I can ascertain, Callum plays guitars (acoustic and steel bodied) and Faith is the lead vocalist, with harmony vocals from Callum.

The album opens with an attacking acoustic guitar rhythm as backdrop to Faith’s storming So Unreal. Possessed of a naturally powerful voice which she knows how to use, I preferred to hear it in the quieter numbers, such as in Stranger Lost In Time. When Lovers Say Goodbye is positively punk, with shared harmony vocals throughout. Opening with some nice acoustic picking from Callum, All That I’ll Be Needing is the strongest original song in the collection - a blues-tinged breakup song that allows Faith to show off her vocal range. 

There are also three cover songs - Neil Young’s protest song Ohio gets a powerful treatment with the addition of percussion; there’s a decent version of Taylor Swift’s Safe and Sound; and the title track which is actually Ida Mae’s If You Don’t Love Me but has been changed to No One Else by Borders.

This is a duo to watch.

Review by Eilís Boland

Sam Morrow Getting’ By on Getting’ Down Forty Below

Houston, Texas born Sam Morrow has seen a lot of water pass under the bridge over the past decade. A serious drug habit resulted him in leaving Texas for rehab in California when barely out of his teens. That was back in 2011 and having kicked his habit he relaunched his musical career with a debut album EPHEMERAL in 2014. THERE IS NO MAP (2015) and CONCRETE AND MUD (2018) followed, the latter earning him inclusion in Rolling Stone’s ‘10 New Country Artists You Need To Know’ and entering the Americana Top 10 album charts.

Although you’re likely to find Morrow’s albums filed under Country or Americana, that does not paint an accurate picture of where he’s coming from. His sound is a fusion of southern rock, blues and funk with a side of outlaw country.

GETTING’ BY ON GETTIN’ DOWN sticks with the winning formula of its predecessor, circling back to a sound that was more celebrated in the early 70’s. Think along the lines of Little Feat, Tony Joe White and Lynyrd Skynyrd and you’re in the right ball park. The playing throughout is stellar and honed from the road miles that Morrow and his players have travelled in recent years, both in America and Europe. Primarily guitar driven with a wicked rhythm section and hooks that that come hard and fast, it’s Morrow's most impressive album. Recorded in L.A. at a studio owned by The Doors’ guitar player Robby Krieger, Morrow and his sidekick and drummer Eric Corne were joined for the recordings by legendary guitar player Doug Pettibone and bassist Taras Prodaniuk, both long time members of Lucinda Williams’ band. With quality such as that in the studio, not surprisingly the playing is exceptional.

Morrow is equally at home with full on bluesy belters Wicked Woman and Golden Venus as he is with no nonsense rockers Rosarita, Money Ain’t a Thing and the title track. He also finds room for a couple of chilled ballads with I’ll Think I’ll Just Die Here and Sit Crooked, Talk Straight.

GETTING’ BY ON GETTIN’ DOWN finds Morrow firing on all cylinders and recreating the energy of his live sets. It’s one from the slow cooker that takes its time to connect but is well worth the time invested.

Review by Declan Culliton

Michael J. Sheehy Distance Is The Soul Of Beauty Lightning Archive

The 'new normal', as our current state of survival is annoyingly referred to, has had an understandably profound impact on artists and musicians. Some have found themselves starved of the motivation to write, despite having infinitely more time on their hands with gigs and tours shelved. Others have found the stimulus to write but not necessarily in the direction they would have travelled pre-pandemic.

Michael J. Sheehy is the former lead man of London rock band Dream City Film Club. He has recorded a number of solo albums and is currently a member of two bands, Miraculous Mule and United Sounds of Joy. He had been plotting a return to solo recording for some time, following his break from releasing solo material over a decade ago. The bones of an album had been fleshed out over a couple of years, but remained in an unfinished state while he strived for perfection, often reworking songs he had considered complete and other times dumping songs and writing their replacements.

The arrival of COVID - 19 changed his direction entirely and set him off on a somewhat different musical path. DISTANCE IS THE SOUL OF BEAUTY was recorded in jig time, with Sheehy abandoning the principle of striving for perfection and instead following his initial instincts.  The songs were recorded late at night and, to avoid waking his sleeping wife and daughter, are both mellow and calm. The album’s title is a quote from the French philosopher Simone Weil, whose writings influenced some of the material. Sheehy also cites The Velvet Underground, Suicide, Elvis and Brigid Mae Power as artists that guided his direction in both the lyrics and music.

There is a recurring theme of contentment and quiet optimism on many of the songs, as Sheehy absorbs the present moment and channels it into song. We Laugh More Than We Cry and Bless Your Gentle Soul are considered and contemplative, an acknowledgment of support offered when most needed. Other songs that also suggest self-examination and acceptance are I Have To Live This Way and Turn Back For Home.

Written late at night and best listened to late at night, this new album is a collection of uplifting songs that bring to mind Clem Snide and Damien Jurado at their most introspective. ‘Don’t be afraid, we’ll not be overcome’ repeats Sheehy at the end of the closing track Everything That Rises Must Converge. It’s a sentiment that fittingly sums up this most impressive album.

Review by Declan Culliton

Laura Veirs My Echo Bella Union

The latest album release from Portland, Oregon alt/folk singer songwriter Laura Veirs titled MY ECHO, is an addition to the eleven solo albums already in her war chest.  Veirs was also one third of the ‘super group’ Case/Lang/Veirs, whose self-titled collaboration featured at the business end of albums selected as the best recordings of 2016 in a number of publications.

Veirs’ early musical career found her playing in the all-girl punk band Rair Kx, before exploring old time country and folk music and changing her own musical direction. Though loosely classified as a folk/country singer, her template has always been far wider than that, quite avant guard and always interesting.

Her writing has always been passioned and focused, her arrangements quirky, musically enterprising and often entrancing. Following her acoustic self-titled debut album in 1999, she became more adventurous with striking albums such as SALTBREAKERS in 2007 and - having being dropped by her record label - the sublime JULY FLAME, released on her own label Raven Marching Band back in 2010. Her latest recording matches the standard of both of those albums and for me, reads musically like the third leg of a trilogy alongside them. Lyrically, however, it takes a somewhat different direction. Inspired by a poetry writing club she and two others fashioned, she abandoned her customary style of putting lyrics to her guitar pieces and instead adapted her poetry to create the lyrics for the album.

The writing is also confessional and suggests some intense personal searching on her part. The album was written at a time when she was attempting to brush aside the inevitability of a failing marriage to fellow musician and producer Tucker Martine (Rosanne Cash, My Morning Jacket, Sufjan Stevens, Neko Case). Veirs and Martine, who produced the album, have since divorced. That subject matter is reflected and considered on the album.

Her opening line on the album is ‘I don’t know where I am going to’ from Freedom Feeling’ and the song articulates her predicament of feeling trapped and yearning for extrication. However, despite the harrowing and uncertain times that prevailed while the material was being constructed, Veirs’ presentation of the songs exclude any self-pity or censure.  

The punchy and chipper Another Space and Time is a mid-tempo jazzy affair, strings and sax solo adding to its ambience. Memaloose Island recalls less stressful times and her more traditional folk leanings surface on the gentler songs such as All The Things and the piano led End Times. Burn Too Bright was written in memory of fellow musician and producer Richard Swift, who passed away in 2018. She signs out with Vapor Trails, which deals with the acceptance of time passing on.

Conceived at a difficult juncture, with Veirs’ personal life at a crossroads, MY ECHO contains her most unguarded writing to date. However, despite its testing subplot, you’re left with the impression of an artist more at peace with herself after the assignment.  It’s an album that’s impeccably put together, beautifully arranged and a striking listen.

Review by Declan Culliton

Izzy Heltai Father Self Release

You are 23 years old and passing into adulthood. With you travels the baggage carried from a youth made complicated by issues surrounding sexual identity as a transgender person. Trying to gain recognition for an innate talent that has been quietly maturing, while fighting against popular opinion that would try to define you by your sexual preferences as something other.

 Izzy Heltai grew up in Brookline, Massachusetts and wrote these nine songs between the ages of 19 and 23, seeking answers to his own questions regarding the true meaning of relationships, the vulnerability of love, feelings of depression and opening up to others. Many of the shared issues that concern us all on our various pathways through the maze of trying to live a meaningful life.

This debut album was produced by Sophie Buskin and the recording took place at Sleeper Cave Records in Williamsburg, Massachusetts. It is a work of great elegance and maturity and points towards a career that will continue to blossom and attract increasing interest.

Izzy plays guitar and sings, with additional vocals courtesy of Sophie Buskin. Micah Katz-Zeiger plays bass and electric guitar, with Garret Salazar on drums and Joel Helander on piano, Wurlitzer & Rhodes. Rebecca Branson Jones plays the pedal steel and Matthew Tornton contributes on cello. 

With such an interesting array of instruments, you would expect a full sound, but the gentle playing of the ensemble lies in quiet unison and supports these emotional songs with just the right degree of nuance.  

Not wanting to be defined by your sexual identity is something that is addressed in the track, To Talk About Yourself, while the question posed by The Stranger You’ve Become is one of how well do we really know anyone? Marching Song deals with the effects that depression can have upon others while Human looks at self-delusion and the stories that we tell ourselves. 

Songbird refers to a feeling of being taken for granted in a friendship while wondering if there could be something more. Whet Your Appetite seems to ask for honesty in a relationship and the sad feelings involved in letting go. Anyone To Anybody is another song about unrequited love and feelings of frustration wrapped into devotion for another. 

Although a number of these songs work through a sense of personal angst, there is a catharsis in the release of deep-seated feelings and emotions. The playing is gently sensitive and adding sweet melody around these words that serve to elevate the listening experience. Catacomb is sadness in solitude and looking for solace in the little things and the final song, Father, is a note to self and a wish to take things easier if only to connect; 

‘And I could use a good touch, And maybe even your love, Could help me figure out what I’ve been trying to tell you for years.’

If indeed, “Art is found in the middle ground between intention and perception” then we are looking at a fully realised, quietly moving project that is very impressive and worthy of great praise.

Review by Paul McGee

Vincent Cross The Life & Times of James ‘The Rooster’ Corcoran Rescue Dog 

This release is a song cycle about 19th Century Irish-American gang leader & colony chief, James “The Rooster” Corcoran and his life in America after emigrating from Ireland at the start of the Famine years in 1945. In Ireland it is referred to as the Great Hunger (An Gorta Mór), as there was plenty of food supply available, but the English authorities choose to export this for profit, leaving the starving Irish people to die /emigrate as a result of the failure of the potato crop.

Corcoran was a distant relative of Vincent Cross and with his interest raised by newspaper archives and old stories handed down, he embarked upon his own journey of discovery in search of the legend and myth that surrounded this man who became the champion of the Irish immigrant class during the 19th Century. Traditional Irish airs and arrangements are adopted on four of the songs here as Cross uses his creative licence to imagine what life must have been like for a young Irishman taking the boat to America and working his way from New Orleans up to New York City. In establishing himself as a spokesman for squatters in and around the notorious 5-corners area of the city, Corcoran also became a truckman, almost a century before the infamous teamster unions of the 1920’s and the reign of Jimmy Hoffa.

The songs trace Corcoran from his gang activities and his love of his beautiful wife, Kathleen Barnwell, to his longing to return home to Ireland and his ultimate death at the age of 81, never having left NYC again.

Cross is a multi-instrumentalist and plays bouzouki, chromatic concertina, minstrel banjo, bodhran, dulcimer, mandolin and mandocello. Guests include Shane Kerwin on tin whistle & bodhran, Claire Bonass on vocals (Come Ye Ladies & Ye Gentlemen), Erica Marie Mancini on accordion (A Stranger I Came) and Sam Harmet on mandolin (A Stranger I Came).

The project was produced by Cross and recorded in Queens, NYC. Six songs were written by Cross, plus his input on traditional arrangements Albert W. Hicks, Creole Girl, Farewell Sweet Lovely Kathleen and LCaoineadh na dTrí Muire/Off to California, an Irish lament and slow hornpipe that is both reflective and soulful. A Man After Me Own Heart is an imagined tale of Corcoran’s fishing background in Ireland. 

The original songs sit easily alongside the adapted public domain songs to create a timeless quality of the passing decades and all that surrounds a life in the telling of old stories, like Albert W. Hicks, hanged for piracy in Manhattan and a known serial killer. Red Haired Mary Corcoran is about a family member, sister or daughter (?), who strutted her stuff in the local district and Handsome Harry Carlton a member of the gang who was the last man to be hanged on the Island of Manhattan. Farewell Sweet Lovely Katherine portrays a sense of Corcoran’s grief over the loss of his wife. Corcoran was the father of ten children and was ‘not a Paddy, but an Irish gentleman.’

Cross has been recording music since 2001 and is very experienced in all aspects of the business, both touring extensively and recording in the studio. He is a fine musician and the ensemble playing here is very appealing on all fronts. An interesting release and very much in the traditional Folk heritage.

Review by Paul McGee

New Album Reviews

Jim White Misfit’s Jubilee Loose

 Confession time first. I’ve been captivated by Jim White’s music since I came upon his first album WRONG-EYED JESUS back in 1997. There was something hugely original and challenging about that album which defied categorisation. His subsequent six albums, prior to the arrival of MISFIT’S JUBILEE, have cemented his reputation as one of the most gifted and idiosyncratic writers and live performers of his generation.

White’s latest album gathers together songs, written across a career spanning over two decades, none of which featured on his previously recorded output. Some were deemed unsuitable by record labels and others simply rested on a shelf waiting for rediscovery and refashioning.

White recorded the album in Antwerp, Belgium, ably assisted by local players Geert Hellings and Nicolas Rombouts alongside his long-time drummer, the New York based Marlon Patton.

White’s tales have always signalled a deep concern for the frailties of mankind and often feature the luckless and nonconformist, albeit sympathetically. Those tales invariably explore the dark undertones of America’s Southern states and its characters. The writing on this album comprises more abstract and personal sentiments than the character examinations that made up the majority of his previous recordings.

The punchy Monkey In A Silo details the plight of a druggie dope pusher (‘I'm a monkey in a silo, I'm a junkie in a shadow, I'm a flunky running errands…. I’m buzzing like a beehive, I'm a monkey in a silo’). Insurgent and doomed lovers on the run the from the law feature on Highway Of Lost Hats. With police sirens wailing in the background, you know it’s not going to be a happy ending for the desperate couple

In many ways this may be White’s most accessible recording. He goes full on straight rock on the subjective Where Would I Be (‘Would I be an old man saying my prayers, or a nun dreaming of some football players?’). Smart Ass Reply thrives on post punk energy and the grungy Fighting My Ghosts Again wouldn’t have sounded out of place on any Nirvana album. However, it’s not all brimstone and fire. The slightly less raucous Sum Of What We’ve Been and The Mystery Of You are compassionate gems, unhurried and patient.

A raconteur of endless talent, White has always possessed a knack for morphing musical tones and textures alongside his distinctive vocal deliveries. He manages that fluently in MISFIT’S JUBILEE, which is unquestionably his most upbeat recording.  An essential purchase for lovers of Jim White and the ideal starting point for those yet to sample his work.

Review by Declan Culliton

Stephanie Lambring Autonomy Self Release

With a publishing deal secured in Music City, co-writes with Caroline Spence and Andrew Combs as well as several songs featured in the tv series Nashville, you could be forgiven for thinking that Stephanie Lambring’s career was going perfectly to plan. However, she eventually became disillusioned by what she had considered to be her calling and the prospect of writing music from a handbook rather than from her heart.

She picked up work waitressing, did some travelling and gradually her passion for writing music on her own terms returned.  With the encouragement of Nashville producer Teddy Morgan, Lambring took up the challenge to recommence writing and those songs are reflected on AUTONOMY.

The time spent away from Music Row also gave Lambring the opportunity to delve into emotional and unresolved personal issues. Childhood insecurities, bad relationship choices, sunken and unfulfilled dreams and religious contradictions all presented her with the ammunition to put her thoughts and inner feelings to words and music.

The solid rocker Daddy’s Disappointment grapples with the self-inflicted pressure to continually feel the need to please one’s parents, even as an adult and having left the nest. She drops down a few gears with the gentle ballad Pretty. The song revives her childhood and the hurt she suffered in silence due to name calling by other children.

The album continues to navigate its way across a range of emotions. The unchristian views of the church, very much a part of her childhood, are addressed.  The members of its congregation that hide behind their religious veil while leading anything like charitable lives was the spark for Joy Of Jesus. It’s a stunning song and the album’s deepest cut, featuring Lambring’s voice, acoustic guitar and little else. A similar theme surfaces on Save Me Tonight. Little White Lie tells of relationships poorly chosen and doomed for failure from day one.

Lambring’s vocals are both achingly sad, bordering on tearful yet truly uplifting, perfectly conveying the messages in her songs. She tackles vulnerability, sadness but also optimism, on an album that could have been perceived as overly self-indulgent. On the contrary it confronts issues that are common to many with sympathy, truthfulness and elegance.

Review by Declan Culliton

Rachel Brooke The Loneliness In Me Mal 

A welcome return to the recording studio in Traverse City, Michigan by honeyed vocalist Rachel Brooke has gifted us THE LONELINESS IN ME, her first solo album since A KILLER’S DREAM, which landed in 2012.

On offer here are twelve songs that present traditional country with a rockabilly twist, but also with a gothic edge. This is music for dimly lit rooms rather than neon lit honky tonks, probably best played when the children are tucked up in bed. Brooke hails from rural Michigan and grew up playing bluegrass with her father as a young child. The album is dedicated to her father, Barry Van Guilder, who passed away in recent years. She has never abandoned that love of old timey, but her time spent as a teenager in an all girl punk band has channeled her music down an off centre and more thought-provoking path.   

The material on THE LONELINESS IN ME was written or co-written by Brooks and her husband Brooks Robbins, who is an accomplished musician and songwriter in his own right. She delivers her vocals in a natural and heavily accented drawl and lets you know who is wearing the trousers in the opener It Ain’t Over ‘Til You’re Crying (‘You ain’t the last boy in line, you get to pay for ancient history, that’s what you get for loving me’). Love lost, abandoned or unwinnable consistently raises its head on the album and particularly on Ghost Of You and Undecided Love.

The title track goes down a semi-rockabilly road, with an up-tempo rhythm that disguises lyrics that express self-doubt and anxiety, sentiments that can be found if you scratch beneath the surface on a number of the songs.  It Won’t Be Long captures the phrasing of Hank Williams alongside accompanying musicians who operate at the highest level throughout the recording. Those players include pedal steel player Dave Feeny (Loretta Lynn, Blanche, Josh Ritter), guitarists Michael Cullen and Nick Carnes, TJ Rankin on bass, Louis Osborn on keys and drummer Aaron Graham.

Brooke set out her stall with her excellent self-titled debut album, released in 2008. She has managed once more with this new album to construct another intriguing country album that strays from the conventional without ever abandoning first principles.  In cinematic terms think 'Twin Peaks' rather than 'Coal Miner’s Daughter' and you’re in the right ball park.

Review by Declan Culliton

Kelley Swindall  You Can Call Me Darlin’ If You Want Velvet Elk 

Breakup albums are dropping hot and heavy into the Lonesome Highway inbox this year. The subject matter has been the motivator for some memorable albums in the past and continues to energise writers, particularly in the Americana and Country genres. Kelley Swindall’s path to recording her debut studio album is not an unfamiliar one. Following her dream, she relocated from Atlanta to New York, seeking fame and fortune in an acting career.  A failed relationship followed, leaving her broken hearted and angry, a treacherous combination. By way of dealing with her plight, she picked up a guitar and started writing a few songs in retribution. The songs kept coming, inspired by both the break up and wider issues, including her new found freedom.

Though broadly categorised as a country album, it is much more than that. Blending her southern upbringing, NYC acquired sassiness and acting ability, she has created an impressive bunch of songs. She puts her cards firmly on the table from the onset. I Ain’t For You, You Ain’t For Me opens the album with Swindall spitting fire. The song is raucous and aims for the jugular, (‘You see the fears you laid on me, they took their toll subconsciously… it’s finally causing me to see, I ain’t for you and honey you ain’t for me’)

She slips back a few gears with Dear Savannah which reflects on a short-term affair, walked away from with some regret.  Refuse To Be Blue is a stylish Tammy Wynette sounding delight.  The Thelma & Louise themed California - check out the You Tube video - tells of a blaring and doomed ridden road trip. It’s brassy and fun with language Swindall didn’t stumble upon when singing in the choir at her church as a youngster.

She goes all traditional country with the semi-spoken title track. It’s a powerful and resilient statement from a defiant and independent soul. It also turns the tables on the country prototype 'ramblin’ man', replacing it with an equally ‘devil may care’ female.  The ballad Refuse To Be Blue takes on a matching motive, with a nod in the direction of Patsy Cline both in its lyrics and vocal expression.

In a similar vein to Caitlin Cannon’s The TrashCannon Album, Swindall has got even with hardship and has come out fighting with this quality package. It’s a great listen and also a further reminder of the quality of country music coming out of NYC.

Review by Declan Culliton

My Darling Clementine Country Darkness Vol.3 Fretstone 

The third and final EP recording of selected Elvis Costello songs by My Darling Clementine finds the husband and wife duo revisiting another four songs from Costello’s vast war chest. These songs and the previous eight taken from COUNTRY DARKESS Vols.1 and 2 will be released as a full album in November.

 As was the case with those earlier recordings, the combination of Michael Weston King's and Lou Dalgleish’s sweet sounding vocals and cracking keyboard playing from Costello’s keyboard collaborator and Rock and Roll Hall of Fame member, Steve Nieve, complement each other perfectly. The selection of songs for the three EP’s has been intriguing and once more the four tracks featured in this recording are not altogether obvious choices.   

 The Crooked Line is the first single released from the EP. It featured on SECRET, PROFANE & SUGARCANE, recorded by Costello in 2009 and is described by him as ‘A song looking for constancy. The only song I’ve ever written that is without irony.’ The album it’s taken from did not feature Steve Nieve, but he certainly plays his part on the pumped-up reworking of the song with some vintage Attractions -like keyboard. It reverses the trend engaged by My Darling Clementine on the previous EP’s of often toning down Costello’s originals. It also works spectacularly well, benefitting from the infused energy.

 A more obvious selection is Indoor Fireworks, plucked from KING OF AMERICA (1986). It’s a quite stunning song and perfectly suited to the duet format. With shared verses from Lou and Michael, in the company of nimble piano work from Nieve, it delivers the album's standout moments. I’ll Wear It Proudly is also taken from the same album and this version does not stray too far from the original.

 The wild card on the EP is Why Can’t A Man Stand Alone?, which appeared on a limited-edition EP live album titled Costello & Nieve, recorded in Los Angeles, San Francisco, Boston and New York. My Darling Clementine give it a rich Countrypolitan makeover, which recalls the production touch of Burt Bacharach more so than Billy Sherell. It’s a powerful inclusion, revealing their ability to reach out far beyond their beloved country comfort zone.

COUNTRY DARKNESS VOL.3 is the final chapter in what has been a charming and compelling project by My Darling Clementine. The three EP’s offer lovers of quality country music, together with Elvis Costello enthusiasts, an absorbing listen and one that, hopefully, we will get the opportunity to witness as a live performance when every day normality returns.

Review by Declan Culliton

My Politic Short Sighted People In Power: A Home Recording Self Release

Time was when the protest singer had a place in society, a real voice and a chance to influence and change the social mores of the day. Who can deny the footprint left in the 60’s by the likes of Pete Seeger, Joan Baez, Bob Dylan, Buffy Sainte-Marie, et al. 

Today the message is carried by artists like Ani di Franco and Steve Earle but it often gets diluted and lost in our fractured, frenzied lives, our urban silos, suburban gated communities and blinkered, time-poor routines. There has been nothing that brings a powerful message that equates to the 60’s in the USA and the anti-war, civil and human rights movements. 

Until now, that is; the friction caused by the present political governance in the USA and the heavy-handed actions of their administration and policing constraints has led to protest marches in the streets and the Black Lives Matter movement is a welcome voice with the citizens throughout America standing up to be counted.

Kaston Guffey is ‘as mad as hell and he’s not going to take it anymore’ (to quote Howard Beale (Peter Finch) in Network, 1974); an angry young man not holding back in his views on this 7-song, acoustic project, created during lockdown in Nashville. Always a very perceptive songwriter, he excels here on these songs of injustice, prejudice, hatred, bigotry and hypocrisy. He is to be applauded for standing up at a time when so many of his peers are reluctant to air personal views, in fear of self-sabotage and damage to their careers. 

His targets are corporate greed, Government failings and ineptitude, media muggers like Fox News, the blinkered Republican Party, Global Warming, ingrained racism and police brutality against minority groups and the less privileged in society - all are targets for a man with a guitar and a heart full of hurt.

The use of expletives on certain tracks will not gain him much radio play, but Kaston’s writing is not aimed at commercial chart placings, more the conscience and moral barometer of those who value enlightened commentary and with this goal in mind, he scores a hit every time. Just 23 minutes long, but packed with fine writing and insight, despite these times that lay heavily on all our shoulders.

The title track sets things off with an attack on conglomerates, multinationals, political myopia and obscene greed in amassing vast amounts of material wealth. The Wrong Side looks at the republican party and the perverted drive to ignore everyone and everything that does not sit with their particular skewed vision of how things should be. Fantasies of a Fox News Viewer is a focus on blind bigotry and the ‘my way or no way’ approach to democracy. Voter Suppression is a defence of minority rights and the need for all parts of society to have their voice heard, ‘Let's kick em off the voter rolls, Let's force these polling places closed, It was so much easier with the fire hose.’  

The anger and incredulity expressed on All American Way is really the glue that pulls this whole project together with Kaston firing literate bullets against the establishment and all the activities that bring harassment and violence down upon the Black communities in America. The white man, meanwhile, literally gets away with murder. The Experts Told Us hits out at a regime that sat on its hands while the Covid-19 virus gained a tight grip on the American people. So many needlessly lost to the arrogance of policy makers who thought they knew better. The final track, Talkin' RNC Blues, is a dream sequence of nightmare proportions that sees Kaston attending the Republican National Convention and meeting many individuals that are scarier than the ghosts that walk in the imagination. The assembled cast will not all be instantly recognisable to those outside of the USA but there are enough villains to understand the lines ‘ So for the sake of the country vote this election day, By mail, absentee or the old fashioned way, If you have to go out make sure you've got a mask, Let’s all come together and take out the trash.’

Kaston is one of the best new songwriters to emerge from the Nashville scene in recent years and with his long-time musical buddy, Nick Pankey, both co-writer and excellent guitarist, they make a compelling team and are deserving of greater media attention for their combined talents. Kaston Guffey is both clever and insightful with his wordplay and this project is meant to be listened to as a complete work, a time capsule of these times, that will stand as a statement for future perspective to judge. Woody Guthrie would be proud. An essential purchase.

Review by Paul McGee

Maple Run Band Self-Titled Back Pasture

This debut album is a very welcome surprise and the results of listening over repeated plays bring plenty of positive rewards. Kicking off the twelve songs is You’re Gonna Make Me Cry Again with some great guitar twang and a fun look at cheating partners, ‘Before I met you, last time I cried, Was the day that Johnny Cash died, You’re gonna make me cry again.’  The Queen Of Labrador City tells of a former mining town bar where the popular proprietor looks after the locals who are down on their luck and out of work. There is a nice name check for Gord Downie of Tragically Hip, who died in 2017. 

Catch You Down the Line is a quirky Country flavoured swing with clever wordplay and Keep On Truckin’ is a happy go lucky jaunt about moving down the highway and forgetting about your doubts and fears. Monday Morning is a simple love song and the easy playing of the band shines through with the vocal harmonies of Trevor Crist (guitar) and Nicole Valcour (drums) very much to the fore.

The guitar sound is bright and inventive across the tracks and the catchy melodies and vocals make for a very enjoyable listen. This is Country music right down the line and the lap steel guitar of David Kamm is prominent on many of the songs. The album was produced by Trevor Crist and recorded at The Carriage Barn, Sterling, Vermont in the USA.

Last Of the West Kansas Cowboys is a tribute to the father of Trevor Crist and his life of a rancher. It’s a slow, reflective song and fittingly stands as one of the album highlights to a man who died of Alzheimer’s disease last year. ‘Now the years and the days are slipping away, But a cowboy never tells you when he hurts.’ 

Borderline is a rockier arrangement that drives along on a great rhythm and jangling guitars. Ma Bell is a long-distance love song with a slow tempo and cello paired with vocals that lament a difficult state of keeping communication channels open. Independence Day is a bank robbery song featuring Pretty Boy Floyd and an up-tempo arrangement that borders on rockabilly.

Bill Mullins plays lead guitar in the band and with John Spencer on bass guitar the line-up displays a tightness that is clearly borne of many hours practice and playing live together. All Songs are written by Trevor Crist, apart from the one cover - Engine Engine #9, a Roger Miller song that first appeared in 1965 and a fine Country rendition they deliver, with great dual harmonies.

Lost Bird has beautiful cello played by Nelson Caldwell which wraps around a slow melody and understated guitar lines. You’ve Got a Warrant Out (Out On My Affection) closes the album with another slow burn and the ensemble playing is quietly restrained against a song about being a loner and leaving a lover behind.

It’s a really strong debut album from a band that will continue to impress no matter what the current odds. Watch this space.

Review by Paul McGee

Joselyn & Don Soar Paintbrush

Joselyn Wilkinson and Don Barrozo comprise this duo, both as musicians and life partners, with their debut album setting down a strong marker for the future. Opening with the track, Storm, and the message, ’where do we go now that the storm has reached our shores,’ seems tailor made for these difficult times of Covid-19 virus, even if it was originally written in the wake of the L.A. bushfires. The following song, All It Takes Is Time, is equally appropriate in calling for love to blossom and flow like a river between us all. Title track Soar is about taking second chances and moving forward in life. Positive messages to support the waning spirit in days of challenge.

Trouble is a cool bluesy shuffle that warns you to steer clear of the obvious dangers and Broken is a statement about growing older and wiser; ‘Just let me be broken, If you are my friend, Every scar is a souvenir of the places I have been.’ The song Where We Belong is a statement of commitment and union that is sweetly soulful, ‘When the golden sun is setting, And the kids are grown and gone, There’ll be this house where we belong.’

Eliza Schneider contributes violin on both Don’t Wanna Talk About and Wayfarer’s Son, a story song right out of the traditional Folk songbook. Janna Matteoli also adds her voice to three tracks, Don’t Wanna Talk About, Mama Bird and All It Takes Is Time.

The production on the ten tracks is crystal clear and highlights the beautiful vocal of Joselyn as she displays gentle restraint and powerful delivery across the 35 minutes here. She also tracks backing vocals in addition to playing tenor ukulele, conga drum and keyboards. Don produced the project and contributed on keyboards, guitar, trumpet, accordion, bass and drums/percussion. 

Joselyn is the founder of women’s global fusion band, ADAAWE, who released two albums while Don is a multi-instrumentalist, composer and producer who also spends time as film editor for the animated series, “The Simpsons.”  The overall feel is that of a contemporary Folk sound with plenty of Roots leanings. A love of nature and keeping life in balance runs through these songs and the listening experience is something that will bring many pleasant moments. 

Review by Paul McGee

Market Junction Burning Bridges Self Release

From Houston TX, this band is comprised of Matt Parrish on lead vocals and acoustic guitar; Justin Lofton on background vocals, guitar, mandola, lap steep, and keyboards; Taylor Hilyard on bass; and Michael Blattel on drums. This is their third release since a debut album back in 2012 and the project was produced by a combination of Richard Barrow, Ty Robins, Justin Lofton and Matt Parrish.

All songs are written by Matt Parrish and Justin Lofton and the sound is very much in the Alt. Country genre with some excellent interplay between the four musicians. The ten tracks follow a relationship cycle from young love, through a growing realisation of differences, into disillusionment and a breakdown of communication, finally resulting in leaving. The regrets that ensue, leave an imprint on the rest of life still to come. 

It may appear bleak on the surface but it does question our respective roles in abetting tired relationships that have run their course and the costs and benefits of walking away to an uncertain future. What balances the subject matter is the great vocals of Matt Parrish with his clear, honeyed delivery and the dynamic in the song arrangements that always keeps the interest across the 34 minutes.

Opening track, When Your Heart Begins To Break, questions what love actually represents and the push and pull between lustful desire and real meaningful commitment. ‘Love is not a lifeline that pulls you from despair, It is a jury of your peers that sends you to the chair.’ The next track, Out Of Love, looks at the lost spark and a tired relationship, with the lines ‘We never needed the silent treatment, Cause it’s been years since we’ve had anything to say.’

Taking the decision to actually leave is the hardest reality but with I Hope It Breaks Your Heart, the lines ‘I don’t have the courage to speak my mind anymore’ says it all – no respite in their stabbing personal war. Nebraska sees the husband working away and missing his wife with the distance and time to bring some perspective to the relationship. ‘I’d go home, but I don’t know, If a place like that exists anymore.’ The banjo and pedal steel amplify the angst felt by separation.

Now In California, looking at the transitory nature of life, it’s lonely out on your own and the song Western Coast hits the nail on the head, ‘I’ve been trying to outrun the love we had, But I’m all alone on this western coast, Out of gas.’ 

Hello My Dear looks at a possible reconciliation, even if it’s only imagining, with the thought ‘What if I see just a hint of regret when I look into your eyes.’ The sad realisation that something broken, cannot always be properly repaired surfaces in the song Livin’ A Lie and the lines, ‘Like an orphan in a stranger’s care, This world broke my heart, treated me unfair.’ 

The final track and the album title, Burning Bridges, brings everything around full circle with the thought that ‘Time will take Our youth And leave our mistakes,’ together with the lessons learned and the need to be true to yourself and move on.

It’s a really superbly crafted album with plenty of great musicianship and Americana sounds to recommend it. Definitely a contender for my favourite releases list in this challenging year.

Review by Paul McGee

New Album Reviews

Molly Tuttle  ... but i’d rather be with you  Compass

Like her musical genius predecessor, Chris Thile, who also emerged from that vibrant hotbed of the Californian bluegrass scene, Molly Tuttle has strayed well away from her musical roots, though still only in her 20s. Already renowned for her guitar playing, she is twice winner of the IBMA Guitar Player of the Year award, and is a Berklee alumnus to boot. Her unusual guitar playing style encompasses cross picking and clawhammer as well as flat picking, and she is also a singer-songwriter.

She has pulled off quite a feat in recording this solid album of covers of artists she loves, ranging from The Grateful Dead to Harry Styles, from her Nashville home during the pandemic. She taught herself how to use Protools (very frustrating on her elderly Mac!) and sent files of her guitar and vocals over and back to producer Tony Berg (Amos Lee, Andrew Bird, Phoebe Bridgers). Berg called in a bunch of A-list Californians to play back up (also recorded remotely) - Matt Chamberlain on drums (Dylan, Springsteen), Rich Hinman on pedal steel (Rosanne Cash, Anais Mitchell), Gabe Noel on bass (Vulfpeck, Ry Cooder) and Patrick Warren on keys (Bonnie Raitt, Springsteen).

Although she is primarily a guitar player, this is very much an ensemble affair. The album is accompanied by extensive liner notes from Molly herself, detailing the provenance of the songs and why she has chosen them.

In her versions of the Yeah Yeahs’ Zero (loved since her high school days) and Harry Styles’ Sunflower Vol 6 she really does get to let rip on her acoustic guitar and the results are breathtaking. Vocally she is maturing into a strong singer, and her voice is experienced at its best on the Cat Steven’s love song, How Can I Tell You. She covers the FKA Twigs composition Mirrored Heart, exquisitely detailing the the devastation of heart break with just her acoustic guitar and layering her own vocals to haunting effect.

Personal favourites are her version of the Stones’ She’s a Rainbow, which she reinterprets as a woman’s ‘love song to all feminine beings’ and Standing On The Moon from the Grateful Dead.

I wasn’t familiar with many of the songs/artists she introduces us to here, and I am particularly grateful to her for turning me onto the work of the late Arthur Russell, with her cover of A Little Lost.

Review by Eilís Boland

Joseph Bernstein 1941 Self Release

There’s an intriguing backstory behind the emergence of Joseph Bernstein’s debut album, arriving  as it does when he has already reached his 40s. By day he is a veterinarian (and a dermatology specialist, at that) who runs his own referral practice in Baltimore along with his wife, who is a fellow veterinary dermatologist. Even though he had been writing songs since he was 18, life got in the way - many years of study, then setting up and running a practice, as well as rearing 5 children. But then there was his alcoholism (unfortunately all too common within our profession), which probably didn’t help.

Bernstein called on his old school friend Lawrence Lanahan (a writer and musician) to help him realise his long held desire to get these songs out to the world. The result is an eleven song Americana meets guitar pop collection (all originals except one) that chronicles Bernstein’s life thus far.

The title track is inspired by a b/w photo of his beloved grandparents on Dec 7 1941, just before the infamous Pearl Harbour story broke. Underpinned by beautiful cello (Peter Kibbe) and accompanied by acoustic guitar, Bernstein imagines how they felt then and how the course of so many of their fellow Americans’ lives was about to change at that moment, even though they didn’t yet realise it.

With a voice reminiscent of a young Jay Farrar, Bernstein describes past relationships in California, Deep Dark Night and The Number. For the latter, Lanahan had the inspired idea to bring in another Baltimore local Susan Alcorn, an acclaimed pedal steel player and composer, better known in the jazz and classical realms. She’s also featured on one of the strongest songs, Triple Distilled, wherein Bernstein explores the self delusion of addiction - ‘lost in a reverie, losin’ the fight’,’lubricate the smile machine’. Susan Alcorn’s inspired playing adds to the intense melancholy of the now wiser and sober protagonist. Bottle Me Up also explores the alcoholism but through the frenzy of an electric guitar and drum driven barnstormer, shades of Uncle Tupelo spring to mind. As well as co-production, Lanahan plays electric guitar, bass and keys and contributes backing vocals, while another local Baltimore musician, Adam Koonz, plays drums.

Closing with an affecting version of I’m Sitting on Top of the World, simply performed with just his acoustic guitar, Bernstein leaves us in no doubt that he is now in a better place. Long may it last.

Review by Eilís Boland

Great Peacock Forever Worse Better Self-Release

Nashville based band Great Peacock are made up of three core members. They are vocalist and guitarist Andrew Nelson, Blount Floyd, who also adds guitar and backing vocals, and bass player Frank Keith IV. They’ve toured relentlessly since their debut album MAKING GHOSTS (2013) and their latest album is a reflection on the toils and sacrifices faced by musicians, attempting to survive. The writing is honest and to the point, as they weigh up the collateral damage of relentless touring, against the compelling draw to follow their dreams.

FOREVER WORSE BETTER harks back to days prior to the over-categorisation of music. The album’s psychedelic artwork alone, prior to removing the disc from its sleeve, gives the listener a hint of the direction the music is most likely to take. Track titles such as Rock Of Ages, Old Man and Help Me Lord are further pointers that a musical direction of bygone years awaits the listener.

Their sound is robust, almost bullet proof in its delivery, which is to their collective credit, given a stumbling block they overcame prior to the recording process. Not having a regular drummer in the band is in itself a drawback, but they were dealt a further blow when pre-production drummer Duane Tucks (Hard Working Americans) sustained a back injury two days prior to the recording and had to be replaced at the final hour. Nick Recio was hired to add drums and heavy hitters Sadler Vaden (Jason Isbell & The 400 Unit) and Adam Kurtz (American Aquarium) came onboard to add guitars and pedal steel. The recording took place at Sound Emporium and the album was self-produced.

A keyboard intro kicks off All I Ever Do, the first of nine tracks that have heartland rock written all over them.  The guitar driven Strange Position also impresses, recalling Tom Petty & The Heartbreakers. However, the standout tracks on the album have the band's stamp firmly imbedded on them. The epic closing track Learning to Say Goodbye is a thing of beauty, matched by the title track, which would fit comfortably on any Jason Isbell album, alongside his finest work.

In fact, Great Peacock’s sweet spot lands somewhere between the classic American singer song writing of Jason Isbell and the heartland rock sound of Tom Petty. FOREVER WORSE BETTER may get lazily dropped onto the Americana genre, which would be quite wide of the mark. In simple terms, it’s a classic guitar driven sound definitely worth investigating.

Review by Declan Culliton

Michelle Billingsley Not the Marrying Kind Western Myth 

Growing up in small town Michigan, Michelle Billingsley packed her bags and headed to Los Angeles to seek fame and fortune as an actress.  Her life story mirrors that of hordes of young wannabees, following their dreams, only to quit Los Angeles, bruised and broken by rejection and failed romances.

Rather than allowing the sordid experiences to break her spirit, Billingsley dusted herself down, took stock and planned her next move. Moving to Chicago, where she presently resides, she revisited that period of her life and her younger years, to construct the ten songs that surface on NOT THE MARRYING KIND. The tales within the songs aim for the jugular and more often than not, score a direct hit. They are at times perturbing, seldom polite, more often than not irreverent and frequently amusing. 

The written word across the ten tracks actually reads like poetry. Add Billingsley’s snazzy vocal delivery and the written words come alive.  Sometimes singing and other times talking through the songs, her expressive and fetching drawl relates tales of heartache (Then I Remember), depression (Drink ‘till I’m Pretty), toxic parent issues (Mom Jeans), dysfunctional relationships (When Will You Learn, Gaslighting) and self-deprecation (Portia).

The playing - in the main contributed by producer Matt Brown - reinforces her vocals faultlessly. Touches of banjo, accordion, fiddle, guitar and drums all appear in the right places. If you’re looking for a category for the album, it sits comfortably between folk and country.

Artists such as Billingsley regularly fail to get noticed in an industry overpopulated by samey and ‘music by numbers’ recordings. NOT THE MARRYING KIND goes against the grain and is a breath of fresh air in that regard, bringing to mind another wonderful wordsmith, Minton Sparks.  Billingsley won’t be nominated for a Grammy with this album but she possesses the skill set to shock, bring a tear to your eye and a smile to your face, often all in the same song.

This is art as it should be - natural, thought provoking, jarring and most of all, entertaining. Well worth checking out.

Review by Declan Culliton

Malin Pettersen Wildhorse Die With Your Boots On

Far from an overnight success, Norwegian Malin Pettersen’s career path commenced at an early age. She grew up surrounded by both jazz and country sounds in a music loving household.  Pettersen is a founding member of country crossover band Lucky Lips, whose talents earned them the opportunity to participate in The Eurovision Song Contest in 2013. The band also performed a showcase gig at the legendary Station Inn at AmericanaFest in Nashville two years ago.

Pettersen has been developing a parallel solo career in recent years, releasing her debut solo album REFERENCES Pt.1 in 2018, which earned her a Spellman Award (Norwegian Grammy). However, it was her mini-album ALONESOME, released last year, which introduced her songwriting and exquisite vocals to a wider international audience. That album was skeletal and combined intensely personal songs expressed by Pettersen’s crystal-clear vocal delivery and acoustic guitar.  It was a brave move by an artist with ambitions to establish herself on the Americana and country circuit, but one that proved spectacularly successful.

WILDHORSE finds Pettersen releasing what is most likely to become an album that further establishes her as one of the purest vocalists emerging in that heavily populated Americana genre.  By her own admission, America and its music culture has fascinated her from a young age, so it’s of little surprise that this album references that country with the album title and the tracks California and Arkansas.

The songs travel in a number of directions, from the groovy country soul vibe of Let’s Go Out with its killer guitar breaks, to the laid-back country ballads Holding and Don’t Care. The classy Particles finds Pettersen crooning diva style alongside sweeping pedal steel guitar. Breezy summer sounds are recalled on the cool opening track California (‘California poppies blowing in the wind, the sun is shrinking and I am thinking about the gold’). The mid-tempo Hometown and autobiographical Weightless are heavy on sensibility as Pettersen recalls her childhood and the draw to follow her dreams.

Tapping into contacts she made on trips to Nashville, she returned there to record the album. It features a host of that city’s top players. Pedal steel wizard and member of the Grand Ole Opry house band Eddy Dunlap contributes, as do Ryan A. Keith (Rayland Baxter, Aaron Goodrich, Colter Wall) and Misa Arriaga (Kacey Musgraves, Lillie Mae).

This is a career highlight from an artist whose rising star is well earned. Rather than going for the obvious and delivering a full-on twangy honky tonker, Pettersen has recorded a suite of elegant songs closer in substance to Bobby Gentry than Patsy Cline. It’s a pointer to an artist comfortable in her own skin and who is ignoring predictable trends and once again offering the listener an excursion into her vision of modern country music.

Both engaging and moody, WILDHORSE is country music dressed in dinner jackets and evening dresses, rather than Stetsons and pearl snap button shirts. It’s also another album to add to the best of a year that continues to provide standout music.

Review by Declan Culliton

Dianne Davidson Perigon: Full Circle Self Release

The title of this album references a full circle, an angle of 360-degrees, which is exactly where we find this reclusive artist who has returned from the ‘real world’ of daily living to once more create upon a canvas of dreams once envisaged and today, ready to be embraced and explored. 

Dianne had an early start to life in the music business with a debut album in her teenage years, followed by two more releases in quick succession. Not everybody has a straight-line to success however and a fourth record was pulled when the label went out of business. Momentum halted for a while and Dianne found herself taking touring roles with artists as diverse as Linda Ronstadt, B.B. King, Jimmy Buffet, Tammy Wynette, Tracy Nelson, Barry Manilow and Leon Russell.

During the 1970’s, Dianne felt it necessary to leave the music industry, her first love, and this decision was influenced by her proudly and publicly presenting herself as a lesbian woman.  She suffered the consequences of doors being closed to her and the silence of phones that suddenly stopped ringing. Incredible to think of such prejudice in a society that had grown out of the 60’s with hippie culture, free love and self-expression. It would not happen in today’s more broadly tolerant society where the right to love whomever you wish has become enshrined in our values. Sad to realise that such enlightened perspective was nowhere to be found back then. 

Well the good news is that the lady is back with a vengeance and after three decades away, she sounds like she never missed a day. Her voice is powerful and textured, blessed with different tonal layers and her control is smoothly sophisticated throughout. 

The eleven tracks include nine self-penned songs, plus two covers, the Gretchen Peters song Over Africa, featuring the Maasai Tribal Choir and Bob Dylan's To Make You Feel My Love, slowed down to highlight the reflective words and enhanced with violin, piano and acoustic guitar to compliment the beautifully paced vocal delivery.

Her song, Sounds of The City, originally recorded by Tracy Nelson in 1978 is also included here and the soulful vocal is matched by a great guitar break. Opening song, Just Out Of Reach, is a laid back, soulful blues with rich organ sounds and backing horns that complement the message in wanting someone (or something) that has been missed over the years ‘I have a good life, I am happy safe and strong, But in my heart there is a place where you belong.’

The duet with Ruthie Foster on Subtle Touch is a big sounding, funky blues with another fine guitar break and tinkling piano parts.  The song, Precious Boys, repeats twice over the project, one version being for a film release, as a tribute to those in the gay community who lost their lives to the aids virus. It is a heart-felt paean to lives cut short and the gentle accordion highlights an easy Country sound with some nice guitar twang.

The big soul sound of They All Leave and the message of lovers and their selfish ways, is mirrored by Solitary and the frustrations of a distant love affair with the horn section and full organ sound giving way to some nice sax playing. The last track, Missing You Tonight, looks back at the missed opportunities along the way in the lines ‘Oh the years, passed like scenery from a moving train.’ Cello, violin and acoustic guitar soothing the journey.

This album was co-produced by Davidson & Larry Chaney and recorded at Sun Dog Studio in Nashville, TN. It features a big list of stellar players, all of whom deserve mention. So, in no particular order, take a bow, Larry Chaney (guitars), Leigh Maples (electric bass), Dave Roe (upright bass), Nancy Gardner (drums) and Austin Wireman, Tim McDonald, John Salem (keyboards). Additional musicians are Jim Thistle (percussion), Barry Walsh (accordion), Roger Bissell (trombone), Denis Solee (sax), George Tidwell (trumpet), Gideon John Klein (cello), Donny Reis (viola), Lisa Silver (violin, Marianne Osiel (English horn), Michael Mishaw and Vickie Carrico (background vocals) with special guests Ruthie Foster (vocals) and Mac Gayden (slide guitar) on Subtle Touch.

Dianne Davidson has indeed come full circle and the news that her unreleased album, back in 1974, has now been given an eventual release is positive Karma for the frustrations of the past. This additional album of new songs points the way for the future that will no doubt bring great rewards.

Review by Paul McGee

Hayward Williams Every Colour Blue Self Release

What an appropriate title to this album. Every Colour Blue has a giddy mix of soulful blues, Americana and a little bit of Country mixed in for good measure. Williams plays guitar and has a very expressive vocal with an easy delivery and warm tone. The assembly of musicians is also very impressive and Williams has used the talents of core band, Jeremy Moses Curtis (bass guitar, acoustic guitar), Brooks Milgate (piano, organ, Rhodes and string/ vocal arrangements) and Charlie Koltak (drums and percussion). He was also able to call on Sturgill Simpson's horn section (Brad Walker on saxophone & Jon Ramm on trombone) and guest vocal appearances from Anna Vogelzang, Kimiko Joy, Paige Hargrove and John Hardin.

Coffee and Bourbon is a great opener and sets the mood for the album with an easy, soulful early morning feel.  There is a boogie woogie, honky tonk groove to Run Jackie Run while Oh What You Must Think Of Me and With Some Horses are pure Country soul with fine vocal performances. If You Want Me To Beg is another atmospheric song that highlights the terrific band playing. It feels like Mark Coen got together with Bruce Hornsby for an impromptu session on a quiet night and they each brought a number of seasoned players along for the fun. 

The album was co-produced by Williams and Jeremy Moses Carter with Williams penning eight of the tracks and including four songs written by Jeffrey Foucault, Kris Delmhorst, J. Hardin and John Statz. There are also strings provided by Melissa McGinley (violin) and Laurence Scudder (viola). Kris Delmhorst guests on vocals and cello, with Fades Away having echoes of classic Roy Orbison in the arrangement and melody. Just Like a Man has some great keyboard sounds, superb backing vocals and some searing guitar riffing from Troy Gonyea, who really opens out and let’s fly. If Not For Love is a classy slow soulful groove with a message for our times while closing track Paradise Springs is a true blues arrangement, complete with bar room piano, horn section and impassioned vocal plea not to risk a visit to some imaginary haven. 

Hayward Williams has been releasing music since 2005 and his body of work stands as testament to a fine talent. If heart-felt, soulful tunes are what you seek, then look no further. Excellent in every way.

Review by Paul McGee

I’m Kingfisher The Past Has Begun Self Release

Indeed, the past HAS begun and is with us at all times. This is an album about relationships, both past and present, the need to look for answers within and the urge to seek solace in the external world of daily experiences. What drives memory and where does the sense of leaving something vital behind spring from? Are we predisposed to melancholy from birth, always over-analysing, seeking to rise above the weight of self-criticism?

Performing under the name of I’m Kingfisher, is the very talented Thomas Jonsson and this is the seventh album he has created since his fledgling beginnings back in 2003. The music was recorded in Trunk Studios, Karlstad and was produced, arranged, mixed and engineered by Carl Edlom, who also added his talents on vocals, guitars, bass, synthesizers, piano and percussion.

All thirteen songs are written and sung by Jonsson, who also plays guitar and the sonic palette that colours these tracks is made up of minimalistic, soothing and sad hues. The gentle sway of cello, clarinet, violin and piano accompany acoustic guitar, as this rich tapestry of reflection and yearning spreads out across forty-one minutes of beautiful music.

The lyrics are somewhat obscure, with cryptic imagery and metaphor used in oblique settings that allow guesses, at best, regarding the song content and meanings. In a way this is the perfect mirror to the hypnotic melody and sparse arrangements that wrap everything in a sense of quiet calm. 

Other musicians add their talents to various tracks with Amanda Werne (of Slowgold fame) providing vocals and harmonica on Children's Atom Bomb, Vilma Flood on vocals for Captain, I'm Going Blind and The Plausible Impossible, Josh Gordon (Damien Jurado fame) plays guitar, mellotron and mini-moog parts on Breakthrough at 42, Helena Arlock plays cello on If That's All You Got on Me and The Biggest Blow, which also features Rebecka Hugosson on clarinet, Ola Eliasson on flute with Ella Blixt on vocals for Dirty, Maria Larsson plays violin on both Pocket Soul and Untimely Passion, and Tove Edlom provides vocals on Mess Minus Room.

So, there is much to offer from the varied talents on selected songs, whether providing understated harmonies or parallel melody to compliment the mood of each piece. Johnsson has stated that he is trying to achieve “the balance between wishing you had done more and being happy with what you’ve achieved.” As true in life as it is in the body of these songs. The hushed, at times, falsetto range of Jonsson’s vocals set the perfect tone for relationship songs like Pocket Soul, which speaks about coming to terms with an old relationship (I’m back on my feet, But you should know, the wound didn’t heal right) or Dirty, with a breakdown in feelings and lost passion (Loving you was more about rules than play, Just a flame that got away).

Children’s Atom Bomb seems a very personal diary entry to a chid (You were only a few months old, I couldn’t rest on the road, and I stayed up and made ‘Can’t wait for the future’ for you). The Blues feel of Untimely Passion has a haunting strings part as the risk of unveiling feelings towards another threatens a friendship. The interesting song title, Christ and the Woman Taken in Adultery, again looks back to find meaning in the present (the electricity’s gone and you scare me so much now). 

Again, on And They Say You Can’t Love Two At Once, the past looms with the lines, ‘The freedom of letting go, usually gives me the strength to carry on.’  On Breakthrough At 42, there is the spectre of old wounds ‘So, how come the same decade old mistakes, still haunt my mind from time to time?’ The Biggest Blow senses a love affair changing and the sad realisation that, ‘It’s that little twitch of your eye, the subtle change of tone that is the biggest blow.’

This is a very addictive contemporary Folk/Americana undertaking and will resonate with me for quite a while after my choices for albums of the year has been and gone. It is very highly recommended

Review by Paul McGee

James Lee Baker 100 Summers Self Release

Growing up as part of a conservative and religious family in Amarillo, Texas can leave a lasting influence on a young man. When the time comes to find out your own truth then the new path can be long and winding. However, walking alone is the only way through the maze sometimes and James Lee Baker now finds himself in Denver, Colorado with a new album of eleven songs and a message of acceptance for the past and the bravery to face into the future with optimism.

These are gentle Folk sounds that run very easily across 46 minutes and cover central themes of embracing change and travelling onward. The album was recorded at Blue Rock Studios in Texas and along with securing the talents of producer Chris Bell (The Eagles, Don Henley and Christopher Cross), Baker was able to call upon Doug Pettibone (John Mayer, Jewel, Lucinda Williams), Roscoe Beck (Leonard Cohen, Eric Johnson), Matt Hubbard (Willie Nelson), Joel Guzman (Paul Simon’s Grammy-winning accompanist),Mark Erelli, Shanna in a Dress and Laurie MacAllister, from folk group Red Molly. Quite an impressive list.

The title track bookends the project, a song about the simple pleasures, enjoying each day and having the self-belief to accept yourself, warts and all. Santa Barbara and Misinterpreting the Angels are two songs about relationships; the former dealing with a new life in a new city and looking for the gold in the opportunities, the latter concerns self-discovery through a romance that was doomed to fail from the start.

Returning To Paris is one of the strongest songs and considers the fate of a couple after the fire has gone out and their return to the city where they first found young love and passion. Another highlight is The Last Cowboy in Hutchinson County, a fitting tribute to the relationship between a father and a son, one an ageing rancher, being squeezed out by new ways in the name of progress and the other now a machine worker, embracing the new found industrialisation and rearing his own family. Both songs are beautifully written and sadly poignant.

18-Wheeler is a very clever lyric that counts back from 18 to 1 in looking at road signs and symbols that define the life of a long-distance trucker, now wanting to slow it all down and just come home. Conversely, Wipe the Dust Off Your Bellows speaks of two old musicians wanting to get the band back together to revisit old times and tunes.

Breaking Through the Sunbeams tells of an individual who enlists in order to fight in Iraq and avenge the memories of colleagues and friends lost in 9-11. The futility of war. A New Man’s World looks at ageing and feeling isolated by the changes in today’s world that are fuelled by technological advances (‘Now I can’t follow the new slang, Or even keep up with my phone, Technology connects us all together, but we’re more alone’). 

If Eve Hadn’t Eaten the Apple is for female equality and the right to be recognised as equals while Leave the Saving Souls for Later is a nod to those of faith who selflessly try to spread the good word among their communities – a look back at the origins from where Baker was raised.

This is a richly varied album with plenty to engage the listener. Baker is a fine singer and can hold his own as a guitarist among the elite company who join him on this album. Worthy of you time and deserving of a place in your collection.

Review by Paul McGee

New Album Reviews

Annie Dressner Coffee At the Corner Bar Self Release

This talented artist delivers her third full length album, having first appeared in 2011 when based in her native New York city. Now relocated to Cambridge, England, Dressner calls upon her husband, singer-songwriter Paul Godwin to produce the latest project and a very fine job he does too. 

The gentle melodies of these eleven songs wrap around the listener and settle in for a sweet jaunt along quiet roads on a sunny afternoon. There is a great cover version of the Magnetic Fields song, The Book Of Love, and Matthew Caws of Nada Surf is credited with a co-write on Midnight Bus, a highlight with his co-vocal catching the attention. Nyack is a song about childhood memories and first love while Beyond the Leaves speaks of a distant crush on someone that was not available and never to know of the unrequited love. ‘You never really saw my face beyond the leaves, And I just wanted to leave a trace of what you mean to me.’

Secrets,Tell Me Lies is a soft acoustic based arrangement that asks for stark reality to be kept away from the dream ‘Just say when you want to stop from this pretend life.’ Spotlight looks at the price of stardom and media attention and asks ‘What’s it like living life in a bubble.’  Look What You’re Doing To Us is a relationship song that asks the hard questions about a life in freefall ‘Except nothing is worse than when I found her lying there breathless.’ Game up! 

The easy build of Out In the Cold is another impressive song that deals with inner strength and bouncing back ‘You can huff, you can puff, but you can’t blow me down.’ Final song, Losing You, has a fine harmony vocal from Polly Paulusma who plays with Dressner in their Pollyanna Band. Paul Goodwin contributes on guitar, piano, organ, synth, bass, harmonium, mandolin, harmonica and various percussion and programming addition – a handy person to call on as your other half!

An artist with many gifts to share and these twelve songs are ample proof that Annie Dressner is heading in the right direction.

Review by Paul McGee

Layla Kaylif Lovers Don’t Meet Canopus

This singer-songwriter first appeared back in 1999 with the release of her debut album. A further release arrived in 2008, but the momentum of a career in music seemed to disappear into other projects, culminating in 2015 with the release of the film, The Letter Writer, for which she won an award for her scriptwriting.

This return to music sees Layla release a 7-song album that runs for 21 minutes and contains lots of positives. The circle is completed by the inclusion of the theme song from her film, The Letter Writer, a song titled Let Me Count the Ways, which was itself adapted from the sonnet “How Do I Love Thee?” composed by Elizabeth Barrett Browning. 

There are also nods in the direction of Syrian writer Nizar Qabbanito with the song As I Am and 13th Century poet, Rumi, on the title track and also, 99, a song about reaching out and embracing love. Her vocal is clear and confident in delivery and the assembled band of Nashville musicians are very in tune with the easy melodies that wrap around these songs. 

The keyboards of Reed Pitman are always creative within the song arrangements, with the gentle bass of Cornelius Perry and the subtle drumming of Matt Iceman adding plenty of diversity. Guitarist Ben Owens plays with a restrained dynamism throughout and Layla adds guitar, in support of these fine studio musicians, who were assembled by producer Jason Hall. 

Don’t You Know Me Yet? and As I Am, are two tracks that ask questions about relationships and whether it’s possible to be vulnerable with a lover and also feel comfortable. The challenges that underpin all communications continue to fuel the fires of loving and trusting. An enjoyable listen.

Review by Paul McGee

Michael Johnathon Legacy Poet Man

This artist is a real tour-de-force with many strings to his impressive array of instruments. Not only a Folk singer-songwriter who came into the industry with the guidance of Pete Seeger; he is also a producer, author and playwright. This is his fifteenth release in a successful career that has spanned four decades and covered a wide range of projects along the way. He also hosts a radio show, the Wood Songs Old-Time Radio Hour, a folk/roots/Americana multi-media program. 

This release has ten songs that include four covers – Bob Dylan (Knocking On Heaven’s Door and Like a Rolling Stone); Woody Guthrie (Woody’s Poem) and a fine rendition of the Irving Berlin classic, Blue Skies. The title track is a walk through the music legacy that many greats have created and there are references for Don McLean, Arlo Guthrie, Harry Chapin and The Kingston Trio, among others. Johnathon has said “Legacy is a tribute and celebration of all artists, We are in an odd time in America and a strange time in music. Everyone is struggling to find their audience, and it’s getting harder.”  Well, nobody can argue with that sentiment which has been made all the more stark by the Covid-19 virus.

Loyalty is a song about undying love to another and The Twinkle Song is a ditty about escaping the grip of an overpowering presence that brings nothing but negative feelings.   Winter Rose and Rain are two songs that focus on acoustic arrangements and messages of reflection and seasons changing, mood pieces that mirror the nature of change. There is a string quartet on Rain that lifts the melody and The Coin is a metaphor for daily living, a song about reflecting back on lives lived and the wealth of knowledge that builds from experience. 

Johnathon has a fine voice and he arranged, produced and wrote this entire project. An impressive talent and an album to enjoy.

Review by Paul McGee

Cliff Howard Egos & Heartaches Self Release

This UK artist, originally from London and now living in North Wales, releases a 5-Track EP that follows on from his debut, SPIRITUAL TOWN, which appeared back in 2016. Howard has played in a number of bands over the years before returning to his roots and this acoustic based Americana project is both gentle and understated in the performance and the writing. Howard is an accomplished guitar player and all the songs sit nicely into a quiet groove, from the opening, Maybe It’s Just Me, with some nice pedal steel from Gwyndaf Williams.

It continues in the same vein with Life Ain’t What It Used To Be and more tasty pedal steel, subtle cello from Toumai Rouse, along with the fine vocals of Stacey McNeill. Vintage Red is an instrumental track with lots of excellent playing and a tex-mex twist in the arrangement. Going Home has a sweet melody and the presence of friend and fellow musical collaborator Jonathan Swift (guitar, keyboard) adds a rounded sound to the songs. The final track, Dreams Of You, is another excellent song and overall, this is a worthwhile project that deserves investigation.

Review by Paul McGee

Bonnie Whitmore Last Will And Testament Aviatrix 

Even if Bonnie Whitmore is a new name to you, there’s every likelihood that you’ve heard her vocals and bass playing previously. Over the past twenty years or so, she has played with a host of acts including Sunny Sweeney, Jimmie Dale Gilmore, Butch Hancock, Hayes Carll, Eliza Gilkyson and John Moreland. She is James McMurtry’s first call as a support act when he’s planning a tour and she has also held a weekly residency at the legendary Continental Club in Austin, where she currently resides.

Whitmore was steeped in music traditions from an early age. She played and toured in a band with her parents at a young age, alongside her sister Eleanor, who is one half of the husband and wife duo, The Mastersons.

Given the company she has kept over the years, you’d be forgiven for expecting a regular country/roots album from Whitmore. LAST WILL AND TESTAMENT is certainly more than that and genre hops across a number of categories from driving rock (Last Will and Testament, Asked For It), sultry ballads (None Of My Business), classic country  (Fine), melodic pop (Time To Shoot), dreamy psychedelics (Imaginary), retro rhythm and blues (Love Worth Remembering) and cool jazz (George’s Lullaby). Serving up such a mixed bag could spell disaster but, on the contrary, Whitmore succeeds with flying colours, primarily due to her ability to use her quite stunning vocals fluently across all the categories.

The songs are divided between personal and topical. She addresses suicide on the title track, which was written following the loss of yet another musician and Asking For It considers rape culture. Fine, a co-write with Jaimee Harris, visits romantic affairs and the closer George’s Lullaby was written in remembrance of her close friend and bass player, recently deceased.

Whitmore released her debut album F##K WITH SAD GIRLS in 2016, making a statement that she shoots from the hip. That attitude is maintained on this album that shifts effortlessly between musical modes and styles.

Review by Declan Culliton

Jarrod Dickenson Under a Texas Sky Self-Release

Texan Jarrod Dickenson is a much-travelled singer songwriter. Raised in Waco, Texas, he moved to Austin at the age of 20 to study at The University of Texas. A relatively late comer to playing music, he only started playing guitar at the age of 18. Over the next few years, the music scene in Austin gave him the opportunity to play local bars and coffee shops, alongside his regular job. It also earned him the skillset to learn on his feet as a performer and writer. He recorded his debut album ASHES ON THE GROUND while living in Austin, before the draw to hit the road and try to carve out a living as a professional musician became irresistible.

He initially headed for the West Coast, self-managing and booking a full schedule of shows, most of which by his own admission, were sparsely attended at best. Despite losing a lot of money and gaining few fans, the experience was an eye opener for Dickenson and rather than breaking his spirit actually motivated him to continue as a touring artist.

Since then and with a different game plan, he’s toured over fifteen countries, lived in New York and Los Angeles and recorded his second album THE LONESOME TRAVELER. His trips to Europe lead to an invitation to perform at a songwriter’s festival in Belfast, where he met his wife to be Claire Ward, who now regularly shares stages with her husband and appears on this album as a member of The Ward Sisters.  

UNDER A TEXAS SKY is an album that celebrates some of the finest Texan musicians and is released only months after Dickenson’s last studio recording READY THE HORSES. He selected five artists to honour and chose lesser known songs recorded by them to feature on the mini album.

The songs seldom stray too far from the original versions and represent R&B (Esther Phillips), Rock’n’roll (Roy Orbison), Country (Willie Nelson & Ray Charles), Americana (Doug Sahm) and Singer Songwriter (Guy Clark). Recorded at Spirit Radio in Nashville, Dickenson was joined in the studio by JP Ruggieri on guitars and pedal steel, Stephanie Jean on Wurlitzer, Ted Pecchio on Bass, Josh Hunt on Drums, Michael Bellar on Hammond Organ and Johnny Duke on Cabasa. Backing vocals are provided most impressively by the Ward Sisters.

 A country singing child prodigy, Doug Sahm may be the least celebrated artist to be covered, but he was an early pioneer of what is now classified as Americana. He is best remembered for his bands The Sir Douglas Quartet and The Texas Tornados. I’m Glad For Your Sake (But Sorry For Mine) is part blues, part country and part rock and roll. Dickenson and his team give it a similar treatment to the original version from The Sir Douglas Quartet, awash with do wop and soulful, backing vocals. Similarly, Esther Phillips may not be the first name to spring to mind when considering the music of Texas. Try Me, the 1966 single released by the powerhouse rhythm and blues singer, was the most challenging selection for Dickenson. Replicating the dynamic vocals of Phillips is no easy task, but Dickenson, with the support of The Ward Sisters, does the song justice. 

Roy Orbison is remembered by a reworking of his 1961 rocking single Uptown. Lone Star living legend Willie Nelson’s representation comes by way of Seven Spanish Angels, his duet with Ray Charles, taken from the latter’s 1984 album FRIENDSHIP. Dickenson takes the lead vocal with The Ward Sisters performing the lines delivered by Charles on the original recording.  Not surprisingly the music of Guy Clark is included on the album, he was the first artist selected by Dickenson to include. One of the most talented songwriters from Texas and hugely revered by his peers, Dickenson comes up trumps with his version of the gentle ballad Dublin Blues, a song often included by Dickenson and his wife is his live sets. 

The album is sub-titled ‘A Celebration of The Many Stars from the Lone Star State’ and it may possibly be a theme that Dickenson revisits going forward. In the meantime, it’s a memento to five legendary figures in the history of Texan music and a most enjoyable listen as well.

Review by Declan Culliton

Ted Russell Kamp Down In The Den PO Mo

Multi-instrumentalist Ted Russell Kamp’s musical calling over the past twenty-five years has included releasing over a dozen solo albums, guesting on numerous recordings and a key member of Shooter Jennings band the .357’s, both in the studio and on the road.

His solo output has been consistent and often harks back to the classic early 1970’s sounds of bands like Little Feat and Leon Russell. The cover of DOWN IN THE DEN also has that retro look about it, the image of bearded Kemp with thick shoulder length hair is a throwback to an era when the industry was vibrant and artists like Kamp had little difficulty securing record deals.

This album’s title makes reference to his home recording studio The Den in L.A. and Kamp’s stature in the industry is endorsed by the considerable number of guests that joined him on this album. Shooter Jennings, Emily Zuzik, Sarah Gayle Meech, Brian Whelan and Eric Haywood are just a few of the thirty plus artists that lent a hand to the recording. Despite the multitude of players, the album flows freely in a similar style to his 2019 album WALKIN’ SHOES. It also provides the listener with an assortment of southern soul, blues, country and a dusting of Dixieland.

Taking into account those shifting styles, the album never sounds disjointed across the fourteen tracks. Home Sweet Hollywood is a catchy as hell multi layered delight that recalls The Band, with keys, horns and slick guitar breaks combining. Hobo Nickel and Waste A Little Time With Me offer a jazzy New Orleans vibe. The sweeping country ballad Take My Song With You finds him trading vocals with Kirsten Proffit and Sarah Gayle Meech adds harmony on the soulful Word For Word.

Kamp is an artist that seldom attempts to reinvent himself, instead sticking to the template that works for him.  He’s done exactly that with DOWN IN THE DEN once more, with flying colours.

Review by Declan Culliton

Sean Burns & Lost Country We Gotta Lotta Truckin’ To Do Stringbreakin’

He may not be in the possession of a Class 1 Driver Licence but Winnipeg country artist Sean Burns can empathise with the many truckers that continue to negotiate the highways in their commercial vehicles for a hard-earned living. Truck driving country, is a musical sub-genre in its own right and has its origins going back to the early 1960’s, when artist such as Red Simpson and Dave Dudley started penning truck driving related songs. The topics covered the full range of trials and tribulations common to the occupation, including CB radio, truck stops, law enforcement, contraband and weather reports. The music was intended to be company for the long-haul truckers but the perspectives contained in many of the recordings were also a reflection on every day struggles.

Burns and his band follow on from their impressive 2018 recording Music For Taverns, Bars and Honky Tonks. Grant Siemens (guitars), Bern Thiessen (bass), Joanna Miller (drums, vocals) form part of the band once more and are joined by Ryan ‘Skinny’ Dyck (pedal steel) and Marc Arnould (keys). The vocals and acoustic guitar are played by Burns and the recording was completed in three days at The High and Lonesome Club in Winnipeg. Burns has also recorded a number of solo albums, the latest IT TAKES LUCK TO GET THE BEST OF ME, arriving only a few months back.

WE GOTTA LOTTA TRUCKIN’ TO DO includes twelve well-chosen signature truckin’ songs and one original written by Burns. High octane tracks such as Six Days On The Road and Freightliner Fever are country flavoured rockabilly, closer to the Bakersfield than Nashville sound. The Jerry Chestnut & Mike Hoyer classic Looking at The World Through a Windshield gets a similar upbeat reworking and the loneliness and isolation of the occupation surface on the Buck Owens/ Red Simpson composition My Baby’s Waiting. The Carroll County Accident, written by Bob Ferguson and recorded by Port Wagoner, though not a trucking song, is a reminder of the perils of the road.

Fiercely devoted to vintage country music, Burns continues to remodel previously recorded songs and also write his own material.  In a similar vein to the last album with his band, WE GOTTA LOTTA TRUCKIN’TO DO is no frills, fun filled country music, that impresses from start to finish.

Review by Declan Culliton

Fretland Self-titled Self Release

Hailing from Snohomish in Washington, Fretland are a four-piece indie folk band. Fronted by founding member Hillary Grace Fretland, their debut self-titled album offers eleven tracks that showcase the band’s ability both vocally and musically.

Credited in American Songwriter as a band to watch out for in 2020, they released the debut single Long Haul in November 2019, with a supporting video. A benchmark to their core sound would be The Decemberists or The Lone Bellow, a worthy comparison on the basis of the sound that they capture on the album.  Hillary’s vocals are striking and work particularly well when harmonising with the other band members. Those other members are Jake Haber, Luke Francis and Kenny Bates.

There’s a cohesiveness and no end of emotion delivered on the eleven tracks on the album. Tracks such as Friendly Fire, Hands and the previously mentioned Long Haul are rampant and energetic, each possessing a lively back beat. They’re equally at home with more chilled ballads and Garden, the countrified Black & Gold and Heaven all impress.

Kicking in at over fifty minutes the material finds Fretland trying to make sense of the world she currently resides in and also looking over her shoulder at her life journey to date. She and her bandmates have created a cohesive and brooding sound that is both easy on the ear and extremely melodic. It’s also a very much radio friendly sound, which with any luck should propel them to the next level in an increasingly crowded industry

Review by Declan Culliton

New Album Reviews

The Desert Bandits Self-titled Self Release

This is a debut EP from a band who define their sound as Trans-Atlantic Americana. The five songs featured are really engaging and the ensemble includes Greg Kelso (guitars, mandolin, piano, keys, bass, backing vocals), Jim Russell (vocals), George Falconer (drums) and Stewart Logan (pedal steel). At a Cinema Near You is excellent, with pedal steel and mandolin adding to the predominant fiddle playing in an up-tempo arrangement. Love Shines Through laments hard times in a relationship where things are winding down, the pedal steel weeping through the slow melody.

The music project was born in Scotland with Greg Kelso and Jim Russell, a song-writing partnership in Stirling, who called upon George Falconer to add his drumming talents. The pedal steel, which is a highlight throughout, was supplied by Stewart Logan from Louisiana. When he’s not making music, Stewart runs a business enterprise that provides top name entertainment booking and event production services, something that has been a passion for a number of years now. 

The sound is very much old school country and the five tracks go by in fifteen short minutes on a very pleasing breeze of fine melody and understated playing. The Wrong Man is a slow, bluesy number that laments a lost opportunity while Wave Goodbye is another slow tempo with restrained interplay among the musicians and a hope to endure beyond a current relationship.

The Boy I Used To Be is another sorry tale of time changing a relationship and the hope that the past can reinvent itself into the future. It has a more commercial sound and the instrumentation sparkles with electric guitar, mandolin and pedal steel all blending well together. The band invited Gram Rea to contribute and he appears on two songs, his fiddle playing enhancing and expanding the sound, while Mike Munro added backing vocals. The whole project was certainly worth the long-distance collaboration and the logistics involved. 

On a sad note, I learned that Jim Russell passed away earlier this year, leaving behind these songs as a legacy to his life in music and his involvement right up to the time of his death. If there are other songs featuring Jim’s fine vocals then I’m sure they will surface on future releases but for now the band will carry on in his honour.

Review by Paul McGee

Mike West The Next Life Self Release

Country music is alive and well in the hands of this talented singer songwriter from Rock Ferry in the Wirral peninsula in England. An experienced musician who played in different bands, West began his solo musical journey in 2016 with the release of a live recording that would eventually turn into his debut EP, RUSTED, a year later. 

There have been three further EP’s along the way but with the release of this album, Mike West has come full circle. This is acoustic based Country Blues of the highest standard and the great passion and restrained power in the vocals display an earnest desire to communicate on all levels with the listener. West is also an accomplished guitar player, in addition to his skills with harmonica and bass parts. His strong musicality is augmented by Travis Egnor (pedal steel, slide guitar) and Amy Chalmers (violin).

Recording took place at Kingwood Studios in Liverpool and these nine songs display an impressive understanding of the dynamic involved in balancing authentic expression with emotions against an anguished yearning and hopes of respite from the pain of living.  

There is a live feel to these tracks and a sense of the recordings being the result of an on-the-floor session. Paul Miceli-Fagrell was the guiding hand with recording and mixing, in addition to providing harmonica, with the overall result yielding a very positive listening experience.

Songs like What If, Company I Keep, No Grave and The Next Life have an urgency and tension in the delivery, while Away I Go and For Them are played with more restraint in delivery but not in passion. The ensemble playing is a joy throughout with gentle violin playing above the pedal steel/lap steel that intersperses with guitar and harmonica to great effect.

Also a writer of comics, short stories and flash fiction, interestingly, West allows his music to be fully sampled on his website https://mike333west.com/music  generously giving the option to also purchase, which is something you should do without hesitation.

Review by Paul McGee

The Brothers Landau Haven’t Got A Name Self Release

David Landau (cello, vocals) and Daniel Landau (guitar, vocals, baritone guitar, dobro, banjo, ukulele, percussion, clarinet, keyboards) are the siblings involved in this 5-song project. Joining them in the studio is Kevin Milner (pedal steel), with recording taking place at Precarious Rock Studios in Los Angeles, CA.

On the promotional sheets this EP is described as “an introspective look into what it means to exist and how to coax negative emotions into a more inspiring self-reflection.” It all sounds very deep and self-absorbed.

Opening with the title track, a dreamy melody carried along by cello, acoustic guitar and pedal steel that echoes into the distance, the easy melody is carried along with hushed vocals. Second song, Steady Joy, is a combination of acoustic guitar, dobro, banjo and woodwind instruments blended into another gentle melody, topped off with cello and all very easy on the senses. A Way Down follows with sweetly soft vocal harmonies, haunting cello, acoustic guitar and a restful, restrained mood. 

Departing from the reverie and taking things in a different direction is A Major Jerk, someone who thinks that life is one big movie screen on which to create whatever is the current whim, “I don’t flush the public toilet, And I damn sure don’t wash my hands, Can’t seem to find out how to use a trash can.” Don’t think this guy will survive too well in the post-Covid world.

Monday shows a disgruntled individual who is trying to make sense of his life, “I got out of bed again, to feed the great algorithm, to make myself have a sense that I am doing something good with my life.” These are Interesting songs, well arranged and performed with great confidence and feeling. 

Review by Paul McGee

The Mammals Nonet Humble Abode

Ruth Ungar couldn’t have foreseen the current pandemic when she was writing Coming Down Off Summer, the opening song on her band’s latest album. A successful folk/Americana band of 18 years (give or take) and veterans of many tours and festivals, founding member Ungar (fiddle/guitar/uke) explores the mixed feelings probably felt by many artists when the busy summer season is ending - ‘sayin hi to the neighbours, tellin em we’ll be around for at least a while ... what would we do if time stood still in the mornin light? Well, it never will’. But, of course, it did. 

Along with her husband and the other founding member, Mike Merenda, they gathered with seven other musicians (hence the album name, referring to a group of nine) in a studio in their native Hudson Valley, NY last winter to record what has turned out to be a stunning collection of songs. Both are strong songwriters, multi instrumentalists and take turns in lead vocals. Neither shy away from wearing their credentials on their sleeves - they are devastated at ongoing environmental destruction, are sociopolitically aware and not in favour of war. Never fear though - they have somehow managed to create a work of uplifting positivity. 

Blessed with a beautiful voice, Ruth sings lead on If You Could Hear Me Now, a Dylanesque plea to save the planet, accompanied by Charlie Rose’s barely-there pedal steel and Mike’s acoustic guitar picking. Overall, though, there’s  a very West Coast folk rock feel to most of the arrangements - layers and layers of pedal steel, Hammond organ (Will Bryant) and mostly acoustic guitars, anchored by the twin drums of Lee Falco and Konrad Meissner. Merenda’s What It All Is, despite its deceptively gentle musical touch is actually a plea for peace and healing. ‘Still I got a friend buried in Arlington, I guess you got one of em, too? Who died fighting in a war, we’re still not sure what for, maybe oil’ is chilling stuff.

Ruth explores racism in the banjo-led, Cajun and soul influenced Someone’s Hurting. And did I mention the beautiful packaging and lyrics book designed by Carly James and the bonus 5 extra session tracks, which is perhaps a nod to their old time/bluegrass earlier work? 

Mike invites all their road weary friends to drop in for rest and recuperation in You Can Come To My House - anyone know the address?!

Review by Eilís Boland

Alecia Nugent The Old Side Of Town Hillbilly Goddess

Best known as a lauded bluegrass singer Nugent, a Louisiana native, has made a return for this album to the more traditional side of country music. Her HILLBILLY GODDESS release on Rounder in 2009 was the last release that focused entirely on that sound. It was produced by her friend Carl Jackson and proved she was a country singer who could stand with the best of them. Now some eleven years later she has a brand new country album and one that places her easily alongside the best of the new upcoming breed of female country singers. This time out she has worked with another like-minded producer in Keith Stegall, best know perhaps for his work with Alan Jackson. The album gathers together a bunch of musicians who were regular names on many of the albums in the 90s - including Brent Mason, Stuart Duncan, Paul Franklin and Rob Ickes - all craftsmen who continue to work in the studio but whose names don’t often appear in the credits of the current mainstream album releases.

This album is released by Hillbilly Goddess Music, Nugent’s own imprint which allows her the freedom to record and sing these songs in a way she feels comfortable with. The songs deal with themes of love and loss in a variety of situations, including sweet reminisces of her father on the co-write with Jackson They Don’t Make ‘Em Like My Daddy Anymore. This song is obviously close to heart and appears also in a bonus bluegrass version on the album. Indeed, elements of that form appear elsewhere in the arrangements alongside the upfront use of fiddle, steel and guitar twang. The title track (written by Tom T Hall) is a call to return to some older values and locations while the more uptempo Too Bad You’re No Good looks at a unsuitable potential partner. Yet it is on the slower ballads like Sad Song that her voice excels with emotion and honesty, a voice that is as suited to this setting as it is to any other.

Nugent is a strong writer who has had a hand in writing five of the nine songs here and who has also chosen to sing some pertinent songs from the pens of such emerging stalwarts as Erin Enderlin (I Might Have One Too Many) and Brandy Clark (The Other Woman - where she goes from being that to being the one facing the other woman). Nugent grew up listening to country music and bluegrass and it is so steeped in her nature that she could really have no other path musically. That she is back making such strong music in the wake of a divorce and the passing of her father highlights the reality of the songs and how they are delivered. She acknowledges Reba McEntire and Merle Haggard as major influences and both I think would recognise her achievement here.

Review by Stephen Rapid 

Scott Southworth These Old Bones Flaming Tortuga

A singer-songwriter whose heart and soul is deeply rooted in the honky-tonk. From the first song that mentions steel guitars, broken hearts and Merle Haggard (Steel Guitars & Broken Hearts) you have no doubt as to where his and your affections lie. The title track, while recognising the passage of time, allows that there is life in the old dog yet. Southworth has Buddy Hyatt in the producer’s chair and he gathers a set of players who are conversant with what is required to deliver a top-notch album. There are a variety of names involved which indicates that the album was recorded in a number of different sessions, but under keyboard player Hyatt’s guidance it is consistent on every level.

The writing is all down to Southworth solo or with a number of like-minded co-writers but the essence is pure country, as one would expect from a performer with his track record. He is Nashville-based but leans well away from the mainstream and has many nominations for his work including the Academy of Western Artists Pure Country Album Of The Year and his THE LAST HONKY-TONK IN TOWN was included in UK publication Country Music People’s Top 25 Albums Of The Decade. So there is no disputing his credentials, all of which are revealed in the music he performs onstage and in the studio. Recording in Nashville he has easily absorbed the spirit of Lower Broadway and Ernest Tubb's Record Store. Think of him in the same light as you would Mark Chestnutt in his heyday.

Southworth is equally at home with a duet as witness on Argee To Disagree, one of those back and forth songs that swops insult and affection equally with Jill Kinsey, whose Dolly-esque vocal is the match of Sourtworth’s playful baritone. Maybe he is coming out of this at a time when he is an independent artist on the fringes rather than the major label artist he would most likely have been some decades ago. That however does not diminish that he knows how to deliver a hard-core stone cold country song as he does here, especially with Less To Break, a song that is packed with emotion and a clear album highlight. There is humour alongside the heartbreak that makes you want to share THESE OLD BONES as much as a cure for that condition as any kind of warning.

Review by Stephen Rapid

Victoria Bailey Jesus, Red Wine & Patsy Cline Rock Ridge 

Name checking Patsy Cline on an album is a brave move, but to Californian country singer songwriter Victoria Bailey’s credit, she certainly comes up trumps with this hugely impressive album. It follows her 2014 release DREAMER which was credited to the Victoria Bailey Band. Her debut solo full-length album JESUS, RED WINE & PATSY CLINE offers a free and easy style that combines all the key components of old school country music. Bailey’s soprano vocals are crystalline with the perfect splash of twang and are matched by cracking playing throughout the nine tracks on the album, eight of which are written by her.

She also made all the right moves putting the album together. The ‘go to’ man in California for all things jangle and twang, Jeremy Long, was brought on board to produce the album. Long has worked with Michella Anne, Sam Outlaw, Jason Hawk Harris and Alice Wallace in recent years and his production and indeed his pedal steel playing on the album are top notch. Lead guitar is provided courtesy of Eric Roebuck, Billy Mohler plays bass, drums are by Ian Foreman and Philip Glenn adds fiddle and mandolin. 

Bailey puts her cards on the table from the work go with the opener Honky Tonk Woman, which was the first song written by her for the album (‘I wanna be a Honky Tonk Woman, I want to write those barn burning songs, I want to feel those pedal steel strings pulling on my heart strings’). Her vocals dip and soar sweetly on the song as she stretches each syllable with gusto. She’s gifted with a voice that’s simply the idyllic channel for classic country and she can also write and compose material that complements those vocals.

The rip-roaring Skid Row recalls a hallowed honky tonk bar in Los Angeles. Bailey name checks Merle Haggard, Buck Owens and Dwight Yoakam on the song which replicates the Bakersfield sound solidly (‘And all this time you thought you had to be from the South, to get a little respect for the old country sound’). Tennessee, written by Johnny Cash, gets an impressive and swinging remodelling, complete with a spoken verse. She returns to the country sounds of Bakersfield rather than Music Row with Spent My Dime on White Wine, Homegrown Roots, Outlaws and The Beginning, which are songs that define Bailey’s ability to reshape retro country music yet apply her own individual stamp.

Listening to the album I’m also reminded of the similarly talented Zoe Muth, who released a series of equally impressive albums, with similar sentiments, but has been taking a break from recording in recent years. Victoria Bailey, like Muth, has mastered the skill of writing deeply melodic songs and singing them with flair and self-assurance.

Bailey is a member of a collection of younger artists that may very well, going forward, become veterans of the resurging classic country scene. The Bakersfield sound runs deep in the grooves of JESUS, RED WINE & PATSY CLINE which, for me, is one of the year’s most impressive and dazzling country albums.

P.S. To pass on her passion for traditional music, Bailey founded the Little Folk Club in 2016, to introduce children in her community to both singing and instrumentation. She has hosted regular early morning sessions in schools, parks and birthday parties and more recently streamed events for children. She also released a children’s album LITTLE FOLK CLUB: SONGS FOR CHILDREN in 2019.

Review by Declan Culliton

Mike McClure Looking Up Self-Release

Oklahoma singer songwriter Mike McClure can boast nine previous albums, two decades touring and production credits for numerous acts including Turnpike Troubadours, Jason Boland & The Stragglers and Whiskey Myers. However, it has been anything but plain sailing for him and LOOKING UP is very much a reflection on an industry that poses untold survival challenges, both mentally and physically, on its membership.

This new album reflects on McClure’s lifestyle changes and awakening over the past few years, which has resulted in sobriety, healing and renewed self-esteem. Given its thread, one could expect a self-indulgent and downbeat late-night listen. Instead what’s on offer is a full on, upbeat album brimming with positivity and defiance.

He co-produced the album at his house in Ada, Oklahoma, with his partner Chrislyn Lawrence, who also adds backing vocals on a number of tracks. He sets his stall out in fine style on the feisty I’m Not Broken, welcoming his re-birth (‘I got a little bit burned out but I’m still smoking, yeah I mighta got bent up as the days got spent up, but I am not broken’). Become Someday and album closer Sword and Saddle come across like mid-90’s Steve Earle both in McClure’s vocal delivery and the musical energy that matches it. The powerful Holiday Blown presents a war veteran, unable to function when he returns to normal life and his subsequent addiction. The song came about by way of McClure’s recollection of his grandfather’s return from WW2 and his alcohol dependency, which in hindsight resulted from post-traumatic stress disorder, a condition that would have been unrecognised in those times. The track also is a reflection on holidays that went by the wayside due to McClure’s own alcohol issues. The albums tour de force is Orion, a representation of darkness and light, relapse and recovery. It’s a strikingly evocative song with a nod in the direction of Tom Petty.

LOOKING UP finds McClure ridding himself of insecurities and fright and starting a new life with renewed energy and confidence. It’s the beginning of what hopefully will be a happy ending in his life journey and also a compelling listen that you’re well advised to check out.

Review by Declan Culliton

The Northern Belle We Wither, We Bloom Die With Your Boots On

An addition to the burgeoning Nordicana music scene, WE WITHER, WE BLOOM is the third release from this seven-piece band, fronted by singer songwriter Stine Andreassen, who also plays with the folk band Silver Lining. It’s their first album to be released on the international market, influenced no doubt by their 2018 recording BLINDING BLUE MOON having received a Spellemann nomination (Norwegian Grammy). Andreassen relocated to Nashville for three months to immerse herself in the flourishing Americana scene there and to write the material for the album.

Nine of the twelve songs on the album were written by Andreassen, the three remaining being co-writes with non-band members Henry Brill and Josh Rennie - Hynes. The band's sound veers more towards the pop and folk tinged end of the Nordicana musical spectrum, rather than country or roots. The twelve tracks that are on offer here draw on a wide range of musical instrumentation including a string quartet, pedal steel, guitar and the Norweigan Hardanger fiddle, alongside the more traditional instruments. They also benefit from some well-constructed vocal harmonies on many of the tracks.

The arrangements are intricate and the hooks come hard and fast on Gemini, Remember It and Late Bloomer, all of which are radio friendly and slick. They’re equally at home with gentler ballads, Lonely and Love Of Mine are both delicate and free flowing. The acoustic title track bookends the album - at under a minute it’s a statement of hope and rebirth to close an impressive listen from start to finish.

Review by Declan Culliton

New Album Reviews

Our Man In The Field The Company Of Strangers Rocksnob

The plaintive voice and gliding pedal steel that grace this album would not immediately lead one to think that it was recorded live in London. This whole album is an enticing listen that reveals more with each play of its eleven original songs. There is a similarity with albums I have admired recently by artists like Ben De La Cour, although the current media comparison seems to be with Ray LaMontange among others - a comparison that is understandable in terms of a vocal likeness, although each has their own overall soulful, understated delivery. The album was produced by Jim Wallis and recorded in the live room at The Rattle in London (a venue that is a musician’s collective). Recording it in this way gives it a certain spontaneity that works well. There is little additional further information with the review copy other than to identify the origin of the lucid pedal steel playing as being from Henry Senior. The rhythm section and keyboard contributions also play their part in the album’s overall identity and sound.

It is not always easy to access these poetic songs other than to ascertain that they are about relationships and reflections. There is a detailed explanation of one song, If I Ever Was (the recent single), on the website. It relates the tale of how Boris Johnston’s closing of twelve London fire stations affected the crews who had worked within, how one crew was forced to leave out of uniform by the back door, and the negative effect this has had on their psyches. Closure is not just about the physical building but also about the attitude that it evokes in part. I’m sure all the material has a similar thoughtful genesis, although it is not necessary to have that depth of background to appreciate the writing and the songs.

Our Man In The Field is in fact the working nom de plume of Alexander Ellis who, as his working name suggests, is out there taking notes, making observations and writing songs. Not a lot of information is available on his website, but this would appear to be his debut album, in which case it is one worthy of note and investigation. He has stated that it is his intention not to change the world but rather the next three and a half minutes or, as in the case of the entire COMPANY OF STRANGERS, a mere 45 minue and 27 seconds. Well, with the titles here like Swansong (Don’t Play With Matches). Don’t Speak and I Like You So I’ll Kill You Last he will certainly engage you for that amount of time and that’s something you can enjoy alone or in the company of those strangers who are listening elsewhere.

Review by Stephen Rapid

Jay Stott Wreckage Of Now Self Release

Some solid roots rock from Colorado singer/songwriter Jay Stott. Scott has held down numerous and varied jobs in his working life, and songs like the title track deal with the details of his current existence. “Some folks struggle with the wreckage of the past/trying to figure out how the die is cast/I’m a little different, not sure how/I’m always trying to deal with the wreckage of now.” In his current day job he is a high school English teacher, which perhaps provides him with material for his characters, both real and imagined. Wreckage Of Now is alongside many other tracks that are delivered with a satisfying hard beat, although on a song like Desert Heat there is a more nuanced approach to the songs. One immediate standout is the song that opens and ends with fiddle (from Enion Pelta-Tiller) before erupting and rocking’ out. Electric Guy (In A Bluegrass Town) details a man slightly out of place but does so with some humour.

Stott co-produced the album with his rhythm section of Brain McRae (drums) and Brian Schey (bass) while he himself plays electric and acoustic guitar as well as supplying lead vocals. Arthur Lee Land adds lead guitar and John Stenger provided keyboards throughout.Overall this is the kind of roots rock that draws from a lot of influences and generates similar bands in every city and state, but that doesn’t detract from the potential of the enjoyment that can be found here. The delivery is satisfying, with all the components parts working. Stott has a previous album DIRT AND HEARTACHE which suggest that this recording is a continuation of an existing outlook and theme. Never Did Learn How To Dance has a retro feel with a touch of ‘shubee -do-wah’ female backing vocals to underlined the mood. This overall is an up album that suggests that Stott and the band are a good live experience (when they can).

There are also moments that run deeper like with the closing Dying In Droves that looks at the plight of small towns, loss of jobs, dignity and depression, best summed up by the line “No food, no job and no hope, but hey it’s the land of the free.” This demonstrates that Stott can also write something that reflects what he has seen looking at the world around him, as much as at his own characters, all of which suggest that he can emerge from the wreckage of now with a view of tomorrow that sees everyone in a better place. But hey, he can still rock out to that.

Review by Stephen Rapid

Daniel Meade & Lloyd Reid  If You Don’t Mind  Self-Release

The concept of an album from Glasgow duo Daniel Meade and Lloyd Reid had been on the cards for a number of years but somehow, due to work commitments and other distractions, it always seemed to remain on the back burner. The pair have shared numerous stages as part of the country/roots band The Flying Mules, both as headline act and supporting international acts such as Old Crow Medicine Show, Sturgill Simpson, Diana Jones, Willie Watson and Pokey LaFarge. Meade also has several solo albums under his belt alongside his recordings with The Flying Mules.

With the imposed lockdown resulting from Covid -19, the duo decided to take advantage of the down time and finally bring the album to fruition. Availing of both of their home studios, they developed a number of demos Meade had on the shelf, fleshed them out, added the final touches and completed the whole venture in sixteen days. The end product is a nine-track gem of country flavoured songs, all written by Meade. The tracks were recorded acoustically by him and sent over to Reid who added harmony vocals, electric guitar and pedal steel.  Some overdubs and a final mix by them both applied the finishing touches.

Meade has been at the forefront of roots and Americana music in the U.K. for the best part of a decade and that’s well justified after a few spins of IF YOU DON’T MIND. It’s very much an easy listen, offering a combination of blues tinted roots songs and swinging country jewels. The somewhat tongue in cheek It’s Hard To Be A Man These Days and Give This World A Shake are cracking honky-tonkers and the Gram Parsons sounding piano-led Sleeping On The Streets Of Nashville also hits the sweet spot. Mother Of Mercy swings along with harmony vocals and tingling piano and the tears in your beer song comes courtesy Choking On The Ashes (Of The Bridges That I’ve Burned).

The music flows freely from start to finish on an album from a dedicated flame carrier for roots and country music. Suffice to say that the songs would sound just as impressive from the stage at Robert’s Western World in Nashville, as they will no doubt at a venue in Glasgow and elsewhere, when the world returns to normality.

Review by Declan Culliton

Native Harrow Closeness Loose

HAPPIER NOW, the last album released by Native Harrow, featured in Lonesome Highway’s Best of 2019 listings. Native Harrow are former ballerina and classically trained vocalist Devin Tuel and her musical partner Stephen Harmes. While HAPPIER NOW highlighted the quality of Tuel’s writing and vocals, together with musical talents of Harms, its theme was quite downbeat and sombre. CLOSENESS, their fourth album, is somewhat more upbeat, although dark sentiments do surface on occasions. The material is also more expansive, with the duo sounding intense without any hint of melancholy. At the core of all the songs is Tuel’s lush vocals and the adept instrumentation that complement those vocals.

The album was recorded in six days in late December 2019 and early January 2020 at Reliable Recorders in Chicago. As was the case with HAPPIER NOW, they engaged engineer and drummer Alex Hall (J.D. McPherson, Neko Case), resulting in a similarly impressive production.

Much of the album’s material reflects on the passing of time, both from their personal perspectives and also in broader terms. The individual reflections consider the triumphs and struggles the couple have encountered in recent years. ‘Time’s getting harder but you’ve gotta carry on’ Tuel repeats on Carry On, as if reminding herself of brighter days ahead and the need to support others who may be temporarily in difficulty. The hypnotic TurnTurn captures a particular moment in time for Duel as she pleads ‘Sundown take it slower, won’t ya? Show me how to fall in love for a lifetime’.

The up-tempo and spiralling Shake, which opens the album in fine style, reflects on the anxieties and challenges that life offers.  The punchy Same Every Time examines inner feelings and insecurities, with Joni Mitchell styled lyrics. The calmative Even Peace recalls the classic Laurel Canyon country/folk sounds, with Duel’s layered vocals giving depth to the song. They sign off the album with the optimistic and ethereal Sun Queen.

 With songs that grapple between darkness and light, Native Harrow have produced an album of thought provoking and tastefully formed songs. It’s an intoxicating mix of contemporary folk and Americana from a group growing in confidence and maturity.

Loose Records have the happy knack of unearthing some gilt-edged talent in the slightly left of centre Americana genre. Native Harrow, with their second release on that label, certainly fit that bill.

Review by Declan Culliton

Brennen Leigh Prairie Love Letter Self Release

Written about her beloved birthplace on the state line between Minnesota and North Dakota (‘I’ve lived away for eighteen years and been homesick every one of them’) PRAIRIE LOVE LETTER is the sixth solo album from Brennen Leigh. A gifted guitarist and mandolin player, she began touring at the age of fourteen, performing as a duo with her brother Seth Hulbert. The siblings also opened for bluegrass supremo Ralph Stanley on a nationwide tour while she was still in her teens.

Currently residing in Nashville, her songwriting credits include songs recorded by Rodney Crowell, Sunny Sweeney, Charlie Crockett and Lee Ann Womack. By way of a side project, Leigh is also a member of the bluegrass band Antique Persuasion.

Don’t You Know I’m From Here, the first track on the album calls to mind a return to the town of your childhood many years after leaving, and feeling like a stranger. It sets the theme for what is essentially a concept album, with much of the material drawn from joyful memories from Leigh’s childhood, together with a number of outpourings on some more contemporary events.

A spectacular thunderstorm, witnessed by Leigh while travelling with musical partner Noel Mc Kay to a festival in western Texas, was the inspiration for I Love The Lonesome Prairie.

She recalls her father on The John Deere H. As if spoken by him, the song proudly recollects his first tractor ride as a boy.  The bluegrass tinged Little Blue Eyed Dog, written about her own dog Bjorn, is a catchy upbeat delight and The North Dakota Cowboy features a handsome older boyfriend, fictitious or otherwise, from her childhood. Billy & Beau addresses sexuality in a rural environment and the leaving of home for a new life in Chicago by a gay friend. More recent times and events are explored on You Ain’t Laying No Pipeline, which addresses the issue of the Native lands at Standing Rock Stone Camp and You’ve Never Been To North Dakota. The latter sympathises with an 88-year-old resident forced from her hometown by a major corporation.

PRAIRIE LOVE LETTER lands at the crossroads between bluegrass and country. As you would expect, the playing is sublime from Leigh and a host of Nashville’s best players including Tim O’Brien, Alison Brown, Noel McKay and Jenee Fleenor. The production duties were carried out by Robbie Fulks who, along with Leigh, captured the perfect balance between her crystal clear and impassioned vocals and the stellar playing that accompanies her. It’s a delightful album of songs that sit comfortably alongside each other, from an exceptionally talented musician and vocalist.

Review by Declan Culliton 

Diana Jones Song To A Refugee Proper

As a writer of Appalachian influenced songs, Diana Jones’ 2006 album MY REMEMBRANCE OF YOU established her as one of the leading lights in old timey folk influenced country music. She had released two previous albums but that breakthrough recording and subsequent albums BETTER TIMES WILL COME (2009) and HIGH ATMOSPHERE (2011), brought her music to wider audiences and generated successful tours of her home country and Europe.

Regrettably, her career was put on hold in 2016, when she became seriously ill following a gas leak at her apartment. That setback, coupled with the emerging political environment in America, left Jones physically and emotionally drained, and without the motivation or inspiration to continue writing.

The stimulus to create the material for SONG TO A REFUGEE came from scenes at the U.S./Mexican border of parents being inhumanely separated from their children in 2018. Having been given up for adoption herself, these viewings were particularly distressing and upsetting for Jones. She was raised in Long Island, NY, and when she felt the time was right, she searched for and discovered her birth family in the Smokey Mountains of East Tennessee. Learning that her grandfather had formed a teenage band with Chet Atkins went a long way towards explaining Jones’ love of country music as she grew up.

A chance meeting at a park in New York with famed actress and activist Emma Thompson and a subsequent discussion over lunch unlocked Jones' writing block. Thompson is President of the Helen Bamber Foundation, which is a human rights charity supporting refugees and asylum seekers. The common denominator that links the thirteen songs on SONG TO A REFUGEE is the desire to reverse the dehumanisation, so brutally exposed in those harrowing border scenes of families being randomly torn apart.

Titles such as Mama Hold Your Baby, Ask A Woman and the title track Song To A Refugee leave little to the imagination and give a voice to refugees, not only at the Mexican border but worldwide. The first single taken from the album is We Believe You and it is the most powerful song on the album.  Its inspiration was a visit by U.S. Representative for NY's 14th congressional district Alexandria Ocasio-Cortez to a US border detention centre last summer and her subsequent testimony to a Congress committee.  When questioned about the asylum seekers' motives for fleeing their homes she simply replied ‘I believe the women’. The song features vocal contributions from Steve Earle, Richard Thompson and Peggy Seeger, each of whom sing a verse.

We hear of a refugee ship that offered expectations of freedom, only to sink at sea in The Sea Is My Mother. The cherished memory of a simple childhood amongst a loving family is recalled on The Life I Left Behind, only to be fractured by the advent of civil war and the resulting devastation.

Jones' vocals are crystal clear and intense throughout, challenging the listener to pour him/herself into the songs. She’s joined by splashes of piano, mournful fiddles, gently strummed and plucked guitars, which combine to offer a calming and meditative ambience to a beautifully constructed and performed collection of songs. 

Review by Declan Culliton

Sofia Talvik Paws of the Bear – Unplugged Makaki 

Lockdown has provided many challenges and a lot of time for introspection, reflection and new thinking. When faced with an uncertain future, one constant remains, that of returning to the internal rudder that has steered you through your life to date. During this time, Swedish artist Sofia Talvik has looked at the arc of her career and decided to rely upon her instincts to bring fresh insights to her most recent release, 2019’s Paws of a Bear. 

By investing time in reviving the songs as unplugged interpretations, there is the risk of losing something in the process. The original album was very well received and the plaudits were richly deserved for a songsmith who has built her career steadily since a debut release in 2005. Gone are the additional instruments that added colour and subtlety to the original arrangements, piano, electric guitar, pedal steel, dobro, piano, trumpet, bass and percussion. In their place stands simple acoustic guitar and the hauntingly beautiful voice of Sofia Talvik, at once intimate, tender and bare. Taking the decision to strip everything back to the essence of the songs brings a different quality to the fore, the understated guitar talents and the poignant lyrics, wrapped up in an emotional honesty that is very compelling. 

Mixed and mastered by husband Jonas Westin, all songs are written by Talvik, who also added two bonus tracks, both featuring her long-time music colleague and friend, Tim Fleming, who sadly passed away in April last. Meanwhile In Winnsboro was written as a result of a concert at the Winnsboro Centre For The Arts in Texas, one of the last gigs Talvik performed before the corona virus shut everything down - including her tour. It had been such a peaceful day there, while all the headlines were shouting about the virus threat. Broken (Steelguitars in Heaven) was written specifically with Fleming in mind and celebrates their bond. On both songs, the emotion is quite palpable with recorded pedal steel parts interwoven into the arrangements.  

Elsewhere the core of the personal songs revolves around the opening song and look back at lost youth, Take Me Home, all the way through ten tracks to the closing, Die Alone and a reflection that we all will indeed face our end in a singular fashion. The love songs, California Snow and Wrapped In Paper, are both written with an obvious devotion for Jonas Westin and all they share together as a couple. Reflections is a song about looking back and the years of life passing along, almost unnoticed, “I look in the mirror and all I can see, Is my mother's face staring back at me.”    

Siren Song is to someone close who is leaving for new horizons and the imaginings that it may not always be blue skies and an easy road, while the isolation and loneliness of Blood Moon carries the refrain, “you're so far away.”

We may indeed find ourselves far from each other in this present wrestle with our inner demons and the reality that surrounds us, but with music of this quality there is at least a willing companion to walk the winding path with us. A superb artist delivers yet another wonderful statement of her humanity and refinement. Please support her music at https://sofiatalvik.com

Review by Paul McGee

Christa Couture Safe Harbour Coax 

The six songs included here were released just as the pandemic struck in March last and given that these piano based musings are all about HEALING, there is a subtle irony in their arrival. As always, this wonderful talent delivers beautiful, hypnotic melodies and vocal harmonies to wrap around and tuck carefully under your pillow as the dark night descends. 

With a background in the Indigenous community (mixed Cree and Scandinavian), her roots in no way pointed to a life as an award-winning performing and recording artist, nonfiction writer, and broadcaster. She is also proudly queer, disabled (with a high-tech robotic leg) and a mother.

Her piano playing and clear vocal delivery are key reasons why this music is filled with both a quiet power and a sense of undiscovered mystery. There are hints at similarities to Tori Amos and Kate Bush on the terrific Rebuild, right there, under the surface, but as always, Christa Couture is very much her own creative centre, glowing with an assured confidence. Rebuild is about moving on from the past, learning and getting stronger from the events that occur to shape you. It was also inspired by the book, The Marrow Thieves by Cherie Dimaline.

Water To Sail (Safe Harbour), the title track, has a wistful delivery, understated playing and all wrapped in the message that what doesn’t kill you makes you strong. Stay the course. Far Far Light Of the Stars is clever wordplay, distance and isolation from real and meaningful communication. For those who are misunderstood or treated badly by society. Written for QT and 2Spirit transgender people.

Like Water Like Earth has gentle vocal tones and repeated lines, interlocking harmonies, layered voices, building so beautifully. A song about holding close to loved ones and trusting in the power of love to overcome all doubts and fears. It was written for Louis Esmé (artist, writer, and illustrator), a Two-Spirit, non-binary person who has created the work, Maldewin Weskijinu/Blood Soaked Soil, as a reminder that the land haemorrhages with the blood of their People.

Tiptoe, a song that suggests a secret to be kept, quietly shared and held close. Waitlist Lullaby is a dreamscape that references sternotomy and thoracotomy operations that Christa underwent during her periods of illness and there is contained the hope of revival and enduring beyond.  

Jim Bryson produced the album in addition to contributing on, acoustic, electric guitars and piano. He was joined by Philippe Charbonneau on upright bass, Kinley Dowling on violin and viola, Philippe Charbonneau on bass, Ansley Simpson and Michelle St. John on vocals and Keri Latimer (theremin). A stellar cast that does justice to these absorbing songs. 

Review by Paul McGee

Greg Copeland The Tango Bar Hemifrán/Paraply

A gently restrained album, both quietly brooding and sweetly uplifting. There is a slow-burn dynamic on these tracks that mark the journey of an artist that has experienced life, both bright days and dark nights, along the winding paths he has taken. 

This release highlights a welcome return from a musician who was part mentor to a young Jackson Browne, while growing up in Los Angeles, learning to play music and developing his song craft. Greg Copeland retreated from the music machine back in 1982, after the release of his debut album, REVENGE WILL COME. Many years later he was persuaded back into the studio and recorded DIANA & JAMES in 2008, with the assistance and production of Greg Leisz.  

Now aged 74, Copeland has called upon the talents of a troupe of musicians, including Tyler Chester (piano, bass, guitar, keyboards, percussion), Greg Leisz (lap steel, acoustic & electric guitars, pedal steel), Jay Bellerose (drums, percussion), Val McCallum (electric guitar), Don Heffington (drums, percussion), Davíd Garza (piano, harmony vocal), Rob Burger (accordion), Stewart Cole (horns), Anna Butterrs (acoustic bass) and Madison Cunningham (harmony vocal). These quality players gathered at Winslow Court Studio, Barefoot Studios and The Coach House – all located in and around Los Angeles.

He sings/speaks the lyrics on 5 songs and also uses the vocal talents of Inara George on I’ll Be Your Sunny Day, plus the superb Caitlin Canty on a trio of songs; Mistaken For Dancing, Better Now and Beaumont Taco Bell, all performed with subtle restraint and a quality of ethereal, transcendence in her tired, other-worldly delivery.

Scan the Beast is a tense, taut arrangement that lingers over the dark side of this complex world, duelling electric guitar and lap steel heightening the sense of alienation. Copeland speaks of a ‘predatory future looking for you, think it’s gonna find you, whatever I do’ on the acoustic blues of Coldwater Canyon and his additional whispering into the microphone gives added sense of unease. Lou Reed has an atmospheric groove in honour of the New York icon who blazed a trail through the decades with Greg Leisz excelling on angry guitar chords.

The title track brings matters to a close with a beautiful arrangement and a sense of time passing as we grapple with the lessons learned and the wisdom gained. Reflective and resonant. A very enjoyable reunion with a talented old friend.

Review by Paul McGee

New Album Reviews

Dennis Roger Reed  Before It Was Before  PlasticMeltdown

Released a while back, this gorgeous record has only reached us recently. A ‘double album’ of previously unreleased tracks recorded by Reed at PlasticMeltdown Studios in San Clemente, California during its 33 year history, it acts as a sort of career retrospective for this talented songwriter (and music journalist). Many of the 21 tracks are cover versions but it is his five original songs that particularly standout for this reviewer. 

Up Until Now is a slow burner, DRR’s vocals accompanied simply by deft acoustic guitar picking and fiddle - it sounds like it could have been written by Kevin Welch. There’s a touch of the cowboy blues in I Had To Ride, and In Western Skies is given the full Western Swing treatment, with brother Don Reed outstanding on lap slide. 

Most of the instruments are played by DDR (guitars, organ, mandolin and harmonica) and his brother Don (guitars, mandolin) with occasional contributions from a host of local Southern Californian players, Ellis Schied being particularly notable on fiddle. 

DRR breathes new life into many familiar songs with a combination of his vocals (there’s an appealing vulnerability there) and his utterly laid back musical style. His voice is always front and centre, as he moves from a couple of Dylan covers, through Lee Hazlewood’s I’d Rather Be Your Enemy and an outstanding version of River Of Love from the pen of Michael Hall. Bluegrass is nicely represented by similarly relaxed versions of Dark Hollow and The Cuckoo and the Western swing of instrumental Swing Hollow is truly beautiful. And there’s still lots more to discover on this recommended recording.

Review by Eilís Boland

Colter Wall Western Swing & Waltzes and Other Punchy Songs La Honda 

The third release from Saskatchewan Colter Wall is further evidence of his commitment to old timey Western music. Following on from his 2018 recording SONGS OF THE PLAINS, his latest album once more salutes the cowboy lifestyle of the open ranges and prairies of Western North America. In recent years and in recognition of this, his music has featured on the film soundtracks of Deadwood, Hell or High Water and Peanut Butter Falcon.

Having engaged Grammy Award winning producer Dave Cobb on his previous two albums, the 24-year-old Wall took on that responsibility himself this time around. Having just completed a North American tour, he headed straight for at Yellow Dog Studio in Wimberley, Texas, bringing his trusted touring band to provide support. Those four players are Patrick Lyons (pedal steel, dobro, mandolin), Aaron Goodrich (drums) and Jake Groves (harmonica). The telepathic understanding of the players, honed by touring, shines through on the album. Emily Gimble, winner of Austin Music Awards ‘Best Keyboard Player’ on three occasions and Texan fiddler Doug Moreland joined them in the studio.

Despite self-producing, Wall remains close to the template that won him many friends with SONGS OF THE PLAINS two years ago. His deep and ageless baritone vocals and the understated playing that accompanies those words bring to life tales of characters and scenes long since departed into the realms of history.

Big Iron, written by Marty Robbins and often featured in Wall’s live shows and High & Mighty written by Wall’s fellow Canadian cowboy Lewis Martin Pederson, are two well selected covers, complementing the original material that feature on the album. The 19th Century traditional cowboy song I Ride an Old Paint, also gets a makeover. Its lyrics create an image of a cowboy on a striped horse, slowly circling his herd at night, to protect them from cattle rustlers. The album’s opener Western Swing and Waltzes sets the scene for what is to follow. Wall’s semi spoken vocals and some slick pedal steel combine in fine style on the track. Fiddle and acoustic guitar bring Diamond Joe to life, it recounts the story of a legendary and elusive roamer. You can almost feel the burning sun and scorching desert sand on Cowpoke, a tale of a simple life from yesteryear (“I’m lonesome but I’m happy, rich but I’m broke and the good Lord knows the reason, I’m just a cowpoke”). The common denominator between the originals and the cover songs is the prime perfect execution, both image provoking and easy on the ears.

This new collection continues where Wall’s last album left off. He’s a raconteur of endless talent and one, alongside Charley Crockett, that continues to introduce western music to a new generation of punters. Hats off to him for that.

Review by Declan Culliton

Emily Barker A Dark Murmuration of Words Everyone Sang

Australian born Emily Barker’s latest album adds to her impressive compendium of recordings since her 2006 debut album PHOTOS.FIRES.FABLES. That back catalogue includes four recordings with The Red Clay Halo, a 2016 collaboration with Amy Speace and Amber Rubarth named Applewood Road and a 2019 recording with English folk royalty Marry Waterson. Her last solo recording was the superb SWEET KIND OF BLUE in 2017, which was recorded at Sam Phillips Recording Service in Memphis. She engaged a host of crack Memphis session players to appear on that album and was nominated at the 2018 Americana Music Association Awards Show for Album of the Year.

To record this album, Barker once more selected a location most fitting with the themes and concepts contained in the songs. She chose StudioOwz, a converted chapel in the depths of the Pembrokeshire countryside, working with producer Greg Freeman (Peter Gabriel, Amy Winehouse). A DARK MURMURATION OF WORDS finds her returning to her folk roots with ten tracks that lift the veil on a number of worldly topics both global and closer to home, including women’s rights, environmental issues and poverty.

Return Me tells of a calling back to her Australian homeland, to reunite with her family and the pastoral scenery of her childhood.  Where Have The Sparrows Gone was inspired by her observation of those birds - once common but now decreasing in alarming numbers - that nest in the eaves of her home in Stroud, Gloucestershire. Its title is taken from the Pete Seeger song Where Have All The Flowers Gone? Passionately expressed, Barker’s vocals are accompanied by calming strings, adding to the spirit of the song.

A similar sentiment is expressed in Any More Goodbyes. Written in the aftermath of the forest fires which took the lives of half a billion animals in the South West of Australia last year, it mourns the avoidable yet continuing loss and endangerment of all too many species on our planet.

Sung by a mother to her unborn child, Strange Weather is an apology for the state of the world into which the child will be delivered. It features Barker's vocals, acoustic guitars and little else, to emphasise the potent message. Machinecame about while jogging at Charleston harbour and taking note of the statues of the slave merchants of the nineteenth century. Unaware of how topical this subject would become in recent months, the song berates how cheap labour remains beneficial to many global corporations to this day.  The piano led Sonogram closes the album in fine style as Barker considers a world of full circles, where similar mistakes, misdemeanours and atrocities continued to repeat themselves.

A masterful songwriter and exquisite vocalist, A DARK MURMURATION OF WORDS is another delightful body of work from Barker and a highly recommended purchase.

Review by Declan Culliton

Juliet McConkey Disappearing Girl Self Release

The winner of the Blue Light Singer/Songwriter Competition in 2018 in Lubbock, Texas, Juliet McConkey’s debut album DISAPPEARING GIRL is a laid back and gloriously loose collection of songs that land midway between country and folk. Those songs also sound as if they were composed by a veteran rather than being the first recordings of a novice.

Born and raised in rural central Virginia, McConkey relocated to Texas in 2018 and in no time established weekly residencies at a number of high-profile venues, together with opening slots for Kelly Willis, Jamie Lin Wilson, Jaime Wyatt and LeAnn Rimes. The opportunity to share the stage with those acts in a fiercely crowded market speaks volumes about her talent.

This album is a reflection of her rural upbringing with tales of local happenings and characters, some painless, others harrowing.  The title track tells of the grisly murder of young girl, whose body remains undiscovered. It’s the album’s opening track and sounds like a distant relation to Neil Young’s Unknown Legend. It also defines the sound of the album, which is unhurried and absorbing, while offering a compelling blend of country infused roots tracks. Credit to producer and multi-instrumentalist Scott Davis, whose playing throughout the album is wonderful. Together with production duties, he contributes bass, guitar, organ and accordion yet keeps the sound stripped back, never getting in the way of McConkey’s elegant vocals.

Hung The Moon features a cheating louse who takes advantage of a young girl, stealing the best years of her life, before abandoning her. Good Times On The Horizon addresses the all too familiar dilemma of a couple starting a family and trying to survive on love and low paid work. The album closes with the sleepy ballad Like a Rose, which combines a slow rolling grove courtesy of Richard Millsap’s Wurlitzer, behind McConkey’s floating vocals.

Juliet McConkey would no doubt have passed me by, but for the recommendation of fellow Texan singer songwriter James Steinle. She brings to mind Carson McHone, another young Texan artist much admired at Lonesome Highway and has recorded an absolute gem with DISAPPEARING GIRL. Don’t just take my word for it, track down a copy and decide for yourself. You won’t regret it.

Review by Declan Culliton

Oh Susanna Sleepy Little Sailor (deluxe edition) Stella 

Suzie Ungerleider revisits her album released in 2001 and adds 5 acoustic versions to the 11 original tracks that were received with great media acclaim at the time.

Her soulful vocal is filled with restrained power, waiting to be released and something she uses really effectively, choosing her moments to add even greater nuance to her always colourful delivery. The cover of I’ve Got Dreams To Remember (Otis Redding), highlights this to great effect and the restrained playing of Canadian elite musicians like Luke Doucet, Colin Cripps, Basil Donovan, Bob Packwood and Joel Anderson make this a four-minute masterclass in musicianship of the highest order.

Her writing is very accomplished and whether looking back at teenage romance on King’s Road or the childhood abuse of River Blue, she captures the moments with such clarity, bringing alive the words; ‘no matter how fast you run, you end up where you started from, to face the secret you were forced to keep.’

The stark fate of a life in slavery is captured chillingly in All That Remains and the lines; ‘I remember the day they took her from me, “Lord,” she screamed, “have mercy on me.” Beauty Boy hints at a cruel relationship made more warped by bullying, ‘still a foolish hope follows wise regret.’

Sacrifice looks at a frustrated romance where commitment is impossible in a toxic relationship, while Forever At Your Feet laments unrequited love, with strings from Anne Lindsay, and Alex McMaster beautifully wrapping the melody. Ted’s So Wasted looks at a failed marriage and the lines ‘We walked down the aisle together while our love took a ride in a hearse’ says it all. The heartbreak of St. Patrick’s Day sings of lost love and final song Ride On is a 10-minute ode to the old west and the life of a gunman on the run, crimes of passion and commitment betrayed in preference of a solitary life.

The additional acoustic songs are a stripped-down treat but don’t contain the rich colour of the ensemble playing on the original recording. Rather, the fragility and emotive power in Suzie’s vocal is front and centre. A terrific reminder of all that makes this artist a considerable presence in the honour roll of great songwriters.  

Review by Paul McGee

Rebecca Turner The New Wrong Way Self Release

Released in November 2019, this third album from New Jersey resident Rebecca Turner is a 13-track exercise that plays out over 40 minutes and leaves a sense of someone who is very comfortable in exploring her own artistic vision. The sound is as much country-roots as it is mainstream and commercial, while the vocals may be just mixed down a little too much for my liking.

Rebecca wrote 8 of the songs here, with 3 co-writes and 2 covers, all performed with a style and tempo by a core group of players that includes Sim Cain (drums), Scott Anthony (bass), Rich Feridun (guitars) and a selection of additional musicians on various tracks, featuring Rob Clores (keyboards on 4 songs) and Skip Krevens (pedal steel on 3 songs). The new album was recorded at Ardent Studios in Memphis and follows on from LAND OF MY BABY, which arrived in 2005, followed by SLOWPOKES in 2009. 

The inclusion of Jazz standard, Tenderly, shows her diversity and relationship songs like Idiot, Water Shoes and Your Job, give insight into a mindset that looks for the humanity in everyday things. Living an independent life and relying on your own resources, The Cat That Can Be Alone, is included with a song about gardening and new seasons blooming, Free the Rose. 

An early Bee Gees song, Sun In My Morning, beautifully interpreted by laid back guitar and Hammond organ parts, sails along nicely and the pedal steel on Circumstances is classic Country with clever lyrics surrounding a partner’s anxiety and suffering writer’s block – “I don’t care if you write about my issues, I got time and I got tissues, I can take your brutal honesty.”

Turner and Scott Anthony co-produced the album and they also tip a hat towards a more rock sound on tracks like Living Rock and Tom Tom, with its XTC references as inspiration for a wannabee musician. What If Music? asks the question whether music has no meaning as - ‘it’s let me down and led me astray as many times as it’s saved the day.’  

Interesting songs, played superbly by the studio ensemble and music that highlights a creative and talented artist.

Review by Paul McGee

Cinder Well No Summer Free Dirt

From the opening moments this album feels as though it is an echo of the past and at the same time it offers a glimpse of a near future. These seemingly ancient tones emerge here through an internet age sensibility. The result is a sparse and forceful combination of the human voice with the simplest but completely effective accompaniments. Cinder Well is the name that Amelia Baker uses for these essentially solo recordings. To help create the appropriate setting for the songs, Baker worked with Nich Wilbur. They recorded in a converted church which had a quality that perfectly suited the project. This isolated location and sparse contact during the current pandemic provided the album’s title. 

There is also an obvious link between the transatlantic origins of some of the songs which spring from not only Appalachian sources but also from Baker's Irish and Celtic lineage. She now lives in County Clare, Ireland, and all these connections seem to make perfect sense, as her studies of Irish music and her upbringing have combined in a way that is effective and enriching. The themes are "as old as the hills” but Baker has a penchant for writing ballads from a feminine perspective which often emanates from a time of struggle, survival and seclusion. 

The original songs, from the title track through Fallen, Old Enough, Our Lady’s, The Doorway and From Behind The Curtain are set on an equal footing with the traditional choices The Cuckoo, Queen Of The Earth and Child Of The Skies, Wandering Boy.  She has added an additional verse to the latter (itself from an old Baptist songbook). Baker was joined by Marit Schmidt and Mae Kesller on viola and violin as well as vocals. She herself played guitar, organ and fiddle, together with delivering the haunting lead vocals. The overall effect is to take you to a desolate but often beautiful and sometimes spectral place that exists in a 'between worlds’ location: sitting between heart and mind, Ireland and America, folk and ambient.

Baker had become a fan of Irish contemporary folk quartet Lankum and indeed many of the lovers of that influential band will likely find much to enjoy here. Others, undoubtedly, will not feel the same. However, NO SUMMER is not without its warmth and light in what was something of an overcast season.

Review by Stephen Rapid 

Lou Kyme What’s The Worst That Can Happen Self Release

Although packaged in a way that suggests something more or less Americana orientated, this debut release from Kyme betrays the fact that she was once a part of the English family country band The Okeh Wranglers. On a trip to Austin, Texas, Kyme caught a set by Chuck Prophet. An introduction and friendship followed and that resulted in Prophet and his bandmate and wife Stephanie Finch joining the sessions for this album. Vicente Rodriguez produced it in AR Studios in San Francisco. He also played bass and drums and added backing vocals. James DePrato and Adam Rossi completed the musical team, with Prophet adding guitar to two songs and Finch playing accordion on three others, giving the album something of a transatlantic tone. Not unlike, in concept, the album that Carlene Carter made with Rockpile, only with the roles reversed on this occasion. Add to that some early Blondie and you have an idea of the overall mood.

There are seven original songs on the EP which sets out Kyme’s stall, combining some broad strokes that show her musical origins, while also hitting some more indie-style roots rock moments of melody and melancholy. The mix of some soulful moments with twang works well. The title track is a touch of noir with a filmic feel that contrasts nicely with some of the more upbeat tracks such as the hooky I Don’t Care. The accordion by Finch adds a different frame of reference for the border feel of Let’s Drive, which is also graced with some chiming 12 string guitar.

All of this makes for a fine start for Kyme’s solo venture. It gives her voice the chance to shine on several different tales, revealing a writer who is learning her craft well and it certainly bodes well for the London-based singer. While the cover graphics may seem slightly at odds with the usual Americana look, the music therein presents a forward-thinking trajectory that shows that the worst thing that could happen to an album like this is that it might be overlooked and ignored. 

Review by Stephen Rapid

Chuck Prophet The Land That Time Forgot YepRoc

Another slice of crafted and diverse music is presented in this latest release from Chuck Prophet. This album was recorded in New York and in different studios in California. Prophet shares the production credits with Kenny Siegal and Matt Winger, both of whom play on the album. The immediate stand-out here, for this writer, is High As Johnny Thunders which mentions both the guitarist of the title and his band New York Dolls. It is a soulful brass-infused reflection of what might have been “in the land that time forgot.” The album features some potent vocal interplay between Prophet and his wife Stephanie Finch throughout, alongside numerous contributions from the assembled players who sat in on the sessions in the various studios.

The slow-paced Paying My Respects To The Train considers the train that brought the body of Abraham Lincoln from Springfield to Washington. In a slightly more obviously political vein is Nixonland. It features something of an astute piece of observation on that president’s final days in office. The current incumbent doesn’t escape criticism either, as witnessed on the final track on the album Get Off The Stage which, given these times, is a fitting final riposte. More on the tender side is Love Doesn’t Come From The Barrel Of A Gun, a song that sees Prophet making the case for those who find a love for literature, something unlikely to be found in any gun and ammo magazine.

THE LAND THAT TIME FORGOT is Prophet at his best and agreeably diverse. His output has always drawn from numerous sources, but the end result at this stage of his career is music that is essentially Chuck Prophet. It is a testament to his talent on all fronts that some four decades into his career he is making some of the best music that he has ever recorded.

Chuck Prophet is on a similar path to that of his friend (and equally astute rock ’n’ roller) Alejandro Escovedo. There is an overall sense of ease on many of the songs that allow for consideration and reflection on life, love and liars - something that should not be forgotten.

Review by Stephen Rapid

New Album Reviews

Mo Pitney Ain’t Looking Back Curb

Blessed with a voice that has drawn comparisons to Ray Price and George Jones, Mo Pitney’s debut album BEHIND THIS GUITAR was released in 2016 and charted at No.10 in The Billboard Country Charts and his on-demand streams have exceeded twenty million since its release.

AIN’T LOOKING BACK will no doubt equal that success and further enhance Pitney’s reputation as one of the archetypal faces of country music in Music Row. His clean cut image and devotion to classic country makes him a prime and marketable candidate for the industry to counterbalance the crossover pop/country artists that currently dominate Music Row.

Jim ‘Moose’ Brown, who has worked his magic with Reba McEntire, Willie Nelson, Sunny Sweeney, Erin Enderlin, Bob Seger and many more, was brought on board to produce the album. Brown had previously played piano on Pitney’s debut album and became the producer of choice for Pitney, after he had met with several other potential engineers to make certain he was choosing the most suitable. That in itself is a statement of Pitney's and his record company’s intention to leave no stone unturned before putting the tracks down for his second album.

A prolific songwriter, Pitney whittled down over a hundred songs he had written to just over twenty candidates for the album, before selecting the final thirteen that would make the cut. Given his talent as a writer, I was taken aback to find that over two dozen additional songwriters were brought on board to complete the songs. Pitney’s claim of “looking forward to taking this body of work that is completely me and sharing it with the world,’’ seems somewhat slightly diluted, given those extraordinary numbers.

The autobiographical A Music Man opens the album. It’s a slow burner, co-written with Jamey Johnson and Old Stuff Better and ‘Til I Get Back To You are similarly paced country ballads.  Mattress On The Floor, a standout track, highlights Pitney’s mellow vocals on a song that acclaims the simple things in life. On Old Home Place, Pitney returns to his roots with an impressive up-tempo bluegrass number recorded live in the studio with his All-Star Band. Local Honey also hits the spot, raunchier than anything else on the album, it’s a pointer to what Pitney can deliver when he lets his hair down (which does not occur too often this time around).

Pitney and his team play it safe with AIN’T LOOKING BACK. It’s coherent from start to finish. The writing is uncomplicated, the playing exemplary and the songs are impressive, if at times predictable. You are left with the impression that the record label has sanded down any of the rough edges that featured, and indeed impressed, on his debut album. Pitney’s clean cut, ethical and upright profile are well represented by an album that will delight his wide fan base but will probably hold less appeal to those who prefer their country music a bit more hardcore.

Review by Declan Culliton

Daryl Mosley The Secret Of Life Pinecastle

Bluegrass musician and songwriter Daryl Mosley has been the recipient of numerous awards across a career that started as a teenager singing at Loretta Lynn’s Dude Ranch in Tennessee, having attended school with her twin daughters. Impressed by his vocal ability, Lynn encouraged Mosley to study songwriting, which he did by investing in Tom T. Hall’s tutorial How I Write Songs. He furthered his career by singing and playing in bluegrass bands New Tradition, The Osborne Brothers and The Farm Hands. His most recent honour was being named Bluegrass Songwriter of the Year in 2017, an accolade that he also received 2016.  

THE SECRET OF LIFE is his first solo album release, having been signed to Pinecastle Records in 2019. The album was produced by Mosley and his long-time musical associate and member of The Grascals, Danny Roberts. Their relationship goes back over three decades when they performed together in the four-piece bluegrass band New Tradition.

Given his songwriting expertise, it comes as no surprise that all eleven tracks on the album are self writes by Mosley, two of which (Heartaches Moving In, A Piece At A Time) are remodels of New Tradition songs.  He’s joined on mandolin by Roberts and Aaron Mc Daris, Adam Haynes on fiddle and Michael Stockton on dobro. Harmony vocals are contributed by a most impressive trio of Irene Kelley (who has written for Ricky Scaggs, Loretta Lynn and Alan Jackson), 18-year-old starlet Jaelee Roberts and three-time SPBGMA (Society of the Preservation of Bluegrass Music of America) Vocalist of the Year Jeanette Williams. With the combined credentials of this collection of players and Mosley’s flair as a singer and writer, it’s no surprise that the sum is more than equal to the parts. 

The songs read like an elder stateman’s reflection on life in small time America, without a hint of negativity or cynicism. Delicate love songs I’d Write You and It Never Gets Old sit comfortably alongside the more up-tempo A Few Years Ago and In A Country Town. The title track is a true to life tale of his local barber in Waverley Tennessee, Toad Smith, who has been cutting hair for sixty-seven years. A conversation between Smith and Mosley, as he had his hair trimmed one afternoon, was the origin of the song which promotes clean and simple living.

THE SECRET OF LIFE offers a flawless and seamless fusion of bluegrass, old time country and gospel. It’s an album loaded with positivity which allows the listener to tune in for forty minutes and escape from the increasingly depressing universal issues that we are contending with at present.

Review by Declan Culliton

Mark Bumgarner Just Above The Waterline SJ21

The title of North Carolina resident Mark Bumgarner’s latest album is very much a statement of where he’s coming from. Across the ten tracks he considers personal and every day issues. The songs are uncomplicated, switching from folk to country and bluegrass and include a mixture of recently written material and songs composed earlier in his career.

A member of the Nashville based bluegrass band Jubal Foster in another life, JUST ABOVE THE WATERLINE is his third solo release and was recorded at Two Chairs Music, Big Ivy, North Carolina. Bumgarner undertook the production duties and plays acoustic and electric guitars, bass guitar, organ and percussion. He credits no fewer than sixteen other artists that contributed, including Lynn Hensley who plays steel guitar on the album’s standout tracks Rise And Shine and You Live and Learn. Both are standard country songs, loaded with melody and slick playing. Also featured on the album are his two Jubal Foster bandmates Milan Miller and Jeff Smith. The bliss and humdrum of normal married life is visited on I Wouldn’t Have It Any Other Way and the title track speaks of reaching a level of contentment and fulfilment in your life.

The album is released on former MerleFest artistic director Steve Johnson’s SJ21 Records & Tapes label, renewing a musical relationship that dates back to Bumgarner’s early days with Jubal Foster. It’s an introspective reflection on the everyday challenges and responsibilities that we are presented with, by a writer whose character and resolve shine through. It’s also a very satisfying listen indeed.

Review by Declan Culliton

Harald Thune The Backbounceability Of Humans Fajo

A household name in music circles in his native Norway, Harold Thune is a flag bearer for country music there. He hosts a radio show which is broadcasted seven times a week on 24/7 Country Music Station P10 and has been performing and recording for over thirty years.

His initial intention was to release a compilation of a selection of those recordings. While considering which songs to include, he decided instead to revisit the songs, remodel and re-record them.  The title of the album was taken from an interview on BBC TV with Wolves football club manager Nuno Espirito Santo. Thune has been a supporter of the club since his childhood days and was enthused by Santo’s comment after a defeat when he commented ‘It’s all about bouncing back’.

Recorded at Athletic Studio in Halden, Norway the album contains eleven track that offer a collection of plain-spoken songs that are a combination of Route One country (Mr & Mrs, Honky Tonk Lullaby), brooding Americana (It’s Time, Maintaining) and upbeat rock (Early Morning Rain).

Thune’s intention with the track selection, in typical Western style, was to create a wide screen cinematic landscape for the listener. He does achieve that aided by some accomplished musicians and a strong vocal delivery throughout, which combine to fashion a satisfying listen from start to finish.

Review by Declan Culliton

Kalen & Aslyn Back Of Our Minds Normaltown

In a previous life Aslyn Nash scored a Top 40 entry with her solo single Lemon Love and her husband Kalen fronted the psychedelic southern rock band Ponderosa. They also previously recorded as a duo in the band Dega, a synth-pop outfit that recorded a self-titled album in 2018. BACK OF THEIR MINDS finds them travelling an altogether different path and one that works spectacularly well.

The subject matter of the album is a reflection on the life journey of the Athens Georgia based couple through both happy and cheerless times. Each track plays out like a chapter in a novel, referencing their courtship, parting, getting back together, marrying, leaving home and moving back again. The songs were written over a ten-year period and read like diary entries, documenting various stages of their relationship.

The material falls somewhere between California country and pop, a throwback to that laid back West Coast sound so popular in the early 1970’s. Their combined harmonies, sublime playing throughout and thoughtful song constructions replicate that sound with flying colours. Highlights are the opening track Heather and California, two songs that connect on first play. Calm Down was written as a chant or mantra after a quarrel, according to Kalen. It’s a cool, breezy, soulful song with soothing overtones. Who Knows Your Heart is a tender love song, complete with saxophone solo.

Back Of Our Minds closes the album in style, with layered vocals over piano and pedal steel.  ‘In the back of our minds, it’s just you and me’ they sing on the track and they have described the song as their ‘Bonnie and Clyde’ moment. To my ears, Karen and Richard Carpenter might be a more accurate comparison.

With its open and forthright theme, BACK OF OUR MINDS could have been somewhat self indulgent and twee. Instead, given the quality of the songwriting and their divine harmonies, it’s a delightful exercise and a reminder of how striking that West Coast sound can be when performed to this standard.

Review by Declan Culliton

Jenny Reynolds Any Kind Of Angel Self Release

Jenny Reynolds is an American singer-songwriter who has been creating superbly subtle music since her debut release in 1998. Having earned her stripes in the challenging arena of open mic nights in the Boston area in the early 1990s, she eventually moved to Austin in 2003 in order to concentrate on music full-time, achieving many accolades for her talents ever since. 

This new album is her fourth release and shows a confident, literate and mature artist at the pinnacle of her creativity with ten songs that engage and impress over 38 minutes of many highlights. Dance For Me has a Tejano feel to the melody and rhythm and a story song about a professional ballet dancer who has tasted the bright lights of fame over her career and now teaches full-time in Paris, the passion for the performance still burning brightly inside. It is a magnificent piece of song writing. The title track, Any Kind Of Angel, is a look at lost dreams and the hard reality of a farming wife whose daughter has gone in search of her future and the promise that young love brings. “She had to go or live my fears.” It is heartfelt and paints the image of desolation caused from enduring a life of hardship where no hope prevails. 

Another kind of leaving is addressed in Any Kind Of Road, a song about crossing the Rio Grande and emigrating from Mexico to Texas. A lover waits to be contacted and to reunite with her man. “Said you’d call from Laredo, When you left I believed.” 

The Trouble I’m In, is a bluesy prayer to a power on high; “Lord bless me for I have sinned, Forgive me Lord for the trouble I’m in.” Bad lovers and poor choices abound but the playing of the ensemble is simply heavenly. Another blues- based arrangement is Before I Know You’re Gone, finger style acoustic guitar from Jenny and superb, atmospheric fiddle from Warren Hood, the tale of a relationship ending and the sadness contained therein - “I’m Afraid of letting go before I know you’re gone.”

White Knuckle Love (Didn’t I Know) is a song that bemoans a cheating lover and the hurt in facing the truth, blindly disregarding the obvious signs in hope of misguided resolution. Sweet guitar playing over a gently percussive salsa beat belying the effort involved, the give and take, push and shove. Co-producers André Moran (electric guitar) and Mark Hallman (fender Rhodes, bass, drums) contribute moments of real quality, not only on the overall crisp sound but in also in their playing. A Hank Williams cover, I’m So Lonesome I Could Cry, of just perfectly judged; a sad, wistful vocal, perfect phrasing and a tender blues delivery. 

Also featured on the album are Jaimee Harris (harmonies), BettySoo (accordion & harmonies), Warren Hood (fiddle), Oliver Steck (cornet), Nate Rowe (upright bass) and Scrappy Jud Newcomb (guitars). This is well worth your time and money.

Review by Paul McGee

Kris Delmhorst Long Day In the Milky Way Self Release

A talented artist who has been off our radar since her last release in 2017. Delmhorst always had a way with words and in observing the World through her particular lens. The 12 tracks here are proof that her particular muse is still burning strong. The opening songs set the tone for the album and serve up a healing balm for the troubles of these times. 

On the opener, Wind’s Gonna Find A Way, Delmhorst sings “Can’t you feel the undertow, wants to pull you to the deepest sea, I found out long ago about the power it has over me.”  In Golden Crown she observes ‘Someday I’m gonna see you showing your glory all around.’ They can be seen as relationship-based, or equally a tribute to nature and the symmetry of the passing time. Delmhorst is thinking in terms of the long game, trusting in the momentum of things to find their own course. 

Hanging Garden is again wrapped in a celebration of love and the joys that Nature yields, the simple wonder that both bring, “Come see, sky’s getting brighter – come see, world’s getting wider.” However, on Secret Girl she sings of hiding personal insecurities in the anonymity that city life brings, “Your pocket full of mascara gonna hide you.” But someday the pretence must be replaced by something real.

Horses In the Sky could be about the onset of social media pressure, from a trickle to a flood. It could also be about creeping anxiety and the feelings of panic, “It started as a whisper, Started as a passing word, A little static in the signal, Shadow of a passing bird.” The plea to keep fighting the storm is her final call to action, “Don’t forget to see what can be.”

Skyscraper deals with unseen layers of inner doubt, standing tall like a…skyscraper. Time to be an open door, the repeated chorus lines creating a trance-like melody and wrapped in layered vocal harmonies.  A cover of the Rickie Lee Jones song, The Horses, is a laid-back rendition that gently sways and looks at a mother and daughter relationship that invites us to lift ourselves up and rise above our broken dreams and ideals; A song for these unsettled days. 

Flower Of Forgiveness is about laying our burden down and living light; not weighed down by resentment and negativity. Forgive and forget, move on. Nothing ‘Bout Nothing (a co-write) has the lines; ‘Insult to injury, missing the mystery, omnisciently without a clue, Guess you’re kicking infinity to the periphery too.’ Such wonderful words and lyrical interplay.

Crow Flies is a relationship song about distance and feelings of sadness, “Is it a matter of minutes or hours or days since you smiled.” Great understated playing from the musicians. Bless Your Little Heart is a co-write with her daughter Hazel and suggests taking things a bit easier, relaxing the mood. ‘There’s no hurry, Nothing needs to be done, It’s still early, There’s a lot to understand.’

Final song, Call Off the Dogs, continues a theme that runs through a few of these songs, dropping personal barriers and facades in letting some real emotion permeate inside. Frustration and hurt build a wall and the longer it lasts, then the harder to break down, ‘Why you wear that armour for, Kept it from some ancient war.’

Self produced by Delmhorst, with Sam Moss (electric guitar, violin), Dietrich Strause (piano, Rhodes, vibes, trumpet, valve trombone, acoustic), Máiri Chaimbuel (harp), Ray Rizzo (drums, percussion) and Jeremy Moses Curtis (electric & upright bass), all players who are sensitive to the essence and flow of these songs. Backing vocals from Rose Cousins, Annie Lynch and Rose Polenzani are beautifully arranged and dovetail with Delmhorst throughout these songs of faith and fortitude. A terrific release.

Review by Paul McGee

Dana Gavanski Wind Songs/Yesterday Is Gone Full Time Hobby

This CD/EP bundle arrived with a press release that speaks of tour plans that have fallen by the wayside due to the Covid-19 virus and lockdown. Gavanski has used the time to create new music as she accepted the fate suffered by so many of her peers in these unparalleled times.

Of Serbian-Canadian origins, Gavanski was based in Toronto, before a more recent move to London. Her debut album, Yesterday Is Gone, has ten tracks and is a co-production between Gavanski, Toronto-based musician Sam Gleason, and Mike Lindsay of Tunng and LUMP. 

The music is a mixture of Folk inflected songs, given electronica-based treatments, courtesy of a range of synthesisers played on the majority of tracks. The influence of Lindsay can be heard in the arrangements and sound effects on Other Than and Trouble, while the simpler arrangements on Small Favours and Catch are indicative of the range of influences that Gavanski can cover across these ten songs. 

Co-producer Sam Gleason plays both acoustic and electric guitars on a number of songs and Charles James shines on bass throughout. Understated drumming and percussion is courtesy of Evan Cartwright and there are contributions from Arron Hoffman (piano, synths, wurlitzer) on three songs, Ted Crosby (clarinet, saxophone) on five songs, with Mike Lindsay playing on six tracks across an array of instruments. 

It is very much the talents of Gavanski that shine brightest however, with her adept touch on electric guitar, mellotron, piano, various synths and singing in a style that channels Nico in part, capturing the essence of songs like What We Had, Good Instead Of Bad, Everything That Bleeds and the standout final song, 10 Memories Of Winter, that shimmers with a gentle arrangement and melody that points the direction for future works. 

The five-track EP is more acoustic based, highlighting the delicate vocals and wistful tone of Gavanski in the songs; I Talk To the Wind (King Crimson), At Last I Am Free (Chic), Never Too Far (Tim Hardin), The Kiss (Judee Sill) and the Macedonian Folk song, Jano Mome, that  she learned on a trip to Belgrade. These work beautifully and without the focus on synth-based influences of the debut album, they have more innocent charm and room to breathe.

Review by Paul McGee

Son Of The Velvet Rat Monkey Years #2 Monkey

With a musical style has been described as folk noir, folk rock and Americana – MONKEY YEARS # 2 is released by former Austrian label, Monkey Music, in recognition of the journey taken by this terrific duo. Son of the Velvet Rat was founded in 2003, by Austrian songwriter Georg Altziebler and organist/accordionist Heike Binder. Their collective vision resulted in lots of attention and accolades in the early years and a collaboration with Lucinda Williams on their 2011 release, RED CHAMBER MUSIC. In 2016, Altziebler and Binder moved to California, recorded a number of additional albums and worked with Joe Henry on their 2017 release, DORADO. To date the band has delivered a total of 12 albums, 2 Live sets, an earlier ‘best of’ compilation and a number of EP’s into the bargain. They represent any number of hidden artists who go largely unnoticed by the music media, yet produce music of the highest quality. 

Altziebler sings in a tired vocal style that has a tone somewhere between a Bob Dylan and John Hiatt mix, at once engaging and signalling the years spent honing his particular craft. Binder also sings and her beautiful harmonies are the perfect counterbalance. The songs are taken from a selection of prior releases; LOSS & LOVE (2 tracks); DESERT STORIES (2 tracks); FIREDANCER (4 tracks); RED CHAMBER MUSIC (3 tracks) and REAPER (1 track). 

The cover version of I Will Survive (Gloria Gaynor) seem a strange inclusion until you hear the interpretation and delivery that give additional meaning and resonance to the original. The use of trumpet and harmonica across the 12 tracks bring an added sense of distance and rueful longing. Almost a solitary state of lonely reflection echoes through the sparce arrangements that are beautifully performed and delivered with a quiet confidence. My review copy has no information on the individual musicians involved, but given that this is a compilation that spans eleven years, it is fair to assume that any number of players have helped to colour the sounds over time.

Highlights are the duet with Lucinda Williams, Moment Of Fame, with strummed guitars and harmonica setting the scene for a late night tryst. Lovesong#9 has a gentle accordion and some superb guitar work while the atmospheric Sirens uses the sound of underground trains to great effect. King Of Cool is just that, draped with whispered vocals and muted sounds. Guardian Angel is probably the standout among all these jewels – a peek into a Tom Waits styled melodrama.  

Overall, this is a very worthwhile introduction into the singular vision of a duo whose music warrants the highest praise and who deserve a platform that is much larger than the profile that has brought them this far along their visionary highway.

Review by Paul McGee

New Album Reviews

Gillian Welch Boots No.2: The Lost Songs, Vol. 1  Acony

The studio output of Gillian Welch is anything but prolific. Six albums recorded over a twenty-four-year period has consistently left lovers of her music longing for more. Whether it’s a case of writer’s block or her reputation as a perfectionist that has limited her output is uncertain. What is beyond dispute is that each of her album releases is greeted with high expectation.

Her last release BOOTS No.1: THE OFFICIAL REVIVAL BOOTLEG landed towards the end of 2016. Beautifully packaged, it marked the 20th anniversary of her debut album REVIVAL. Together with outtakes and demos from the material that featured on that album, it also offered eight new songs from that purple period in her musical career and that of her partner Dave Rawlings.

Welch and Rawlings are reported to be in the possession of a huge volume of unreleased demos, many of them stored at Woodland Studios in East Nashville, which suffered considerable tornado damage in March of this year. Fortunately, their demos survived and this may or may not have been the motivator to release to the public no fewer than forty-eight tracks of material written between the making of TIME THE REVELATOR (2001) and SOUL JOURNEY (2003). This new album features sixteen of these tracks, the remaining thirty-two will be the subject of two future volumes. Ironically, the forty-two tracks combined with the new material that appeared on BOOTS No.1, equals her career recording output to date. Incredibly, the songs were all recorded over a single weekend in 2002.

The quality on offer here is testament to both Welch and Rawlings’ writing and performing talents and begs the poser as to why material of this standard has not previously seen the light of day. It’s difficult to select any tracks unworthy of inclusion on any of Welch’s previous, such is the excellence on offer here.

As always, Welch’s vocals are crystal clear and well defined. The material is stripped back to the bone and all the better for that. The harmonies with Rawlings are subtle and flawless, and their playing is exquisite. We hear of a desperate letter from an estranged lover (Johnny Dear), a young girl dancing for nickels (Little Luli), an unfaithful partner (Roll On), the barefooted beauty (First Place Ribbon) and a doomed heroine (Chinatown). The songs, in keeping with the stripped back music that accompanies them, chronicle events of yesteryear. The lyrics, typically, are thought provoking and open to interpretation, like mini stories yet to be completed.

There’s little to celebrate about that tornado that hit East Nashville in early March, leaving its devastating mark on many buildings at Five Points. The only positive is the emergence of this collection of stunning songs that equal anything the hugely talented duo had delivered previously. For lovers of Gillian Welch - and indeed Dave Rawlings - this is gold dust.

Review by Declan Culliton

Ashley Ray Pauline Soundly

“This record came to life by putting memories to music” explains Nashville resident Ashley Ray, describing her third album, which is a personal reflection of growing up in a working class family in Lawrence, Kansas. The memories and reflections are both joyous and painful and always brutally honest.

Ray headed for Nashville after finishing school and has gained a well-earned reputation as a gifted songwriter, writing for both Sony ATV and BMG Nashville.  She has penned material for Lori Mc Kenna, Little Big Town and Wade Brown. However, rather than fill an album with predictable and ‘written by numbers’ material, Ray has bravely constructed this album’s material around her family, the title being the name of her maternal grandmother, who died before Ray was born.

 Ray's now deceased father recognised her talent as a singer from an early age and encouraged her to get on stage and perform. So, with his encouragement, singing in dive bars in her home state was her introduction to performing. Her voice is wonderfully edgy and natural, a mix of twang and grit, that suits the content of the songs on this album perfectly.  ‘I don’t have this big, beautiful voice made for singing the National Anthem’ she freely admits. “I tell stories. It’s a storyteller’s voice.”

The album was produced by performer and noted songwriter Sean McConnell. The opening and title track features a recording of a phone call between Ray and her mother, recorded by McConnell. That the call was being recorded was unknown to Ray’s mother, who recounts how her daughter looks so much like her grandmother and that her middle name (Pauline) was given to her in remembrance of her grandmother.

The following track Lawrence Kansas sets the scene for the chapters that unfold on the album, as Ray reminisces about her hometown and yearns to get back there and let the tales of her upbringing unfold. It’s a striking ballad, with acoustic guitar and pedal steel behind her drifting vocal.

Although the album’s title and much of the material recalls her grandmother, the stories that emerge are also created from Ray’s own memories of her life in working class rural Middle America. Just A House recalls the family home, now only occupied by her mother after her father’s passing and her solemn wish for her mother to move on (“These four walls are running out of days, it can’t be what it was, even if you stay”).  Rock ‘n’ Roll could be the precursor to Just A House. Her mother is depicted playing solitaire alone and chain smoking at the kitchen table, as her daughter ekes out a living six hundred miles away in Nashville (“I’m gonna sell my soul to Rock ’n’ Roll.“)

The songs that relate to her grandmother were gleaned from stories passed down from her mother and family members. A strong willed and hardworking lady, she and other likeminded mothers are remembered in the booming Dirty Work (“It's dirty work, feeding all these babies in a mini-skirt”). Off The Wagon Again also impresses - it’s a heartfelt country song, probably factual given the album's history, but without any reference as to which Pauline the song represents.

The YouTube videos that accompany a number of tracks on the album are also well worth checking. St. Patricks Day, in both the song and video, recollects a happy and simple childhood. The archived filmed footage of Ray as a young girl on the YouTube video is innocent, natural and moving.  Waiting finds Ray reflecting on the tortuous career journey she has endured as a musician and the rejection that goes with the territory. It’s a powerful song (‘Wiping tables when I should be singing songs, I cut my teeth on these barstools that I’m serving now’).

Ray has strayed from the conventional and formulaic writing encouraged by Music Row for a darker and indeed gutsier sound with this album. Vulnerability, sadness and optimism are all represented on the songs. Hopefully, PAULINE will elevate Ray from a budding songwriter to an acclaimed performer in her own right, she has certainly earned that status. Even if it does not, there’s so much she can feel proud about on an album that is sounding better on every listen.

Review by Declan Culliton

Kathleen Edwards Total Freedom Dualtone

It’s been eight years since the release of VOYAGER, the last album from Canadian Kathleen Edwards. The self-imposed temporary retirement found Edwards behind the counter of her new home, a coffee shop in Stittsville, Ottawa, ironically named Quitters. Much to the delight of her followers, she made a number of live appearances over the past two years and has now fully relaunched her career with the much-anticipated release of TOTAL FEEEDOM.

Edwards earned widespread critical acclaim as a leading light in the female in the alt-country genre with her early albums FAILER (2003) and BACK TO ME (2005). Commercial success followed with ASKING FOR FLOWERS (2008) and VOYAGER (2012), both of which earned radio play and charted highly in Canada and the US. With all of her previous albums having been nominated for Album Of The Year at The Juno Awards. Thos new album has arrived following considerable media hype and high expectations. Would it equal the lofty standards of her previous work? The answer is a resounding ‘Yes!’.

Edwards’ return to the recording studio came from an unexpected source. A surprise invitation from Maren Morris to a songwriting session in Nashville led to a co-write by them, Good Woman, which was included on Morris’s 2019 album GIRL. Working with them on that song was Nashville Grammy Award winning producer and musician, Ian Fitchuk. That introduction led to Fitchuk joining Edwards and her long-standing collaborator Jim Bryson on the production of TOTAL FREEDOM.

The album, as the title implies, finds her free from the emotional shackles of recent years and much of the material is a reflection of that journey. It’s littered with details fuelled by a bad relationship she experienced, and hastily removed herself from.  

Despite suggestions to the contrary, Edwards has stated that her last recording VOYAGER, was not inspired by the break-up of her marriage to Colin Cripps, most of the material having been written prior to their parting. Glenfern, the opening track on the album is a delightful nostalgic recollection of that marriage. It’s awash with charming memories of their life journey. The release of her first album and the first house they lived in are fondly remembered.  (‘We toured the world and we played on TV, we met some of our heroes, it almost killed me’).

Fast forward to more recent times for the driver behind the cutting Hard On Everyone. Described by Edwards as her ‘waking the fuck up and exiting’ song, it candidly visits that disintegrating relationship in vintage Edwards style. It also compares positively with anything she’s previously written and recalls the equally stunning What Are You Waiting For? from BACK TO ME, in both sentiment and delivery. (“Everything in this house breaks, you’re gonna fix it, or so you say”). Its driving rhythm and layered vocals are simply wonderful and, approaching the six-minute mark, it’s the longest track on the album.

Similar sentiments surface on Options Open, the first single from the album. Originally written as a love song while in the throes of a relationship, its lyrics also unintendedly predict the future. Those feelings of anger and self-regret recur on Fool’s Ride (“you know how to spend my money, you know how to spin a story”) and Feelings Fade (“Here’s a moving target, take your shot”). A childhood friendship, recently rekindled, is recalled on the soothing ballad Simple Math and the emotional Ashes to Ashes remembers a customer of hers at Quitters, who died suddenly while shovelling show.

With considerable quantities of hardship and regret visited on TOTAL FREEDOM, the album could have been expected to be sorrowful and sombre. Instead it’s quite the opposite. It waves the pain of the past a firm goodbye and its conclusion is one of self-congratulation and defiance, as Edwards moves on to the next stage of her life, with head held high.

“I got birds on the feeder. I got dogs and they’re sleeping. I got total freedom’’ she announces on Birds On The Feeder. It’s a declaration of re-birth and the opening of a new chapter in the life of a purposeful and enormously talented artist who, all being well, is back for good.

Review by Declan Culliton

Mary Chapin Carpenter The Dirt and The Stars Lambent Light

Together with fifteen Grammy nominations and five awards, Mary Chapin Carpenter has sold over fifteen million albums across a career that started in 1987 with the release of her debut album HOMETOWN.

She travelled to the U.K. to record THE DIRT AND THE STARS at Peter Gabriel’s Real World Studios in Bath, engaging the legendary Ethan Johns as producer. The songs that accompanied her on her journey for the recording consider failing relationships, mental illness, isolation and rejection. However, these topics, in true Chapin Carpenter style, are tackled with empathy, understanding and concern on an album that is anything but downbeat.

The album kicks off in fine style with Farther Along and Further In, with its nod in the direction of English folk, possibly motivated by the striking rural surroundings of the recording studios. Chapin Carpenter is renowned for her thoughtful and evocative writing, and sixteen albums into her career has not dampened her zeal. She writes from the heart here, examining both personal and universal issues. Resigning herself to feelings of melancholy on It’s OK to Be Sad she declares ‘These feelings are like weather, they come and they go.’  

She raises the tempo on the six-minute bluesy semi-spoken tirade that is American Stooge. Aiming for the jugular, she scores a direct hit, with a biting dig at the so-called American way and purported to be directed at the insincerity of a particular politician (‘to hell with the truth, I’m sucking up to this dude’). It’s also a reminder that she has never lost her social conscious or her fearless opinions. Equally powerful is the rocking Secret Keepers, where she advises opening up rather than harbouring fears and anxiety, and being conscious of the mental baggage others may be harbouring.

The quite gorgeous piano led Asking For A Friend speaks of the difficulty in finding the correct and least hurtful words to finish a relationship that sadly is fading. A similar thread follows on the title track which brings the album to a close. Over its seven minutes, she reminisces about a relationship of yesteryear, its disintegration and the healing that ensues. It ends with a lengthy and wonderful guitar arrangement that seems like the perfect finale to what is another splendid album that offers many moments of splendour, from an immensely talented artist.

Review by Declan Culliton

Twisted Pine Right Now Signature Sounds

When a musical genius like Bela Fleck, Chris Thile or Sierra Hull diverts away creatively from their original genre, they often leave at least half of their audience behind, scratching their heads. However, this leaves the door open for others to do the same - expanding and enriching the music ‘which raised them’ and hopefully creating original sounds and attracting new audiences, particularly from a younger generation.

Twisted Pine are a young band from Boston who are pushing the boundaries of bluegrass out to its limits - to the extent that it’s not easy to discern that they started off in that genre at all. They describe their sound as ‘Americana funk’ and there’s certainly a huge jazz improvisation influence evident. Led by hugely talented fiddle player, vocalist and principal songwriter Kathleen Parks, the four piece have produced a confident string based poppy upbeat sound that is unlike any other current band sound that springs to mind.

Bassist Chris Sartori, who also plays unusual percussion instruments, has a jazzy style while Dan Bui plays a choppy percussive mandolin. One of the principal reasons for the unique sound is due to the prominent presence of flute, played by newest member Anh Phung, who also sings beautifully. Of the ten tracks here, four are instrumentals, allowing the band to indulge themselves in what they appear to enjoy the most. Parks positively scats along to her own fiddle in the tongue-in-cheek mischievous Papaya. There’s a cover of an early Father John Misty song (Well, You Can Do It Without Me).

Stand out song for this reviewer is Parks’s Don’t Come Over Tonight, in which the protagonist finally asserts herself and removes herself from an unhealthy controlling relationship. The edgy sinister atmosphere is invoked powerfully and cleverly by Dan Bui’s mandolin and Ahn Phung’s dissonant flute contributions.

Twisted Pine will probably be akin to Marmite to our readers ... have a listen and make your own mind up!

Review by Eilís Boland

John C Stannard Folk Roots Revisited CastIron 

This UK-based artist has been involved in music since his days as a member of folk group Tudor Lodge, which was formed back in 1968. The band experienced some success, including a highly-collectable debut record, before disbanding in 1972. The group reformed in 1980 and played together on the Folk circuit until 1988, when further changes saw a duo remain, with Stannard and Lynne Whiteland going on to release a further five albums and who continue to perform today.

However, Stannard had seen a different direction along his previous path and had begun writing blues-based songs back in 2011. This new interest culminated in the release of his debut solo album in 2013, as the John Cee Stannard Blues Orchestra (THE DOOB DOO ALBUM). He has since gone on to release a further four albums, whether playing as a trio in Blues Horizon, or inviting a bigger band sound into the studio.  

This new release has Stannard returning to his roots as a folk singer and channelling the old spirit that the 1960’s inspired. There are a few songs from that era included in Lovely Day and If Only She Were Here with a further five tracks inspired by a song-writing workshop that Stannard attended in 2019. There are 12 musicians who were invited to contribute and play on this new release, including his two Blues Horizon mates, Mike Baker and Howard Birchmore, with the rhythm section of Dean Robinson (drums) and Les Calvert (bass) appearing on the majority of tracks. There is the sweet sound of flutes on a few songs, with accordion, harmonica, Celtic harp, mandolin and violin, all making welcome appearances also. 

The music is very much steeped in acoustic Folk territory with the excellent production of Stannard and Matt Bew giving room and a relaxed environment for the arrangements to breathe. The twelve tracks include The Ferryman, a song about our crossing into the afterlife; Shades Of Grey, the longest song included on this 40 minute project and one that questions our inclination to want black and white solutions to life’s challenges. The message of I See A Boy is to look beyond old age and embrace the child within each other and the memories we create. Stannard is a fine lyricist and the words of these songs are well considered and delivered with an easy perspective.

No doubt, he will return to his preferred medium of the blues, but Stannard has opened up a musical box of memories that hopefully will see him revisit again in the future. A talent worth exploring.

Review by Paul McGee

Dave Greaves Still>Life (The Legacy Collection) Inbred

This singer-songwriter has been playing music since the 1970’s and has released a number of albums since those heady days of the Folk movement in England; times to be remembered in both memory and song.

Greaves now lives in Scarborough with his family and those days of the bright lights and busy schedules are behind him in the past, resting where they belong. Life goes on and change is an inevitable part of it all. Looking back can be a dangerous pastime and Greaves once had deals with Island Music, EMI Music, Demon Records, Black Bear Records and Pye Records. He also toured with artists like Sandy Denny, John Martyn and also shared billing with Nick Drake.

As you can expect, his craft is well seasoned and the ability to create a little magic on the frets of his 6-string guitar is not in question. Greaves writes from personal experiences and his stories of the heart fit perfectly with his acoustic guitar playing. Quietly expressive and exuding a confidence borne of the years, a gentle sound that is both current and connected. 

Half the songs on this 2-cd release appeared on earlier releases, with both A PIECE OF THIS LIFE (2006) and YOUNGER BY THE HOUR (2015) given equal billing and showcasing his ability over the years to maintain a high standard of both playing and writing. Each disc contains 11 songs and there are traces of early John Martyn in the guitar phrasing on tracks like A Piece Of This Life, Killing Time (From the Neck Up) and Wild Card on disc one. Legacy is an interesting song with nice playing from the assembled musicians. Fool’s Gold, The Desperate Hours and From Cannery Row are other fine examples of the craft at play here but really the overall listening experience never gets to be a burden across the 80+ minutes

The band sound on disc two is more prevalent and songs such as Sunflowers, Phantasy, The Longing For You and Me & Lucky is beautifully proportioned and the production standards are of the highest quality. I Love Ya Babe and Page 75 are tender and sweetly delivered. 

Greaves wrote all the songs and there are 5 co-writes across the 22-track collection. There are a quite a few musicians credited on these tracks across time, as this Legacy collection is just that – a legacy. Dedicated to his father George Greaves who died in January of this year, there is a sense of time passing and memories left behind in a number of the songs, as if the intervening years have all come back to say a quick hello and leave again with a smile.

Of the songs included, 4 tracks were recorded in 1994 (in Hull) and a further 7 in 2003 (in France). There were 5 more recorded in 2006 (in Yorkshire) and another 6 in 2014 (in Scarborough & London). The songs are all very engaging and the different dynamic on the band numbers are a nice contrast against the solo tracks with just guitar and voice. Definitely a record for those who enjoy contemporary Folk sounds, a relaxing look into the talent of this singer-songwriter who has flown under the radar for too long now.

Review by Paul McGee

Mia Arends & Michael Deering Rough Magic Self Release

In 2007 this musical duo recorded their debut release, COVER ART. It was a 20-track project that yielded a very generous one-hour-plus of cover versions, based around favourite songs and the varied musical influences of both artists. 

Now comes their follow-up album which was recorded in Seattle, WA and along with six original songs are more cover songs that display an eclectic mix in the couple’s ever-expanding musical tastes. Songs by Paul Simon, Lennon & McCartney, The Incredible String Band, Blind Willie McTell and Duke Ellington are included, along with other less-known songsmiths. The impressive part of this project is the manner in which the cover versions are seamlessly blended together, to such an extent, that you would not know they were cover versions at all, unless you already were familiar with the original songs.

The simple arrangements and melodies are very easy on the ear and drift along in a pleasant reverie. Deering plays acoustic and slide guitar, mandolin and harmonica and his partner Arends creates all the vocal dynamics and harmonies which lift the songs to a higher place. Deering interprets the songs with a very fluent fingerstyle on guitar and also provides vocals, along with Michael Connolly who plays upright bass, violin, piano, table and snare drum, along with hand percussion. Brad Gibson adds drums and Colin Isler plays cello.

The six original songs are Mend Your Own Heart and Use, both gentle & reflective, and co-written with Seattle singer songwriter Tamara Lewis;  Pilgrims & Gone, both written by Michael and displaying sensitive interplay between the musicians; Dreams So Real and Joy, written by Mia and highlighting the vocal layering and prowess that she brings to the pairing. Their talents are equally comfortable with Folk, Blues, Jazz or Pop arrangements and the versions of Norwegian Wood, Mood Indigo, Blue Skies and Baby It Must Be Love, defy all attempts at genre limitation and celebrate the essence of a great song, played with skill and subtlety.

Review by Paul McGee

Parker Gray Luminous Darkness Gallway Bay

This is a collaboration between songwriter Peter Gallway and keyboardist Harvey Jones. Cinematic musical interpretations of 11 poems by Peter Gallway, both spoken and sung, from his collection Big Mercy; inspired by the writings of Raymond Carver, Leonard Cohen, Charlie Smith and others. 

The simulated ticking of an old grandfather clock runs through opening track, Romance Comes, which is surrounded by soundscapes that swirl and soothe. Next is a song about Gallway’s father and the life he has lived, A Younger Man’s Hands, internally locked in private thought and in the external World, holding his place in the role of stoic provider. The deep groove of Poetry is ambient funk and the spoken lyric tells of the writing process and the creative conundrum suffered by so many in trying to define some part of this existence, in order to feel relevant.

Nate Birkey plays trumpet on Breathless, with Annie Gallup adding her vocal also, an experimental jazz flavour running through the song. The title track, Luminous Darkness is pure jazz mood in the small hours with the thoughts that musicians really ‘live like lifers without parole.’ Dreamy and delightful. Birkey again on trumpet, creating colour and hue.

One could imagine Grace Jones adding her smouldering voice on a number of these tunes, such is the restrained dynamic and tempo of the arrangements and the sense of sophistication in the richly layered sounds. The sensual flow on Tango being the perfect example!

Rolling Stones, 1964 plays with the ‘The Last Time’ song riff and the repeated rhythm is coaxed into a free-form sound exploration of random effects and noises. The ticking of a metronome sound features on The Uninvited Guest and the sense that Donald Fagen could well be lurking in the dark side of the alley. It could also be Paul Buchanan of the Blue Nile or indeed Talk Talk in their heyday that runs through parts of these ruminations. Some of the songs, like impressions, are prayer-like, the spoken words mirroring Leonard Cohen in style and substance. 

Final track, Quiet, is a meditation on passing moments of time, the precious nature of it all, choices made, decisions taken, lives shaped. Deep diving but delivering many moments of light in the darkness of this night journey. Meditative, ground breaking, something other… Compelling! 

Peter Gallway’s music is always intimately thought out and presented in a style that is both abstract and intelluctual, defying any attempt to pin it down. Indeed, I must question what the act of trying to label a sound actually achieves? Why this urge to place everything musical into little convenient boxes? Inventive music needs to be embraced and shared. Buy this very fine example of all that is good in the creative expression.

Review by Paul McGee

New Album Reviews

Andi Rae Healy Last Time I Checked This Was A Free World And I Wasn’t Anybody’s Girl Self Release

The eye catching album design/packaging - a pastiche of 50s Western style in bright yellow with Healy posing cheekily as a cowgirl  - gives a hint as to what lies within. A stalwart of the NYC live scene, Healy’s fourth album is a joyful celebration of girl power, with musical influences ranging from traditional country to 60s pop and Disney musicals. Even her heart break songs are written and delivered with a sense of positivity - she’s got a quality to her voice that reminds one of fellow New Yorker Cyndy Lauper (who incidentally contributed vocals to her first album). 

The title song is pure honky tonk fun, with prominent pedal steel from Gerald Menke. Come Get Me, (this is not a) Sad Song and You Think are equally rooted in classic country but all performed endearingly tongue-in-cheek. Elsewhere, Healy employs brass and strings liberally, which contribute an air of theatricality and invoke mid-20th century musicals. There’s only one departure from the lightness - What Were You Thinking? addresses those who recently voted for a certain US President. It’s the only hint on the record of Healy’s interest in environmental and social issues. Indeed, currently proceeds from her album sales are going to a US charity - another good reason to check out her website. The excellent closing song Bored could have been written for the pandemic lockdown - how lucky was that? 

The album was ably produced in his studio Postscript Sounds by fellow Brooklynite Jeff Litman, who also played guitars/mandolin/keys. Jeff is also a member of Healy’s live band, The Back River Bullies, who all played on the recording. A fun album definitely worth checking out.

Review by Eilís Boland

Bai Kamara Jr & The Voodoo Sniffers Salone Moosicus/MIG

Desert blues combined with passionate, clever story telling, soul and passion, and all delivered in a rich warm baritone (that voice!) make for an introduction to Belgian based artist Bai Kamara Jr. A name new to us, but this is the 6th album from the Sierra Leone born artist, whose mother was that country’s Belgian ambassador, and who himself grew up and was educated in England. Previous albums dealt in blues, rock, soul and jazz, but he has truly found his calling with his first conscious exploration of his North African roots, with a guitar sound reminiscent of that first brought to our European ears by Ali Farka Toure and Tinariwen.

Although credited to his road band, The Voodoo Sniffers, Kamara Jr wrote, produced and performed all 15 excellent tracks here, and the production is faultless. 

He kicks off at a metaphorical crossroads in his life with Can’t Wait Here Too Long, and goes on to explore themes including love, relationship breakdown and even the much dreaded school run in Morning School Run Blues. Particularly memorable is the tongue-in-cheek Lady Boss, where the protagonist appears to complain about being at his female boss’s beck and call, ending with the memorable line “She’s into the ‘Me Too Movement’ ... and me too”. Black Widow Spider is a chilling exploration of a metaphorical threat to his family, realised by the clever use of percussion to realistically evoke the scuttling of a giant spider - not for the faint hearted! Stand out track has to be Homecoming, which movingly recalls his first trip back to Sierra Leone (known as Salone in the Krio language) in 15 years. (Check out the superb video of that trip that accompanies this song). An added bonus is the slick digipak, with excellent photography and a lyrics booklet.

Review by Eilís Boland

Jim Bachmann Arizona Burrito Ripsnort

This is a new 8 track mini-album from the Arizona-based musician. He has honky-tonk in his DNA, deriving from his Grandfather, who played in a family band. Gigging in Phoenix he has played with the likes of Billy Joe Shaver, Whitey Morgan, Reckless Kelly, Shooter Jennings and Dallas Moore. This is only a partial list, giving you some idea of his affiliations and affections and how his music fits with those artists own repertoire and attitudes.

Bachmman draws on some of those friendships when he is joined here by Dallas Moore for a duet and by guitarist Tony Martinez (from Whitey Morgan’s band the 78s) on Waiting On A Train. Ray Herndon (who is a regular with Lyle Lovett’s Big Band) is also a guest guitarist on several of the tracks. All of which bring a sense of diversity to Bachmann’s album, with brass and soulful backing vocals gracing Down On My Knees. The swelling organ notes are a vital part of the overall sound as much as the solid guitar riffs, all adding to the overall muscular musical methodology of this Americana stew. His band the Day Drinkers deserve their credit too for their part in the making of the album. As does Meridith Moore, who is the harmony vocalist on Last Of The Dying Breed, a song he previously recorded back in 2008 for a self-titled album.

The songs travel a well driven roadway that cover his particular blend of country, blues, rock and some regional influences. On top of this music is the strong and soulful mellowness of Bachmann’s voice. It’s one that falls on the right side of rough-edged, as witnessed by his and Moore’s version of Shaver’s Live Forever. These songs are not without a sense of humour at the absurdity of love, life and liquid ambition, as expressed by a man who is now On The Upside Of Down. There’s also  the optimistic thinking of Let’s Get The Band Back Together but, as often happens, trying to find the mutual timing for this to happen is not a particularly easy task.

There is a strong likability the music played by Bachman and his Day Drinkers and an extra couple of songs wouldn’t have gone amiss. How far outside of Arizona and that area this music can travel and have an effect is debatable. But I’m sure these guys have a loyal following locally and can share a stage with many of their contemporaries as equals. While this Arizona Burrito is likely best savoured on home soil, it could become something of a favoured taste elsewhere too.

Review by Stephen Rapid

The Mavericks En Español Mono Mundo

An album sung entirely in Spanish seems a perfect vehicle for Raul Malo and his fellow key Mavericks Paul Deacon, Jerry Dale McFadden and Eddie Perez, accompanied by members of their live band (dubbed the Fabulous Five). Malo’s Cuban/American heritage has also had an influence on his music and has regularly featured as a part of their live set. That this is a perfect combination is underlined by the fact that if you don’t understand Spanish, the mood and drama of the songs will still come across strongly. There is a unit of consummate musicianship which is evident throughout and the brass arrangements enhances that music at every turn.

There is also Malo’s majestic voice that at times, has seemed a little close to a certain Vegas-ness perhaps exemplified by their cover of the Englebert Humperdink hit A Man Without Love. But here it is rendered in Spanish as Cuando Me Enamoro and is perfectly suited to the overall musical language of these songs and arrangements. The blend here is both widescreen cinematic and for the dancefloor, with the rhythms of salsa and bossa nova. What is also apparent is the naturalness of the language for Malo, who can bring drama, emotion and depth as easily as he has done in the past with his English language songs.

Also, not to be underestimated are the contributions of the rest of the band, who never seem to be forcing their playing but rather have equally immersed themselves in the project. There are additional guests here also, such as accordion legend Flaco Jiménez and arranger Alkberto Salas. The production by Malo and Niko Bolas is exactly as it should be to bring such a project to creative fruition.

It will be interesting to see how the album fares in this Covid-cloaked times and how their loyal fan base will take to a full Spanish language album, opposed to their previous recordings. This is obviously an album that Malo has wanted to make in a long time and this seems the ideal time to put it out, although this album is, in truth, unlikely to get the exposure on mainstream country radio stations. This is a perfect example of Cuban Americana, if there is such a thing, or perhaps simply an album en español that stands up for what its title offers. It’s not for everyone or even all Mavericks fans but it certainly is something the band needed to do to connect with Malo’s roots. In that sense it is perfect.

Review by Stephen Rapid

Zephaniah OHora Listening To The Music Last Roundup

While Music City Nashville continues to churn out routine and repetitive pop music to dominate country music radio and Billboard Country Music Charts, much further afield a number of artists are keeping the flag flying for old school country. New York might not be the most obvious trading post for classic country, but Brooklyn based Zephaniah OHora put a marker firmly down in 2017 with his debut recording, THIS HIGHWAY. Like many country artists, OHora’s path to an artistic career began by playing guitar at his church during Sunday congregations. He was raised in New Hampshire in a devoutly religious family. His devotion to classic country was reignited some years later while working and residing in New York, and he spent many afternoons trawling the city’s record stores to add to his collection of old country albums.

OHora’s own musical career was formally launched soon after, while still living in New York.  In his early twenties at this stage, he was offered a residency at a small bar in Williamsburg, to perform standard country classics and also to provide a DJ set. A further opportunity arose to act as a booker for a new music bar in New York named Skinny Dennis, which featured live acts nightly and became the centre for the re-emerging country music scene in that city.

His first studio recording THIS HIGHWAY, was an unequivocal statement that prime country music can emerge from an urban environment, as well as it’s more traditional rural origins. Its lineage pointed more in the direction of Bakersfield than Nashville, with the quality of OHora’s vocals and song writing emphasised by a slick co-production at the hands of Luca Benedetti (Martha Redbone, The National Reserve) and Jim Campilongo (Norah Jones, Teddy Thompson). This time around the production duties for his follow up album LISTENING TO THE MUSIC were undertaken by revered songwriter and guitarist Neal Casal (Ryan Adams, Chris Robinson), who tragically passed away only months after the album had been completed. The bulk of the album was recorded live at The Bunker Studio in Brooklyn in four days, with the finishing touches applied by OHora and Casal over a seven-day period. A select host of players and backing vocalists were engaged, including renowned New York guitarist John Shannon who, together with Casal, adds some wonderfully understated playing. John Graboff, who was a member of Ryan Adams’ backing band The Cardinals alongside Casal, plays pedal steel and drums are played by freelancer Arthur Vint, who regularly performs on stage with OHora.

Black and Blue and All American Singer were both released in advance of the album’s launch and were indicators that he wasn’t straying too far from the blueprint that worked so well on his debut offering. Heaven’s On The Way is a countryfied distant relative to Tom Paxton’s The Last Thing On My Mind and opens the album in fine style. It’s Not So Easy Today is classic Countrypolitan adorned by silky strings behind a crystal-clear vocal delivery, and Riding That Train and Time Won’t Take It’s Time With Me sound as if they were borrowed from a Merle Haggard Greatest Hits compilation.

THIS HIGHWAY may have set the bar at the highest level but OHora has equalled, if not surpassed, the standards he set with that debut effort. It’s packed with memorable songs that recall Merle Haggard and Glen Campbell at their best, and is enriched by gilt edged vocals, playing and production.

Flawless is a description I rarely use when describing an album. In the case of LISTENING TO THE MUSIC, that description is more than justified.

Review by Declan Culliton

Steve Baskin Mind Your Step Self-Release

While aimed at the Americana market, MIND YOUR STEP, the fourth album release by Steve Baskin, is more like a compilation of the musical styles that make up that all-embracing classification. The album finds room for tracks that are soul, country, rock & roll, folk, R&B and classic rock, presenting a road map to practically all the genres that Americana encompasses.

Three tracks in and you’ll already have encountered dissimilar styles on the rocky Afraid Today, countryfied Big Wedding Small Divorce and the rich soulful sound of the title track, complete with horns and organ. That passionate full on sound also features on Cutting Room Floor, while the delightfully funky Glass of Wine represents a more laid back and mainstream interpretation of soul. Equally impressive are the radio friendly Dances by Moonlight and the cover version of Bob Welch’s Sentimental Lady.

Baskin plays acoustic and electric guitar, bass and mandolin, as well as contributing lead and harmony vocals. He co-produced the album with Rich Herring of Little River Band. Both the production and playing is slick and compliment the calibre of the song writing.

MIND YOUR STEP harks back to early 70’s, an era when numerous American bands introduced soul and folk into their mix, often earning radio play and commercial success by doing so. By following a similar course, you get the impression that the material on the album was what Baskin was born to make, as it is oozing with warmth from start to finish. It’s well worth investing your time for a listen, for a throwback to those heady days.

Review by Declan Culliton

H.C.McEntire  Eno Axis Merge

The debut solo album from Durham, North Carolina resident H.C. McEntire, entitled LIONHEART and released in 2018, was a no-holds-barred reflection on her beloved home state and the contradictions of growing up as a gay woman in a small Bible Belt farming community in North Carolina. A classic lyricist, she follows a similar theme on ENO AXIS with songs that suggest some more intense personal and intimate probing.

Unlike LIONHEART, which was written piecemeal while she toured, this time around she returned to her farmhouse in the woods in Durham to compose the ten songs contained on the album.

In another life McEntire is a backing singer with Angel Olsen’s touring band and also fronts the criminally underrated band Mount Mariah, who have recorded three excellent albums. However, her solo career has given her exclusive artistic freedom to write and compose without compromise or interference. Her writing is poetic, equally impressive with or without the instrumentation that accompanies her words.

ENO AXIS is packed with imagery-invoking songs from start to finish. One Eye Open graphically revisits her childhood Sunday School days. It’s a short track, running barely over two minutes, but in those minutes her layered vocals create vivid scenes of burning crosses, bowed heads and plates overflowing with notes and coins being passed around. Those memories also resurface on the instrumental Sunday Morning, which is spellbinding, powerful and bordering on frightening.

The album’s title derives from the river Eno which flows close to her property and River’s Jaw salutes its allure and beauty, though the scars of Christian fundamentalism are also close to the surface (‘Walk at dusk to the river’s jaw, beg for rest from the hand of God’).  She maintains the religious thread with a cover of Led Zeppelin’s Houses Of The Holy, which closes the album. She has essentially only borrowed the lyrics of the song, as her delicate delivery is practically unrecognisable when compared to Robert Plant’s screeching vocals on the original version.

Time Is On Fire, the first single from the album, is a brooding affair, quite radio friendly and showcases her capability to construct easy on the ear songs, alongside her more contemplative offerings. However, the album’s finest minutes unfold on Final Bow. Detailing a fall from grace and decay, the song finds McEntire at the top of her game lyrically and musically (‘Rosewater, slinging bottles of gin, she’s already in the alley now, smoking cigarettes, it’s as real, real, real as it gets ‘). It’s also all the better for some crunching guitar breaks.

The foundations of ENO AXIS can be traced back to McEntire’s upbringing, surrounded by country and gospel roots music. The meandering musical paths she has since navigated have rewarded her with the talent to merge those elements and create a unique sound that lands somewhere between Americana and Indie. The end result is a most rewarding listen from an artist maturing into one of the most eloquent songwriters of her generation.

Review by Declan Culliton

Western Terrestrials Back In The Saddle Of A Fever Dream Self-Release

With a less than conventional take on country music, Vermont five-piece band Western Terrestrials combine their love of old timey with a razor-sharp edge that is closer to Hank III and Sarah Shook & The Disarmers than their musical heroes of yesteryear. The band members are Nick Charyk on vocals and guitar, bassist Jason Pappas, drummer Jared Croteau, keyboardist Alex Kelley, and Asa Brosius on pedal steel.

Their 2019 release CLEARLAKE CONSPIRACY took aim at the bland formulaic product being churned out from Nashville at present under the banner of ‘country music’. Tracks such as WWWJD (What Would Waylon Jennings Do) and Automated Trucker Blues pulled no punches, on an album that also paid homage - and name checked - many of Charyk’s Honky Tonk champions.

Somewhat ironically, the band travelled over one thousand miles south from Vermont to Nashville to record BACK IN THE SADDLE OF A FEVER DREAM. The journey was at the invitation of Dean Miller, the son of the legendary Roger Miller, who offered his services to record a few songs at Omnisound Studio on Music Row, having been impressed by the band's previous recording. Omnisound Studios has hosted Bobby Bare, Marty Stuart, Alan Jackson, Porter Wagoner, Ray Price and many more over the years. The icing on the cake for Western Terrestrials was an offer from Georgette Jones, daughter of George Jones, to sing a duet with Charyk on the album and an invitation from Ketch Secor (Old Crow Medicine Show) to co-write a track. The remaining songs were recorded at Cinderella Studios, the oldest surviving independent studio in Nashville, under the supervision of Wayne Moss, the studio's founder.

The album title is a pointer to what you can expect. It delivers its fair share of twang, it’s sometimes conventional, often maverick and never lacklustre. The toe tapping duet with Jones Who’s Gonna Fill These Boots? is playful and impressive. Ethan Alien, the co-write with Secor, is a lively tongue in cheek episode that name checks Neko Case, Bernie Sanders, Ben and Jerry, and Randy Quaid in its listing of ‘aliens’. The more orthodox Space Cowboy’s Got The Blues is a delight, bringing to mind The Sadies at the top of their game.

Review by Declan Culliton

West On Colfax Barfly Flew By Greenhorse

Hailing from Lancashire in the U.K., West On Colfax are a five-piece band whose debut full album BARFLY FLEW BY is the first release on the Preston based Greenhouse Records label. The band’s name was derived from the title of The Delines' 2014 debut album COLFAX and is a pointer towards the musical direction in which they travel. They describe their sound as alt-country and numerous support slots to visiting American bands playing in Lancashire have given them the opportunity to develop their own sound and deliver it to live audiences.

Their combination of country, roots and blues is a throwback to the heady days of the mid 1970’s and pub rock in the U.K., when bands similar to them played residencies and delivered a mixture of covers and original material. The songwriting is mainly by bassist Scott Carey with Alan Hay developing those lyrics into the tracks that feature on the album, together with playing guitars. Also featuring on guitar is Peter Barnes, who is credited as the writer of Back Out On The Road. Drummer Mike Lambert and multi-instrumentalist Ian Aylward-Barton are the remaining band members.

The songs are strong on melody with opener Choke Hold, Tyre Marks and the title track being the standout songs, all three are rich and guitar driven. They slip back into cruise control with the relaxed ballads Cowgirl Of The County and album closer Light Again, both of which drift towards country.

Prior to the Covid-19 related shutdowns, they were also instrumental in staging Americana music shows in Preston, together with their band duties. This was a noteworthy commitment from a collection of music lovers and BARFLY FLEW BY is a wholly heartfelt offering that they can be justifiably proud of.

Review by Declan Culliton

New Album Reviews

Sylvie Simmons Blue On Blue Compass

For a music journalist and author to take up the challenge and enter a studio to record their own material requires both courage and conviction in equal measures. That’s precisely what Sylvie Simmons did in 2014, when she recorded her debut self-titled album. Her career can boast thousands of album reviews across more than four decades, interviews with hundreds of artists from Rod Stewart to Michael Jackson and Bruce Springsteen to The Clash and she is the author of numerous books, including fiction and biographies. Her Leonard Cohen biography I’M YOUR MAN: THE LIFE OF LEONARD COHEN (2012) was a New York Times and international best seller and has been translated into twenty-nine languages to date.

Her career behind the microphone developed when she toured extensively in support of the Leonard Cohen biography. Her presentations and readings included executions by her of a selection of Cohen’s compositions, accompanied by her ukulele. Her recording calling followed in 2014, when she released SYLVIE. Produced by Howe Gelb, what could have been considered a vanity project, in fact drew high praise from publications such as Rolling Stone and The Guardian, and from psychedelic folk champion Devendra Banhart.

Simmons travelled to Tucson, Arizona in 2017 to record her second album BLUE ON BLUE, working once more with alt-country trailblazer Howe Gelb. Also featured on the recording is the wonderfully eccentric Jim White. Tucson residents Gabriel Sullivan and Brian Lopez and Australian Matt Wilkinson completed the musical troupe. Unfortunately, a horrific accident on the first day of recording left Simmons with broken bones and nerve damage to her left hand, which led to a number of surgeries and rehabilitation, leaving the recording of the album in abeyance.

The setback resulted in a number of songs that she had written for the album being sidelined, and a re-start to the writing process. As with her self-titled album, Simmons' vocals and ukulele are to the front of the mix. Nevertheless, the supporting instrumentation is more extensive on this occasion, Gelb’s influence coaxing the songs in directions which his work with Giant Sand has often journeyed.  

Simmons' vocals convey a charming innocence throughout and lyrically what may seem like petty details evolve into engrossing episodes. A disordered barefoot man dancing alone in the early morning sun (Keep Dancing) and the sanctuary of home (Sweet California) are both sweetly delivered tales. There is a darker edge to The Thing They Don't Tell You About Girls which, although expressed with a buoyant spirit, disguises a more solemn undercurrent (‘Since you've gone, I keep away from bridges, trains and razor blades’). Waiting For The Shadows To Fall includes an appearance by Jim White on ukulele and bells. Her love of The Beach Boys - particularly the more downbeat compositions by Brian Wilson - as a teenager, fashioned the vision for The Man Who Painted The Sea Blue. It’s a close relative to Skeeter Davis’ End of World, with a matching tempo and sentiment. Creation Day is ghostly, glorious and other worldly, sounding as if the listener is eavesdropping on a sleep walker’s ramblings. She closes the album in style with 1000 Years Before I Met You, a fetching country duet titled 1000 Years Before I Met You, sharing the vocals with Howe Gelb.

Words have consistently come easy to Simmons, so her ability to create graphic images with wordplay should come as little surprise. Those truly touching lyrics, nestled alongside some fine playing, result in a most impressive listen from start to finish.

Review by Declan Culliton

The Jayhawks XOXO Thirty Tigers

The purple patch enjoyed by The Jayhawks from 1992 to 1997, when they delivered three classic albums, HOLLYWOOD TOWN HALL, TOMORROW THE GREEN GRASS and SOUND OF LIES, has always set the bar at the highest possible level for the band that formed in Minneapolis thirty-five years ago.  The first two of those albums established them as pioneers of the alt-country camp, at a period when that movement was very much in its infancy. The shared vocals and writing of Gary Louris and Mark Olson, alongside jangly guitars and sweet melodies, was very much at the forefront of a creative, if somewhat retro, musical direction. After Olson’s departure in 1995, Louris continued with the template of infectious melodic material, but abandoned the country leanings in favour of a more conventional rock sound. SMILE (2000) and RAINY-DAY MUSIC (2003) continued in a similar vein and after an eight year pause in recording, Olson came back on board for MOCKINGBIRD TIME in 2011, which proved to be their most commercially successful release. Unfortunately, the tour in support of that album led to a major falling out between Louris and Olson and to a wound that remains open to this day.

Louris endorsed an altogether different approach with XOXO, the band's thirteenth studio recording. The writing credits and main vocals were divided between the four members this time around.  Those three members alongside Louris are original disciple Marc Perlman on bass and harmonica, Karen Grotberg on keyboards and Tim O’Reagan on drums, guitar and sitar. Pedal steel is added by guests Eric Heywood and Stephen McCarthy. On previous albums the band members have contributed to the writing, but the writing was predominantly from the pen of Louris. On this occasion six of the tracks exclude any writing credit to Gary Louris.  The final product of such a democratic approach could have been somewhat disjointed and piecemeal. On the contrary, nothing could be further than the truth and XOXO, despite so many cooks, works spectacularly well both in the writing and delivery of the twelve songs. This should not come as a surprise to fans of the band, Tim O’Reagan’s self-titled album from 2006 was evidence of his ability to both craft and deliver quality material. Perlman has co-written with Louris on many occasions, Grotberg less so. The opportunity for those three to contribute their own compositions is an unforeseen triumph.

Given the free hand that they were offered, the end result reinforces exactly what The Jayhawks do so well. The trademark countrified gems, rich in harmonies and complete with slick guitar breaks that HOLLYWOOD TOWN HALL had in plenty, are replicated on This Forgotten Town and Bitter Pill. The former finds O’Reagan stepping into Mark Olson’s shoes by sharing lead vocals with Louris. The more power poppy gems that SOUND OF LIES was packed with are reborn on Little Victories, Living In A Bubble and Dogtown Days. That four individual vocalists take the leads goes unnoticed, given the fluency and smoothness of the tracks.

What could have been an inconsistent and fickle exercise, has instead produced an album that compares most favourably with much of their acclaimed output. It would be incomprehensible to expect The Jayhawks - or any other band for that matter - to recreate the brilliance of HOLLYWOOD TOWN HALL or TOMORROW THE GREEN GRASS. However, XOXO stands shoulder to shoulder with the rest of their recordings, and it is arguably their finest since RAINY DAY MUSIC in 2003.

To quote Gary Louris “This album feels like a new lease on life for us and my only regret is that we didn’t do something like this soone.” Hopefully that’s a pointer of more to come from this reborn quartet.

Review by Declan Culliton

Van Darien Levee Mechanical Heart 

 Leaving her home in the rural town of Weatherford, Parker County, Texas in 2015 to relocate in Nashville gave Vanessa Darien the stimulus to reflect on her life experiences and draw on them to create the body of work that would become her debut full album LEVEE.

Her father, a welder by trade, was the proprietor of a machine shop on the family property and a number of tracks on the album are drawn from her experiences growing up in that environment.

Her musical influences include fellow Texans Guy Clark and Townes Van Zandt, along with indie bands The War on Drugs and Metric. While these elements do surface occasionally on the album, its direction is more classic rock and quite mainstream by times. However, that’s not to lessen the quality of her writing or the delivery of the material. It was recorded at Glass Onion Studio in East Nashville and co-produced by Steven Cooper and JD Tiner. Credit is due to all involved in the studio, the sound is clear and crisp throughout both on Darien’s muscular vocals and the skilled musicians that she worked with.

Maren Morris has been spreading her wings of late with her inclusion in The Highwomen and her welcome role in encouraging Kathleen Edwards to write music again. She’s also active here, co-writing two of the tracks, Low Road and Twisted Metal. With an educated sense of where the market is at present for emerging female artists, one can also sense that Morris may have influenced the musical direction on the album. Joey Green is also credited, having written American Steel with Darien.

The album’s title track reflects the dilemma of Americans living through The Great Depression, and could also be a representation of similar pressures being currently experienced (‘Mouths to feed, hands to fill, money's become my enemy. I’ve been hanging on for far too long now, I don’t know how much more of this I can take’). That emotional baggage continues on the impressive ballad Cardboard Boxes. It’s written by co-producer Cooper and dwells on moving on to new pastures and challenges.

Ponderosa explores the continual search for that elusive dream. An upbeat rocker, it recalls a Tom Petty rhythm. The album’s two standout tracks are the previously mentioned American Steel and Twisted Metal and it’s no coincidence that both have foundations in Darien’s childhood, in front and behind the counter in her father’s store. The latter is a powerfully delivered mid-tempo song that recalls the toils of the blue-collar workers and the sweat they pumped to build the nation. Twisted Metal is a full-on raunchy anthem with a killer guitar break and depicts an uncontrollable and passionate coming together. Described by Darien as two people uniting like cars in a demolition derby, she sings ‘Shine like gold, we’re strong as steel, honey just keep your foot on the pedal.’ Low Road is a smoky barroom blues number, with controlled and throaty vocals adding to the piano driven tempo. She can do soul as impressively as blues and she strains every vocal cord on the splendid Insanity.

You can sense Darien has poured her heart and soul into LEVEE, leaving no stone unturned and creating a body of work that she can be deservedly proud of.  It’s difficult to categorise - Americana would be a lazy description as it’s closer to mainstream than anything left of centre. It is the musical direction that many of the acts that feature on the C2C tour take, though it’s not anything resembling country music to my ears. Either way, it’s a most impressive recording from an artist that ticks all the boxes as one who should carve out a successful commercial career going forward.

Review by Declan Culliton

Nocona Los Dos Mule Kick

Husband and wife team Chris and Adrienne Isom front Los Angeles based Nocona, playing guitar and bass respectively. Loosely classified as an Americana band, Nocana also includes Justin Smith on drums, Elan Glasser on harmonica, Dan Wistrom on steel guitar and Xander Hitzig on fiddle. Noted keyboard player Carl Byron (Jim Lauderdale, Michelle Shocked, Anne McCue) also came onboard for this album. Slotting them into the Americana pigeon hole is somewhat casual, giving the musical bases they cover, which embrace old timey, punk, blues and psychedelic rock. Not surprising, given their stated influences of The Kinks, 13 th Floor Elevators, X, Link Wray, Townes Van Zandt and Californian country music.

LOS DOS is their third and most ambitious recording.  The contrast in musical directions across the album is staggering, yet works a treat. They flit between the country/bluegrass delight Never Come Back - complete with some killer fiddle playing by Xander Hitzig - and the full-on psych rockers Chester and Unseen Hand. Both Post Apocalyptic Blues and Too Much To Lose recall EXILE ON MAIN STREET-era Rolling Stones.

The rugged musical edge on the album is also reflected in the lyrical content and subject matter. Stabby Mike, the album’s opening statement, depicts a deranged fictional character who cruises the streets, randomly stabbing unsuspecting strangers (‘Everyone, anyone, everyone you know is gonna die and that’s amore’). The melodic delight and previously noted Never Come Back disguises an equally dark undercurrent (‘And that person’s just crazy, send you running to the hills, slit your throat for fun, kick your dog for thrills’)

The production duties on the album are credited to Adrienne Isom and engineer Jay Braun (Norah Jones, Magnetic Island) who also co-wrote the aforementioned Post Apocalyptic Blues with Chris Isom. All other songs came from the pen of Chris Isom. They recorded the tracks in their own garage, under no time constraints, resulting in a gutsy, raw and punky sonic trajectory. To complete their ‘hands on’ approach, they have released the album on Mule Kick Records, a label formed by Adrienne Isom and H.P. Hawthorn, who is also a member of the husband and wife band, The HawtThorns.

Nocona are a genre rotating outfit that wear their heart on their sleeve, coming from musical directions of their choosing, rather than following trends. LOS DOS is a reflection of this and is best described as controlled chaos, a mutant strain of traditional American music and rock. Few bands, with the exception of The Sadies, can fluently and effectively integrate a wide range of musical orientations. Cocona have certainly achieved that with flying colours with LOS DOS.

Review by Declan Culliton 

Robert Jon and the Wreck Last Light On the Highway

This band is based in Orange County, California and they have a very big sound that is stoked up by the superb bluesy vocal of Robert Jon Burrison. There are ten songs included here, the final track and album title, Last Light On the Highway, comprised of two parts; the slow acoustic strum that prefaces a slow-burn build up that reaches a climax and then mellows out into the distance.

In addition to the vocals and guitar playing of Burrison, the band is made up of Andrew Espantman (drums/background vocals), Steve Maggiora (keys/background vocals), Henry James (lead guitar), and Warren Murrel (bass). They are joined by an impressive supporting cast of Jason Parfait (saxophone), Ian Smith (Trumpet) and classy, sassy backing vocals from the superb Mahalia Barnes, Jade McRae, and Juanita Tippins. 

The big sound grabs you from the opener, Oh Miss Carolina, and it just does not let go of that head lock that you are caught in. When you are down on the canvas, these guys are not in the mood to let you up for air, as the songs keep coming out of the traps with attitude and impressive performances all round by the ensemble. There are many highlights, but the guitar prowess of Henry James just about shades it with some blistering feel and fretwork across the tracks. 

Guitars meet piano and soulful vocals on Work It Out and there is a sense of Bob Seger meets Skynyrd circa 1980’s on a few of these songs. One Last Time and Gold slow things down with some tasty blues sounds that resonate. It’s loose and it’s tight, swirling keyboards pumping up the power while the rhythm section play with great dexterity in providing a steady base to the arrangements. Tired Of Drinking Alone, a prime example. 

The rich organ sound of Do You Remember brings back memories of youthful carefree days with nothing more to do than hang out with your friends. Don’t Let Me Go has a sting right out of the ZZ Top songbook with slide guitar and backing vocals stirring up a storm. The sound of string arrangements on Last Light On the Highway helps to build that aforementioned crescendo, with the band hitting the after burners. Americana, Blues and Southern Rock with attitude and a big welcome back to days gone by and old memories for this writer. Stirring stuff.

Review by Paul McGee

Callum Easter Green Door Sessions Moshi Moshi

Folktronica or Electrofolk first came about during the 1980s when a new generation of musicians began to experiment with added sounds, in order to colour the traditional formats which had survived for decades past. One could look to the very innovative work of John Martyn in the 1970s as a point of inspiration, with his Echoplex machine, which introduced a tape delay effect that could be looped and repeated as a backing rhythm. 

The introduction of electronic drums allowed further innovation with solo artists now freed from the need to employ added players in their quest to discover new frontiers. The simple accordion has never been seen as a principal instrument during the history of Folk traditions, more bridesmaid at the wedding feast, something to add layers to the overall sound rather than be expected to appear front and centre. Part of this may have been down to the unwieldy nature of the instrument and the complex construction involved.

This new release is a new take on the original notions held and a redefining of the role that the accordion can play in creating innovative and challenging music. The true definition of independent music lies in the ability to not only engage the listener but to push the boundary of what was considered original. Callum Easter uses drum machine and drone effects to accompany his accordion tunes on this album and delivers much t be admired across ten tracks that clock in just shy of 33 minutes. 

Four of the tracks are reworkings from his debut album, HERE OR NOWHERE (2019), with Fall Down, Back Beat, Tell ‘Em Boy and Only Sun, included in this engaging project. The album was recorded on the basis of one take only, no overdubs and captured straight to tape. Also included are the tracks, Pop Goes the Weasel, Lonely World and Promises from the 2017 mini-album DELETE FOREVER together with Want It Sometime and Feelings Gone from the 2016 mini-album, GET DON’T WANT.  

It all sounds very cohesive, impressive and peppered with little moments of magic as the hypnotic melody builds around the backing tracks. The slower, reflective tracks like Lonely World, One Thought and Back Beat balance with the more up-tempo numbers like Promises, Pop Goes the Weasel and Feelings Gone, while the spoken word delivery to much of the lyrics fall somewhere between an axis of Lloyd Cole and Adrian Moffat. The tracks, Tell ‘Em Boy and Only Sun are highlights in their intensity and delivery but really, the introspective nature of the entire album is the key factor in making this a very worthwhile affair and one that is deserving of your time.

Review by Paul McGee

Andrew Tuttle Alexandra ROOM40

Instrumental albums run the risk of not appealing to the music listener for any number of reasons. The lack of perceptible hooks, be it a key vocal or lyric, can leave the music sounding somewhat flat and/or lacking in dynamic. Those artists who can rise above such challenges are usually blessed with the gift of musical composition that never gets repetitive and challenges us to peel back the layers of arrangement around the often-simple original ideas. 

This is the fourth release since his 2015 debut and his minimalist soundscapes are gentle, relaxing meditations to soothe the senses. The term ‘new age’ artist has been used to describe such music and it sometimes appears to be a derogatory term, used to make the musicians feel on the outside of accepted musical norms. This is reflective and relaxing in a way that conjures up a sense of travel and of movement and invites you in to share in the experience. 

The musicians that Tuttle called into the project are Chuck Johnson (pedal steel guitar), Gwenifer Raymond (microtonal electric guitar and fiddle), Joe Saxby (saxophone), Joel Saunders (trumpet), Sarah Spencer (piano), Tony Dupe (cello, piano, pump organ). They all contribute their parts with great attention to detail and play with understated grace.

The album title refers to the place where Tuttle grew up and a number of the nine tracks reflect local memories and places, such as Hilliard Creek, Finucane Road, Burwood Heights Convenience, Tallowwood View, Vienna Intersection and Cambridge Drive Shopping Centre. 

Andrew Tuttle lives in Brisbane, Australia and he produces music that is both hypnotic and soothing, mixing with elements of electronic sound and symbiotic instruments that weave into air and space. He contributes on banjo, resonator guitar, acoustic guitar, piano and signal processing.

There are moments of pure traditional playing, whether simple piano or banjo motifs from Tuttle, or a hint of pedal steel, fiddle or cello in the distance. Alternative, intimate and serene, this is a thinking man’s map to chilling and letting all those noisy disruptions from the outside world just fade away. 

Review by Paul McGee

Ben Bedford Portraits Cavalier

Bedford is a storyteller of some calibre. His songs are often historical in context and are rooted in time and place. PORTRAITS is a compilation of songs previously released on his first three albums, that were released between 2007 and 2012. However, none were released in Europe in any direct capacity. Overall, I am reminded of some of the folk-based artists of the late 60’s (and earlier). With his writing skills Bedford also possess a voice that has a quality entirely suited to the songs; the words are sung clearly and with empathy and understanding. The backing is largely acoustic but is enhanced by some propulsive percussion, that give the songs an added momentum. Similarly, the bass adds depth and a solid grounding that brings an added space to the recordings. Peter Young is the drummer and Ron de la Vega and David Spicher are the bassists. The subtle and effective guitar parts (acoustic and electric) are played by Chas Williams. Additionally, there are cameos including cello, Hammond organ, dobro and accordion. The harmony vocals are in the main from Kari Bedford. However, it is the song themselves that are the centre of these recordings.

All are written by Bedford bar one where Kari Bedford is the co-writer. The album opens with the Civil War song Lincoln’s Man. A song which doesn’t take sides but instead is rich in detail of the life of an ordinary private in the Union Army. Twenty One is another song from a similar point of view, with the soldier wondering what he is doing facing battle, when he would rather be at home ploughing his land, yet feeling the need to do his duty as he sees it. Equally Amelia follows the flight path of Amelia Earhart, revealing Bedford’s in-depth knowledge of his subject matter and his ability to condense elements of the journey into a satisfactory and lyrical song - as he does throughout his work. Perhaps even more poignant is Land Of Shadows, which details the awful plight of Emmett Till, a young African American who was accused of nothing more than offending a white woman but that act (true or not) resulted in his beating, mutilation and murder in Mississippi in 1955. His murders were later acquitted. 

One Night At A Time details a more personal relationship and is sung by Ben and Kari Bedford with some tenderness that is timeless rather than some recent past. A sense of place is also the common theme of songs like The Sangamon. It depicts the flow and ebb in a relationship which is mirrored by that of a tributary of the Illinois River. Bedford is an Illinois native who has brought his music to many noted venues throughout the US and Europe. His most recent album THE HERMIT’S SPYGLASS was released to favourable reviews (including Lonesome Highway) and marks Ben Bedford as an intelligent and tasteful singer/songwriter whose sense of writing is that of a person deeply rooted not only in history but in the resonances that those stories still have today. These are portraits that will linger for some time. 

Review by Stephen Rapid

Karen Jonas The Southwest Sky and Other Dreams Self Release

With the title focusing on the landscape of the American Southwest, Jonas fifth album captures the contrast between what is reality and what is an imagined reality. But it is in many ways an upfront and personal album, taking in to account the tales of characters she has come across in real like or created from an amalgam of people and places. What stands out is the progression that is evident in the writing and voice of Karen Jonas on the album. It also marks the continued relationship and important pairing of Jonas and long-time guitarist Tim Bray - a similar relationship to that Jerry Miller and Eilen Jewell - which has turned into something special in musical terms. The pair are joined here by bassist Seth Morrissey and drummer Seth Brown. Also on board and making his mark is co-producer (with Jonas) E.P. Jackson who also adds some additional instrumentation on the album.

The opening song here is The Last Cowboy (At The Bowling Alley) a song that skewers an ageing bowling alley lothario whose moment has well a truly faded. The aspect of place is considered in the next song Out In Palm Tree Paradise wherein she tells of her enchantment with the Mojave Desert and the man she explored it with before both no longer held her interest. There is detail described in the words here that evoke lifestyle and longings. Pink Leather Boots explores a long-distance fantasising about one of the girls in a strip club, imagining how they could build a life together, until the real world steps in and leads him back out to his truck and the lonely journey ahead. That sense of dreams, hope and possibility abound but are often dispelled by a harsher sense of the everyday.

The sound is a clear mix of exploring the parameters of Americana with a healthy respect and take on country music in its hard life mirroring heyday. There are moments of subtle interplay as on the aforementioned Pink Leather Boots. This song and others contain a sense wherein the rhythm section and guitar lines perfectly suit the mood of the song.

Maybe You’d Hear Me Then has a quality that seems at odds with the downbeat lyric but is all the more effective for that. Farmer John has some ambiance attached to it that seems again to fit and contrast with the age-old tale of the wandering man and the frustrated complaints of the long-suffering wife at home. This seems to be a settled band that has been working with Jonas both on the road as well as in the studio. That shows in the way the album component parts gel to create a modern day take on a bunch of characters, who all in their own way make the most of their lot. There are enough moments to generate an interesting and varied listen which is proof that the direction Jonas is one which follows her musical journey from Oklahoma (and its lottery) to those who live and work under southwestern skys.

Review by Stephen Rapid

New Album Reviews

Jake Blount  Spider Tales Free Dirt

A casual listen to this first solo recording by 24 year old banjo and fiddle player Blount could suggest that it is a sparsely recorded collection of mostly unfamiliar old time songs and instrumentals. However, dig a little below the surface and one uncovers an eye-opening introduction to the history and legacy of his African-American ancestors and their contribution to the old time, bluegrass, blues and folk music which so many of us enjoy. This music enriches our lives, but how many of us realise its true origins, and the pain and suffering that it was born of?

If you’re still with me, be reassured that there are detailed notes on the origins of the 14 tracks in the well designed packaging that accompanies the recording, and a little time invested in them is most rewarding.

On the familiar Roustabout, Blount (banjo/vocals) is joined by fiddler Tatiana Hargreaves who is another young rising star in old time circles. She adds her haunting vocals and fiddle to this and many other tunes here. Another notable contributor is Nic Gareiss on “feet” - the much lauded percussive dance artist (who is no stranger to Celtic shores) supplies percussion in the traditional way, and very effective it proves to be. Where Did You Sleep Last Night (originally collected from Led Belly by Alan Lomax) is reinterpreted as a mournful lament on homelessness, probably its original intention.

Another important source of this music is from the Native Americans of the Appalachians. Blount and Hargreaves’ rendition of Old-Timey Grey Eagle, an instrumental collected from Manco Sneed who was a Cherokee, is raw to the point of evoking intense pain - a testament to the playing of the two. 

As an ethnologist and tutor, Blount has not shied away from the sense of doom and loss that was being transmitted in these tunes. Many of the references to the horrors of slavery or lynchings, for example, had to be covert in this musical culture, for obvious reasons, but Blount has managed to convey the darkness with his playing and arranging. In addition to being a member of an ethnic minority, he is an LGBT activist and has used mainly queer artists on this recording.

One of the finest releases of the year so far - not to be missed.

Eilís Boland

Bai Kamara Jr & The Voodoo Sniffers Salone Moosicus/MIG 

Desert blues combined with passionate, clever story telling, soul and passion, and all delivered in a rich warm baritone (that voice!) make for an introduction to Belgian based artist Bai Kamara Jr. A name new to us, but this is the 6th album from the Sierra Leone born artist, whose mother was that country’s Belgian ambassador, and who himself grew up and was educated in England. Previous albums dealt in blues, rock, soul and jazz, but he has truly found his calling with his first conscious exploration of his North African roots, with a guitar sound reminiscent of that first brought to our European ears by Ali Farka Toure and Tinariwen.

Although credited to his road band, The Voodoo Sniffers, Kamara Jr wrote, produced and performed all 15 excellent tracks here, and the production is faultless. 

He kicks off at a metaphorical crossroads in his life with Can’t Wait Here Too Long, and goes on to explore themes including love, relationship breakdown and even the much dreaded school run in Morning School Run Blues. Particularly memorable is the tongue-in-cheek Lady Boss, where the protagonist appears to complain about being at his female boss’s beck and call, ending with the memorable line “She’s into the ‘Me Too Movement’ ... and me too”. Black Widow Spider is a chilling exploration of a metaphorical threat to his family, realised by the clever use of percussion to realistically evoke the scuttling of a giant spider - not for the faint hearted! Stand out track has to be Homecoming, which movingly recalls his first trip back to Sierra Leone (known as Salone in the Krio language) in 15 years. (Check out the superb video of that trip that accompanies this song). An added bonus is the slick digipak, with excellent photography and a lyrics booklet.

Eilís Boland

Jim Pelz & The Firewalkers Another New Morning Self Release

This country influenced songwriter and singer is based in Cincinnati, Ohio and has just released his second solo album. LOSER ANGELS came out in 2016. His subject matter is common in Americana and talks of love, loss, family, friends, faith, recovery and redemption. Eleven songs bring those topics to life, in the company of his band The Firewalkers and some guests in Greg Martin from the Kentucky Headhunters, and the renowned steel player Lloyd Maines.

He has a warm, easy to listen to voice that allows the song to be assimilated and heard clearly. A good example is Lifelong Spree wherein he outlines the story of a boy whose father was incarcerated at an early age in his life and whom he never heard from again, but seeds were sown and he subsequently “took my direction from the house of correction.” It is a slow song with some sublime pedal steel playing. There is a diversity here too - the delivery on a song like When Mavis Testifies benefits from a more soulful gospel production with backing vocals and organ, an example of the versatility of all involved to keep this interesting overall.

The pace can also pick up quite nicely too with songs like Queen Of The Last Lost Cause, that has banjo to the fore in the mix or with the tale of Cynthiana, a lady tied closely to “the rhythm of the road.” The title song follows a similar path with the protagonist, know here as “Lonesome Jim,” being on the receiving end of a sudden departure.

Otherwise songs like Oleander, Fare Thee Well and Saddest Boy In The World take a more reflective turn, in their consideration of the way that life places choices and obstructions in one’s path that need to be overcome - in the best achievable way. ANOTHER NEW MORNING is also a testament to the songwriters and performers out there who can deliver a set of songs worthy of exposure to a wider audience, but they may never get that opportunity. Often what they are recording is not pushing back the barriers of their chosen genre but rather reaffirming our own taste and liking of such music. Jim Pelz has produced such an album, one which has the capacity to reveal and grow on you with subsequent listens and that in itself is an achievement.

Review by Stephen Rapid

Charley Crockett Welcome To Hard Times Thirty Tigers

With a background that includes homelessness, street busking and prison stretches, Charley Crockett’s fortunes appeared to have been heading in the right direction in recent years. He released five albums between 2015 and 2019, earning him invitations to perform at Austin City Limits Musical Festival, The Wheatland Music Festival and Oregon’s Pickathon. However, his good fortune was short lived. Following a routine doctor’s check-up in January 2019, he was diagnosed with a congenital heart condition, which resulted in open heart surgery.

That life changing experience became the motivation for this his second release of 2020. It follows closely in the footsteps of FIELD RECORDINGS Vol.1, which was a collection of thirty lo-fidelity songs that was available on download only for a limited period.

Although marketed as a country artist, Crockett is not your proto type candidate for that camp. With Creole, Cajun, Black and Jewish lineage, his musical roots have always been diverse, a reflection of both his bloodlines and his nomadic existence. WELCOME TO THE HARD TIMES is as close as he’s ever gotten to recording an unadulterated country album. In keeping with its title, the songs address collective misfortunes and predicaments, in addition to personal ones. The album also revisits the history of America in places, and it is not seen through rose-tinted glasses either.  

He kicks off with the album with the title track, which is delivered at a pedestrian pace with semi-spoken lyrics alongside tingling piano. It’s an imposing and no-nonsense introduction to what’s to follow. It’s also the first single from the album and the accompanying video features Crockett in the wild landscape of the Sierra Nevadas, a theme he intends to replicate in future single/video releases. There’s little to cheer about either on the delightful old timey Heads You Win, a tale of the ‘unlucky in love’ practitioner accepting his fate (‘If you’re looking for her, she might be in Santa Fe, forgetting about me and changing her last name’). Run Horse Run and Black Jack County Chain are two treasures that sounds like they’re taken from the soundtrack of a Spaghetti Western. The former depicts the outlaw, continuously on the move. The latter celebrates the escape from a chain gang by the mob, by murdering the sheriff with the chains that shackled them (‘Now the whip marks have all healed and I am thankful that there's nothing but these scars around my ankles,  but most of all I'm glad no man will be a slave again’). Rainin’ In My Heart - no relation to the Buddy Holly song of the same name - is a country blues lament for lost love.

The album contains fifteen tracks in total and closes with When Will My Troubles End, a plea from Crockett for normality and closure to the misfortunes that have haunted him. It’s a fitting appeal from an artist that has experienced many hard knocks in life but continues to forge on, using these misfortunes as ammunition to challenge his creativity. WELCOME TO HARD TIMES is, for me, a career highlight from an artist who is joining the elite assembly of younger artists who are acting as caretakers of real country music.

Declan Culliton

The Texas Gentlemen Floor It!!! New West

Originally formed as an all-purpose studio and touring band, The Texas Gentleman have backed a host of household names including Kris Kristofferson, George Strait and Joe Ely, together with some of the more recent crop of Americana acts such as Nikki Lane, Shakey Graves and Leon Bridges. In a similar vein to The Band, The Swampers, The Wrecking Crew and Booker T. & The M.G.’s, they initially concentrated on their collective musical expertise to provide the support to others, rather than as a recording act in their own right. That all changed in 2017 when they recorded their debut album TX JELLY in less than a week at the iconic Fame Studios in Muscle Shoals.

FLOOR IT!!! was recorded at Echo Lab Studios in Denton, Texas under the supervision of producer Matt Pence who, in recent years, has worked with John Moreland, Paul Cauthen, John Grant, and Josh T Pearson. Pence has also played drums on recordings by Centro-matic, Jay Farrar, Nikki Lane and Justin Townes Earle. Recorded live with only a few overdubs, the thirteen tracks are held together spectacularly by a strong rhythm section, great horn segments and vocals that included divine harmonies.

The Texas Gentlemen are co-singers and frontmen Nik Lee and Daniel Cremer, both of whom also play keyboards and guitar. Ryan Ake is their guitarist; Scott Edgar Lee Jnr. plays bass and Aaron Haynes is their current drummer, having recently replaced Paul Grass who was on drums for the recording.

They describe their sound as ‘woozy brass fuelled Dixieland styled jazz, slinky chicken scratch country funk and lushly orchestrated pop/soul balladry.’ A less elaborate description would point the listener in the direction of Little Feat, Leon Russell and Jefferson Airplane, to gain an idea of where they’re coming from.

The short instrumental opening intro Veal Cutlass sets the scene perfectly, and is an introduction to the carnival of music that follows. In fact, we don’t hear a vocal until the third track Ain’t Nothin’ New, as the second track Bare Maximum is also an instrumental with echoes of Frank Zappa in its core.

Densely layered melodies are the order of the day on Easy Street and She Won’t, the latter a Steely Dan sounding delight. They sign off with the title track which is a boogie woogie triumph and the proper conclusion to what is best described as a good time listen from start to finish.

Review by Declan Culliton

Kyle Nix Lightning On The Mountain & Other Short Stories Bossier City/Soundly

‘They unstrap their pistols and soak the fields, throw dynamite into the barn. He winks at Billy as he slowly kneels and lights it all with his cigar’ announces Kyle Nix on the brilliant title track on his debut solo album. The song races along, fiddles, guitars and drums colliding alongside his clear and unadulterated vocal. It’s one of seventeen tales, yes seventeen, on an album that grabs you by the lapels from the word go and doesn’t let go until the last track fades out.

Nix is the fiddle player in Turnpike Troubadours, Oklahoma’s finest purveyors of country music. His grandfather was a fiddle maker, so the instrument was part of his childhood. His formal teacher was Oklahoma bluegrass player Shirley Landrum and his exceptional playing is stamped across many of the album’s tracks. The players on the album are Nix’s bandmates in Turnpike Troubadour so, as you would expect, top notch playing and picking feature from start to finish.

The album is a story book of tales both imagined and experienced by Nix and will no doubt delight lovers of his band, as they wait for their follow up album after 2017’s hugely successful A LONG WAY FROM YOUR HEART.

Shelby 65 and If Ruby Ain’t Happy are also electrified toe tappers in harmony with the title track, and the instrumental bluegrass whirlwind Old Joe Clark is every bit as sprightly.That said, it’s not all rampant and full on. Nix can apply the brakes and does so on a number of occasions.  Blue Eyes and Sweet Delta Blues are mid paced ballads, the latter a weepy delight, awash with dreamy pedal steel and an ode to his loved one while the writer is on the road.

Josephine is an unhurried rocker with a few killer guitar breaks. Some neat fiddle playing kicks off Graves - it’s absolutely old-style country and western, creating cinematic images of dusty saloon bars, uncorked whisky bottles and dancing girls. The Wolf at the Door is a punchy ‘shoot out tale’, rockier around the edges than much of the album’s material, but none the worse for that. You can feel the biting old Oklahoma winter and the crumbling marriage that are depicted on Woman of Steel.

Turnpike Troubadours have earned the reputation of one of the most spirited and dynamic live acts presenting real country music, alongside their impressive studio recordings. LIGHTNING ON THE MOUNTAIN & OTHER SHORT STORIES will be lapped up by their supporters and if you’re not yet on board, I’d highly recommend you join that club and pick up this album for starters. It’s an absolute gem!

Review by Declan Culliton

Steven Adams and the French Drops Keep It Light Fika

This artist has been categorized in the alt country stable since his initial activities with the The Broken Family Band in the early 2000s. Adams has released two previous solo records in addition to also performing with indie-rock band Singing Adams, a 4-piece with two releases to their name. He also performs under the name, The Singing Adams, which is confusing to some, no doubt. His craft as a songwriter has been acknowledged with commissions to write for specific events, plus he has written for both the Guardian and the Times newspapers. So, quite the rounded artist in many senses. 

This new project is definitely a breath of fresh air and the musicians played live in the studio, with the spontaneity of bouncing off each other lending a lightness and vivid colour to much of the music. The ten tracks create an infectious groove across the 40-minutes that wrap the listening experience and drive the overall impression of an artist having a lot of fun with his new creative direction. Adams is joined by Daniel Fordham, Laurie Earle, David Stewart and Michael Wood in the recording process and the review information received doesn’t tell me who played what, a trend that is increasingly the norm – frustratingly so for this reviewer!

 Originally from South Wales and now living in London, Adams tackles personal matters despite his vow to keep things light on this record. The track, Canary, is really excellent and refers to his being ‘so serious all the time.’ It contains some superb sax playing and a tension in the arrangement that grabs the attention. Soft Landings is a simple love song while Bring On the Naps is an enjoyable melody and features some backing singers who sound very much underage! Oh Dear is a slow lament for an enduring crush that is not returned and the lonely feeling of disappointment.   

My Brother the Racist is a very personal song in which Adams calls out his … own brother. Doesn’t get more raw and close to the bone than this one; “My brother, the racist will die and I won’t know when/Guess I’ll find out later/I can hold on till then.” The track, Note To Self is an analysis of lack of ambition and a suggestion that it is not necessarily such a bad thing in trying to live our days with a certain balance to everything. A strength and not a weakness? Mr Sunshine has a great tempo with a hint of a MGMT beat and great lines, such as;”I found the last patch of sunlight in the city/I saved it on my phone” There is also a refrain that repeats “I miss you, I miss the kids.”

This is genre hopping in the best way, filled with superbly crafted, melodic tunes that impress and delight in equal measure.  

Review by Paul McGee

Taylor Kopp Found Self Release

One of those albums that sneaks up on you from nowhere and catches your attention with a ‘play me one more time’ whisper in your ear. I like those moments when they come along and this debut album is certainly one of those!

All the music on these ten tracks is performed by Kopp; vocals, guitar, piano, vibraphone, tenor sax and harmonies. On the website, Kopp says that “the songs on the record exist somewhere in the place between the death of my brother, and my need to carve out a bigger life.”

In trying to reconcile his loss, Kopp moved to the woods to write at a cabin in the foothills of Mt. Hood, Oregon. The songs are reflective and they never rush, but rather take their time to settle into the space that is created by the gentle arrangements and melodies. A Dream I Had is a very personal observation of what happened and his reaction to his bereavement; ‘You came to me in a dream I had, And you said “brother what have I done to us? Man, I got lost, tryin’ to find my mind, And when I found it, it had all turned to dust.’ Poignant and nakedly honest. Equally, High Desert Nights is a wistful look at what was lost in the brotherly relationship ‘Out of the blue that song came on the radio, And all I wanted to do was talk with you about it, Just like we used to do when we were young.’

Music can be the best therapy and Kopp certainly has used his gifts to try and heal the sadness and the attempts to make sense of it all. In another fine song, Boy On the Bank, he sings “I’m still tryin’ to figure it out/ I’m getting closer I guess/It depends on the way that I feel on the day that you ask”:

The album was recorded and mixed by Josh Powell at The Map Room in Portland, Oregon and there is an intimacy and a feeling of expansive skies under the stars, The soft vocal delivery perfectly complements Kopp’s easy guitar style and the 35 minutes slide by in an easy reverie, like settling in at your feet, by a warm campfire. 

An old flame appears back on the scene in Hometown Kid and the reflective strum has the singer thinking of second chances; :”I never thought I would be that hometown kid/That dreamed about busting out/but never did/But here I am, thirty five/Spend every damn night in this same old dive.” We all know how easy it is to get stuck in a rut and how hard it can be to move on. 

Under the Pines is about feeling one with nature and finding a connection with your partner in the silence of the forest –”All I need is a little more time/A little more luck and a little more wine/And one more night under these pines with you.”

 As debut albums go, this is very assured, quietly captivating and laced with interesting songs.

Review by Paul McGee

Cody Landress Gibson Self-titled Self Release

Having released an E.P. in 2018, this singer songwriter delivers a full debut album and it is a quietly confident effort, with some excellent songs across the 12 tracks included. 

It’s a fully formed DIY project; just Cody and his guitars, with some overdubs, minimal shaker and tambourine backing and some bass guitar with added harmonies. He is one of the new breed of independent artists who want to have complete control over their music production and distribution, which is a positive approach if you can continue to juggle all the balls in the air.

The songs have a resonance and the clear vocals add enough character to the words that tell tales of love gained and lost, road trips, wanting to get out of small towns and setting up a new life - all running for a generous 50 minutes. There are relationship songs that explore the challenges and the need to stay the course, Beginners Luck and Brave the Storm. His dreams of an enduring love are considered in other songs, Broken Heart Beats On and Smoke - growth through having faith in another and wanting connection, rather than a life of aimless drifting along. 

There are songs of real connection where there is a need to just be with another, Lovin’ To Give and Nights In Arkansas; where a road trip brings a feeling of being in this thing called life, for better or worse, together. Blood Moon Rising is an acoustic blues that tells of the omens that can steer a soul into the grip of dark forces, devil women and coyotes, crows and gypsy fortune tellers. Jenny Lee tells of lost love and feelings of a broken heart – “Just another night to sleep by your side/that’s all I need to make things right/But it’s another night/smoky bar room lights/.cheap beer and drinking myself blind.”

Whiskey Nights is giving up on a failed relationship and striking out for new beginnings “Don’t think I didn’t love you so/but the road won’t let me go/No chains gonna tie me down/so I’ll see you the next time around.” Old 53 references a stretch of highway and an old flame that reveals how you can get away but you can never really leave - past memories remain. 

Misery is just that; a song about never getting ahead of the curve and feeling fated to live out this beaten path, “Should've known it wouldn't be too long/you'd find a line in an old sad song/Same motifs played out on and on/'til you're dead and gone.” The final track, Before I Disappear, recounts a tragedy and the death of a close friend, attending the funeral and wrestling with all kinds of questions - a turning point for Coady in his own life. 

Coady is from Piedmont Province which borders the Appalachian Mountains and his sound contains elements of Americana, Country, and Roots music. There is an honesty in the performance that is very appealing and the authentic feel to these songs bodes very well for the future. Recommended.

Review by Paul McGee

New Album Reviews

Justin Wells The United State Self Release

It’s a familiar path of many musicians - listening to a very different type of music as an adult, before drifting back to elements of the music they heard growing up. Wells was a member of the band Fifth On The Floor, who played their take on Southern rock. They recorded three albums with some success and their final release ASHES & ANGELS, produced by Shooter Jennings, made the Billboard Country charts. But then, as often happens with a band who have worked hard to achieve something together, they decide to split up after a number of notable final shows.

After a sense of uncertainty, Wells decoded to record a well received solo album DAWN IN THE DISTANCE. This album gained a lot of welcome critical praise that allowed him to move forward and he has now returned with his second solo album, a set of new self-composed songs and a single co-write. He worked as co-producer with Duane Lundy to forge these songs into a convincing album. This was done accompanied by a set of sympathetic musicians such as Laur James (formerly of Sturgill Simpson’s band), Alex Munoz, and the brothers Daxx and Miles Nielsen (who also do duty with Cheap Trick and the Rusted Hearts, respectively) who contribute here alongside a number of other fine players. 

However, it is the quality of Wells' voice and writing that stand out. He also took a different approach to recording the album by setting out a trail guide of what the journey might take. Uppermost in his mind was the consideration of the meaning of love, of loss, of caring about others with an open mind while allowing the contradictions, the mistakes and the positive nature that accompanies life in these times.

So that means going from the positive outlook of It’ll All Work Out to the more considered After The Fall. The sound has elements of soulfulness, southernness and a little roots country to sweeten the flavour. The guitars are front and centre, with keyboards also taking an important and textured part in the overall sound. Wells in the past has toured with Jason Isbell, Sturgill Simpson, Chris Stapleton and Blackberry Smoke. Fans of all those acts will likely find something here to please them too. 

The album opens with a short ambient instrumental You’ll Never Know How Much I Love You signalling a broader take than the normal, before laying out its musical passage in a further eleven songs. A consistent number of the songs that have an immediate impact. Songs like The Screaming Song, No Time For A Broken Heart, After The Fall and Temporary Blue all have the benefit of being led by Wells’ vocal prowess and a likeable and effective musical accompaniment that mixes a solid rhythm section, driving guitars and a layer of textural keyboards which bring these soul roots songs to fruition. This is a united state you can believe in.

Review by Stephen Rapid

Steve Scott No Love For the Common Man Self Release

Here is a musician who stands up for what he believes in. His website claims a roots music influence and his stated colours are those of Rust Belt Country, a term that was created to describe the urban decline in American cities, impacted by the loss of jobs in a variety of manufacturing industries and beyond. 

His music is also in the space of contemporary folk as his social message hits against the corporate and political greed that impacts upon the lives of so many working-class families. Based in Detroit, he has witnessed first-hand the protracted decline in the city, caused by many factors, chief among which was the fall of the auto industry as a major employer in what was famously called the ‘Motor City.’

Scott is not a Trump supporter to put it mildly. We Know They Lied is an angry song on this EP and it hits out at the lack of care or interest shown in the plight of the citizens of Detroit. Indeed, in 2013, Detroit became the largest U.S. city to be declared bankrupt with $18.5 billion debt and the mayor sentenced to hard time for corruption and racketeering charges. Since then, efforts have been made to tackle the issues caused by thousands of empty buildings around the city.

Songs like Livin’ On Love and Time Waits For No One ask questions about the reality of daily survival and whether love itself is enough to sustain. Final song, I Think About You, is aimed towards one who perhaps got out and went elsewhere to create a new reality.

The musicians on this EP are quite superb in bringing these tunes into full technicolour. Scott plays acoustic guitar and mandolin, in addition to contributing lead vocals. The superb playing of David Mosher on fiddle and mandolin is a highlight on a number of tracks, as is the impassioned backing vocals of Kristin VonBernthal. Todd Glass on drums, together with John Barron on both electric and upright bass run the engine room with great authority and verve, while the guitars of both Garret Bielaniec and Tiziano Scott add plenty of nuance to the arrangements. Add in some fine accordion from Mark Iannace and banjo from Dave Feeny to brighten the mix and you have a very enjoyable six tracks of artistic endeavour.

Produced and written by Steve Scott, with studios in both Detroit and Ireland utilised, this third release sees an artist fully focused on delivering quality – even down to the excellent packaging that includes a yellow ‘police line do not cross’ ribbon and cover art that superimposes riot police imagery on the soldiers arresting the principal figures in the painting, The Taking of Christ, by Michelangelo Merisi da Caravaggio – presumably for public order violations! A true reflection of the times we now find ourselves surrounded by!

Review by Paul McGee

Jaron Reid Raven^sky  I Can’t Take the Darkness Anymore Self Release

This is quite a project and equally, quite a listening experience. With twenty-five songs spread across two discs and a total running time of over ninety minutes, a review is not to be taken on lightly!

The packaging is top class with an expansive gate fold sleeve and art work, plus liner notes and booklet that contain colour images, lyrics to a selection of tracks and quotes from many different world figures, like Maya Angelou, Leonard Cohen, Buddha, Ralph Waldo Emerson, Paolo Coelho, Leonardo da Vinci, Townes Van Zandt and a medicine song from Geronimo. 

It is this last influence that gives a hint to the inspiration that gripped Jaron Rovensky in conceiving this artistic endeavour. His childhood was part of the family of first nation indigenous peoples in Canada and the track, Broken Down, addresses some of the issues experienced in being a minority group on a land that was once their entire domain. There are many different styles on the album, from the Irish melody of I Do Believe, to the country sounds of Further Down The Road. The bar-room blues of A Very Dangerous Stash and the Folk influenced message of extinction in our natural habitat on The Hologram Zoo, all the way to the Bossa nova swing of A Henry Miller Romance. There are love songs, For You, My Love, Just For You and In It For Love, plus the R&B leanings of Name Of the Game and Ruby Heart Stealer & Ricky Love Dealer.

It’ all very impressive, beautifully performed and delivered by the variety of musicians involved over different time frames. There were recordings in 2016 at MCC in Calgary; then in 2017 at Prairie Sun studios in California and separately in Edmonton. Mastering was carried out in 2019 in California and the production duties were all overseen by Rovensky himself. The core band were Andrew Borger (drums), Adam Levy (guitar), David Piltch (bass) and Jake Peters (banjo, mandolin, ukulele). Rovensky plays guitar and takes all lead vocals, plus spirit and medicine drums on different tracks. 

Other musicians were given input on a remote basis and credit for their parts would be a long list. Suffice to say that a further four musicians played a role via the internet and were joined by another nine players at the Calgary sessions AND a further six participants at the Edmonton recordings! That’s a total that stretches into the teens, with only Jake Peters involved at all three locations, along with Rovensky.

There is a tent show feel to the message of excess and hedonism on Crick Crack Crickity Crack and the deep groove of Old Uncle Louis is right out of the Tom Waits songbook, all angular rhythm and offbeat melody lines. Rovensky sounds like Waits on a few tracks but can also channel Dr John or Roger Chapman at other times; quite a varied voice, especially as he can also deliver a fine ballad with no vocal intonation, such as The Most Beautiful Swans In the World or Fading Away.

The soulful funky sound of Back To Jungo is very cool and insists on active participation while the tempo of Big Black Hole is a light jazz mambo with brass section adding heightened passion. The slow country sound of When You Can’t Let Go, Let Go is a standout among so many strong songs, with violin and pedal steel drifting along on the melody. So much to admire here and a real testament to both the bravery and artistic vision of this talented young musician. 

Review by Paul McGee

Ross Newell Live From Eddie Owen Presents Self Release

This is a very welcome return to the table for a talented singer-songwriter who has many gifts to share. As the original creative source and founding member of the Mulligan Brothers, a superb band from Mobile, Alabama, Newell has been honing his song craft over many years now. The three studio albums released by that band are all highly recommended, full of great melodies and songs that reflect the daily push and pull of everyman, in trying to make real connection and looking for enduring meaning.

Ross Newell sings with a voice that is both quietly hypnotic and sweetly warm in tone. He is also a very fine guitar player, as this live album highlights. It is something of a brave move to record a solo record in a live setting with nothing but the naked spotlight of stripped-down guitar and vocals. The fact that there are no mishaps during the performance or song delivery is true testament to an artist who really should be playing to a much bigger demographic. 

With the band on a prolonged hiatus (never say never), Newell has decided to put out an album that really shines a light on his winning ways, not only in the writing but also in the confident, relaxed manner in which he delivers these nine songs. Recorded at the Red Clay Music Foundry in Duluth, Georgia, a venue that hosts songwriter nights under the banner of ‘Eddie Owen Presents’ - his set ran for 40-plus minutes and included 6 songs from the previous Mulligan Brothers albums, plus 3 new songs that were given an airing in front of a very enthusiastic audience. 

An added bonus is the presence of The Krickets, a female trio from the gulf coast who deliver the most captivating harmony singing, with a blend of Folk and Americana influences in their music. Here, they join Newell for the last 2 songs of his set and bring plenty of colour and nuance to the versions of Red Dress Lady and Sensible Shoes.

There is real quality to the whole production, with a crystal-clear sound and an easy atmosphere to the proceedings that makes you feel like you were actually in the venue yourself. The new songs are, Hold The Door, which espouses good manners and that proper habits mark the man “just be somebody who says sorry when you’re wrong.” I Miss You Already is a song of wanting to freeze the moment to capture a special feeling towards his wife and of gratitude for the life they have. That Stagger Lee Song is a salutary tale of defending one’s rights in the face of intimidation and is a story song that spins a timeless message.

Elsewhere, another story song, I Know That Man, tells a tale of domestic abuse and sweet revenge. Kaleidoscope is a tale of life on the road and filled with lonely feelings of self-doubt and aimless drifting. So Are You is a song about making a stand and striking out for independence and identity in following your dreams, while Roseanne is an old favourite and tells the secrets of the archetypical tour bus that hauls musicians all over the highways of America. Great puns in the lyrics and double entendres to the fore!  Newell breaks out his harmonica on this one to add great dynamic to the performance.

Sensible Shoes is a highlight with its caustic look at the downtown nightlife in Mobile and the pretty girls who stumble around in high heels looking for storybook romance or some tenuous connection. Newell observes that ‘everybody here’s a stranger we just know each other’s names’ and captures the hedonistic need to escape the daily routine in the lines “all our sunrise reverends are sunset sinners too.” Excellent stuff throughout and a highly recommended album.

Review by Paul McGee

Lynn Miles We’ll Look For Stars CRS

Yet another in a long line of superbly crafted albums from a true artist of the highest calibre. Miles has been putting meaning into the often-senseless foibles of love and longing for so long that she has pretty much covered the entire book of tangled romances and the questions that plague us in our quests to make some sense of anything that may endure. Not that she ever gives us the answers, for there are none, more often than not. Yet there is a sense of knowing that the journey taken was all the more worthwhile because Lynn Miles has your back and winks with a knowing smile that says - just keep on going…

There are 11 songs here and not a weak one among them. Opening in reflective mood (We’ll Look For Stars) and asking to face the long road together, hold on to each other, have strength to endure as we are ‘at the mercy of the undertow.’ It’s wrapped around simple piano melody, like a lullaby that soothes and observes ‘we think we’re made of steel; we’re made of tin.’ 

Next up is time captured in a moment, self comfort, taking solace and a cautionary fairy tale with a sweet vocal (The Saddest Song I Ever Wrote), and followed by a song (A Heart Can Only Take So Much) that has questions around why we do what we do. Weary from trying, having a rough patch. Change happens anyway. There is always a sense of longing in these songs and words that never quite reconciles.

There is a tribute to Merle Haggard (Merle), who was clearly an artist that Miles revered in her youth when learning from the song-writing bible; she sings of his ‘heartbreak voice and a twinkling eye.’  We are then asked about being frozen inside and feeling disconnected from both life and from the self (Restless) - bored with the repetition. “Nothing’s quite as empty as a dreamless world.” Plus, the lines - “I’ve got a billion questions with answers I’m never gonna know.”

Onwards to a song that reflects life experiences and knowledge gained(Old Soul), lessons learned along the rocky road; independence and self- belief. “She’s got a smile that never shows up too soon.” And “on every dark road she’s paid her toll.”

The aftermath of a breakup, feeling out of control, relationship woes (The World Is Spinning) is never easy, “another day older, another new scar.” Life changes us and points us down strange paths (She Drinks), self destructive thoughts and giving up - regret is not always a kind option to select. 

The disappearing small towns (Main Street) all across rural USA is a bitter pill for local communities; memories tainted by time and old values crushed by supposed progress. Then there is the freedom of youth (In the Wilderness), all that energy and innocence, perhaps taking place in the same small town of the previous song?

Finally, the risks of loving are brought full circle (Because We Love) and the abiding message that life must be lived and not feared. As always there is quiet comfort in these songs of loss and pain. As if sharing these insights brings a resolve and the will to keep living through it all. Essential.

Review by Paul McGee

Caleb Caudle Better Hurry Up Self Release

He may be a new name to many, but BETTER HURRY UP is the eight studio album from Caleb Caudle. He was raised in the foothills of the Appalachians in North Carolina and his early passion for music was fuelled by regularly singing in church with his family. His conversion from casual singer to creative writer was inspired by his introduction to the work of Bob Dylan by his art teacher in high school.

Caudle and his wife and manager Lauren moved from North Carolina to Nashville in 2019, joining the bourgeoning community of singer songwriters that have been relocating to that city in recent years. Three days after arriving, he headed to the Cash Cabin in Hendersonville outside Nashville to put down the tracks for this album. The small structure was built by Cash in 1979 as his private shelter, a sanctuary to chill out at when he returned from touring.

John Jackson of Jayhawks fame came on board as producer and an impressive line up of backing vocalists contributed, including fellow Jayhawk Gary Louris, Elizabeth Cook, Courtney Marie Andrews and John Paul White. Those voices feature on eight of the eleven tracks, with both Cook and White adding backing vocals on the swampy opener Better Hurry Up.

Caudle also called on a stellar bunch of players to back him including Laur Joamets on guitar (Drivin’N’Cryin), Dennis Crouch on bass (Elton John, Leon Russell), Sturgill Simpson, Russ Pahl on pedal steel (Dan Auerbach, Kacey Musgraves). Both Pat Sansone (Wilco) and Rhett Huffman (American Aquarium) add keyboards.

The album’s groove developed from Caudle cramming on the roots and bluesy sounds of Leon Russell, The Band, Little Feat and J.J. Cale and all these influences clearly emerge across the eleven tracks.

Regular Riot is a breezy Jayhawks sounding track, enhanced courtesy of some dreamy pedal steel and slick guitar licks. It’s also a co-write with Natalie Hemby of The Highwomen and interestingly it is the first time Caudle has written with anyone.

Monte Carlo is pacey and rocks along, with Elizabeth Cook sharing the mic and adding backing vocals. The bouncy Feelin’ Free nods in the direction of The Band, it’s relaxed and rootsy and you can almost picture Levon Helm leaning into the mic while directing the show with his drum beat.

Caudle is as capable as doing quiet as he is delivering more funky upbeat songs. A point in case is the gorgeously laid-back Bigger Oceans, which closes the album. It’s a laid back and gloriously loose inclusion. His parents arrived at Cash Cabin for the last day’s recording and were invited to join in the backing vocals on this track, turning back the clock to when they sang side by side with him at church in his childhood days.

Review by Declan Culliton

Samantha Crain A Small Death Real Kind

“With this album, I just wanted to have some fun. I’ve spent the majority of my young adulthood taking myself and my music very seriously.” So said Samantha Crain on the release of her 2017 album YOU HAD ME AT GOODBYE, which was yet another outstanding recording to add to the impressive back catalogue of the Oklahoma resident.

 Little did she know at that time of the traumatic life changing events that were to follow, and which became the platform and stimulus to record A SMALL DEATH. The Choctaw singer, songwriter and poet, was involved in a number of car crashes, suffering serious injury which limited the use of both of her hands. The uncertainty of a full recovery and being unable to play guitar left her scarred both mentally and physically, with the prospect of continuing her music career in doubt. This scenario was all the more distressing for an artist that freely admits to working double shifts in the catering industry between tours, to finance her next album and tour.

Despite the devastation and unpredictability which she faced, her fighting spirit prevailed and she turned the tables on those dark times to create her most personal album to date. She also self-produced this time around, which gave her absolute freedom to record on her own terms and in her own time scale. She was signed to the newly formed Real King Record label, which was created by the talented U.K. artist Lucy Rose, whom Samantha had toured with in recent years.

I have to admit that on first listen I put the opening track An Echo on repeat before moving on to the rest of the album, such was its impact on me. It was the first song she wrote when her health improved and was the motivator to complete the project. It’s one of a number of standout tracks alongside Reunion, Pastime and Constructive Eviction, all of which head in an indie direction, pedal steel, brass and guitars all connecting impeccably beside Crain’s striking vocals. There are also some dreamy relaxed ballads on offer. Longing for an old acquaintance surfaces on Joey, and Tough For You speaks of resilience and fortitude, a recurring topic on the album.

“When we remain, we will be the flowers and the trees and the vines that overcome the forgotten city” she announces on When We Remain. It’s a positive and defiant statement from an artist whose character and inner strength has transported her from despair to regeneration with this hugely impressive album.

Review by Declan Culliton

David Starr Beauty & Ruin Cedaredge 

The ninth album from David Starr was inspired by the novel Of What Was, Nothing Is Left, written by his grandfather Fred Starr in 1972. The themes of love, tragedy, family dysfunction and jealousy in rural southwest Arkansas, so eloquently characterised in the book, are adapted to song on the eleven tracks on this album.

Alongside his career as a singer songwriter, Starr is the proprietor of the music store Starr’s Guitars in his home town of Cedaredge in Colorado. Starr engaged an impressive line up to both co-write and contribute to the project. John Oates shares the writing credits on six of the tracks. Doug & Telisha Williams (The Wild Ponies) wrote Bury The Young and Jim Lauderdale, Dana Cooper, Shelley Rae Korntved, Wood Newton and Irene Kelley all lend a hand in the compositions.

Rather than simply repeat the books story, the songs are drawn from characters and locations described in the novel. Laurel Creek, the name of the family farm, tells of the son leaving home for the army. The bastard son tells his tale of disgrace in the standout track My Mother’s Shame and the title track is an impressive ballad of love won and lost. Starr’s vocals are calm and relaxed as he articulates the struggle between darkness and light on a grouping of songs that work well as a unit, notwithstanding the number of writers involved. The album is delightfully packaged with photography courtesy of Dana Cooper and a lyric booklet.

“It’s not your time, it’s just one more storm. We are like leaves scattered in the wind. You will rise up, rise up again.” Starr sings on Rise Up Again. Informed words indeed, that particularly ring true in these difficult times.

Review by Declan Culliton

James Steinle What I Came Here For Shotgun House

SOUTH TEXAS HOMECOMING, the 2018 debut recording by James Steinle, was his entry card into that collective of young artists most likely to become veterans of the Texas music scene in the years ahead. His latest offering WHAT I CAME HERE FOR is steeped in a similar groove. With his free and easy delivery style, he follows a similar template to the one that worked so well on that debut recording. His approach is simple - capture the uncomplicated everyday life occurrences in East Texas, translate them into song and deliver them in his classic drawl.

The album was overseen by fellow Texan singer songwriter and producer Bruce Robison, with accompanying Austin musicians Geoff Queen (pedal steel, guitar), Scott Davis (bass, banjo, percussion, B3 organ), and Richie Millsap (drums, percussion). Juliet McConkey is credited as a co-writer on In Love Again (Two Different Languages) and also adds shared spoken word with Steinle on What I Came Here For – Prelude. Jamie Lin Wilson, Caitlin Palmer and Rich Brotherton also contribute backing vocals.

Steinle's father was a dentist in an oil company, which led to a nomadic childhood for Steinle. He spent the best part of a decade living in the Middle East and a further year in Germany. The experience gave him ample ammunition for his writing but, as this album title implies, Texas is home and the Lone Star State has fuelled him with both the ammunition and the inspiration to put pen to paper.

Black & White Blues kicks off proceedings in fine style. It’s a boisterous tale of a character down on his luck, on the run from both the cops and a gang, for speeding and murder. A thumping bass line drives the rhythm alongside crisp guitar breaks. Other high-spirited inclusions are the raunchy and bluesy Blue Collar Martyr, which bemoans the shrinking job market for the blue collar worker, and the funky Sentimental Bridge with its Stones-like Exile on Main Street era chorus.

Steinle can also tread a quieter path with equal effect. A point in case is the title track. It features the previously mentioned spoken prelude, before morphing into a brooding ballad that reminisces and contemplates. He’s no slouch when navigating love won and lost either. In The Garden is a ‘paint by numbers’ country charmer. It includes customary teary lyrics, weeping pedal steel and a divine melody. Without You also visits the 'love lost and unlikely to be reborn' theme. Steinle’s vocals are delivered semi-spoken and he’s joined by Jamie Lin Wilson to beef up the chorus. Impressive as those two tracks are, completing the trilogy of tear streaked weepies and the stand out of the three is the sad country duet In Love Again (Two Different Languages). The vocal exchanges between Steinle and Juliet McConkey could sit comfortably on any Conway Twitty and Loretta Lynn album.

Steinle signs off with Well, So Long, a reflection on a previous relationship whether fictional or actual. It’s a fitting finale to an album that’s a must have for patrons of textbook Texan song writing.

Review by Declan Culliton

Albums - New Reviews

Joshua Ray Walker Glad You Made It State Fair

The debut solo album WISH YOU WERE HERE from Texan Joshua Ray Walker, landed twelve months ago and transported him into the ‘ones to watch’ category of emerging singer songwriters in the Americana genre. That album was an introduction to a young artist flaunting a confidence and maturity gained from working as a player in backing bands since his teenage years, together with performing up to 250 solo shows a year. He’s also a member of country garage punk band Ottoman Turks in his spare time.

Even with that hectic performing schedule, Walker hasn’t wasted any time following on that impressive debut recording. GLAD YOU MADE IT is another compilation of stories touching on everyday characters, often down on their luck and often without the prospect of a happy ending in sight. The troupers he writes about are part fiction and part factual and suggest a writer with an eagle eye for observing the minor detail and using it to fuel his imagination.

Musically Walker manages to effectively blend a cocktail of traditional country, old timey and garage punk like a dream. He’s joined by an extensive and impressive collection of musicians on the album, over a dozen players contribute impeccable playing throughout.

His vocal deftness allows him to switch between a semi - yodel on the Hank Williams sounding Living Country and full on Texan twang on the album’s stand out track User. Heading off on a somewhat unexpected direction, User features a driving horn section and some ripping guitar breaks, as Walker recounts a tale of an addict (‘I think I’m gonna use again, it’s been a long, long time’) overpowered by the temptation to return to old ways. Voices laments love gained and then lost as the protagonist agonises “I might put this truck in neutral, let it roll into the lake. First, I’ll finish off this bottle, so it looks like a mistake.”

Visiting motor shows as a child with his parents suggested the template for Boat Show Girl. In Walker’s eyes, the attractive, constantly smiling young girl, selling merchandise to middle aged men, was possibly concealing her true self (‘Yeah fake tan covers bruises, but it doesn’t last that long’). Killer dobro, fiddle and banjo all get an airing on the old school country track Play You a Song and Walker’s country garage punk sentiment is played out on the grungy closing track D.B. Cooper.

“I’m sure good at losing, even better at giving up” he agonises on the lively One Trick Pony. Nothing could be further from the truth, as Walker overcomes the ‘difficult second album’ syndrome with a confidence that points towards a young artist with many more tricks up his sleeve.

Review by Declan Culliton

Tyller Gummersall Heartbreak College Country Road 330

Despite having the appearance of a young man just out of high school, Colorado born Tyller Gummersall can boast seven studio recordings prior to this album - three Ep’s and four full albums. Belting out Hank Williams covers at County Fairs at the tender age of eight years, his first effort at song writing followed a year later, having studied under the watchful eye of two-time National Flatpicking Champion, Gary Cook.

The cover artwork on the album features Tyller leaning casually against a wall, decked out in signature western wear of plaid checked shirt, jeans, cowboy boots and with a leather hat perched on his head.  It follows his 2017 EP LOVE ME WHEN I’M DOWN which was produced by Lloyd Maines. My first impression was to expect a dreaded crossover pop/country content, something along the lines of Florida Georgia Line or their like. My fears were instantly dismissed with the opening track You Pay For It. It’s a Dwight Yoakam-sounding toe tapping belter and the remaining seven tracks on the album also stick to a traditional country template.

Like the majority of old school country music Gummersall’s topics are simple everyday events, including the plight of the working man and the unyielding passing of time. Continuity and love are examined in Fathers And Sons and on the album’s closer How Did I Get Here. They’re dispatched with an impressive vocal and slick guitar work, both features reoccurring on all the eight tracks on the album. Heartfelt ballads Working Man and What If It Was That Easy? are delivered with that terrific whiskey and tobacco weathered vocal. They fit neatly alongside the brisker title track and the full-on honky-tonker Why Do I Buy Whiskey?

Albums such as this were being lapped up by the Nashville music scene twenty years back. Unfortunately, a more commercial mainstream product is the flavour of the day currently. Hopefully this album will reach the ears of true country music enthusiasts - it certainly deserves to.

Review by Declan Culliton

Emma Swift Blonde On The Tracks Tiny Ghost/CRS

Recording an album of Bob Dylan songs is a brave move and one that’s likely to divide opinion straight down the middle. To some, attempting to embellish or indeed replicate the work of Sir Bob verbatim is nothing short of sacrilege.

The list of artists that have paid homage to Dylan is lengthy and ranges from Mountain to The Hollies and Jerry Garcia to Bryan Ferry. Pleasing as these efforts were, they could also be considered a tad self-indulgent. The cynical amongst us might consider them stop gap recordings by established artists to placate record label obligations or a temporary solution between albums of original material.

 Emma Swift is not the first female to cover Dylan’s songs on an album, Joan Baez and Odetta both recorded similar albums back in the 1960’s. BLONDE ON THE TRACKS is somewhat different. Emma Swift, unlike many others who have embarked on a similar project, is not a household name. She also remains predominantly true to the original recordings (‘I had no interest whatsoever in undertaking renovations on a perfectly good house’). The album was also conceived as a personal journey for her, without external pressures or deadlines. This allowed her to select and record the material over a generous timescale, without a target audience in mind, essentially a labour of love for her.

Born in Australia but residing in East Nashville since 2013, the idea for the project came about when she was experiencing a depressive phase and began singing Dylan’s songs by way of dealing with that short but difficult period. Song writing, by her own admission, has never come easy to her and rather than the additional pressure of coming up with original material for an album, she concentrated on selecting suitable material from Dylan’s extensive songbook to record.

The majority of the material on BLONDE ON THE TRACKS was recorded in 2017 at Magnetic Sound Studios in Nashville. With the album unfinished and uncertainty at large due to the Covid-19 lockdown, Swift decided to record the final two tracks at her home in East Nashville. One of these songs I Contain Multitudes was only released by Dylan in April of this year during the enforced lockdown. Its impact on Swift was overwhelming (“To me this song has become an obsession, a mantra, a prayer. I can't hope to eclipse it, all I hope to do is allow more people to hear it, to feel comforted by it, and to love it the way I do.”) and it became the motivation to complete the album despite being housebound. The track became the lead single from the album and was released by Swift in May, earning very positive reviews.

The production duties on the album were undertaken by Patrick Sansone (Wilco) and the playing was provided by her Nashville neighbours Thyer Serrano (pedal steel), Jon Estes (bass), John Radford (drums) and Swift’s partner Robyn Hitchcock who contributed guitar.

Queen Jane Approximately is the opening track and it gets a redressing similar to what Turn, Turn, Turn received from The Byrds.  Jangly guitars alongside Swift’s mellow vocal combine to create a sonic delight.  Suggesting that certain covers of Dylan songs are superior to the originals is entering dangerous territory. Chapters have been written, and friendships lost, on that thorny debate. The delivery of Going, Going, Gone here, for me, could merit a discussion along those lines. The other songs included are One Of Us Must Know Sooner, Simple Twist Of Fate, The Man In Me, You’re A Big Girl Now and Sad Lady Of The Lowlands.

The essence of this release is its simplicity. In contrast to Dylan’s distinctive coarse vocals, Swift’s deliveries are both gentle and soothing, unhurried and patient, drawing the listener to the lyrical content.  What originally was a personal initiative has resulted in an outstanding album by an artist blessed with a stunning voice. Thankfully, we’ve been given the opportunity to savour that voice combined with inspired song writing, resulting in an album that, Dylan lover or not, you really ought to hear.  

Review by Declan Culliton

The Weight Band Live Is A Carnival CRS

Based in Woodstock and keeping the music and spirit of The Band very much alive and kicking, The Weight Band consists of former members of that historic group of musicians, alongside three other equally talented players.They came together originally to play at Levon Helm’s Woodstock barn when former members of The Band, Jim Weider, Randy Ciarlante and Garth Hudson got together to perform previously recorded material.

Weider decided to bring the music to a wider audience and added Brian Mitchell (keyboards, accordion, harmonica, vocals), Michael Bram (drums, vocals), Albert Rogers (bass, vocals) and Matt Zeiner (keyboards, vocals). All these musicians have impressive pedigrees, having performed with household names such as Willie Nelson, Bob Dylan and Al Green over the years.

Rather than relying totally on The Band's back catalogue, they began to add original material to their sets, culminating in the release of WORLD GONE MAD in 2018. This recording featured eight self written songs and three cover versions.

LIVE IS A CARNIVAL includes five tracks performed live from that album - Don’t Do It, Deal, Heat Of The Moment, Big Legged Sadie and Common Man - along with classic songs from The Band's archives such as Rag Mama Rag, Ophelia, The Night They Drove Old Dixie Down and encoring with The Weight.  A well delivered version of Springsteen’s Atlantic City also features. The album was recorded live at the Brooklyn Bowl by the band’s own sound engineer Mark Rudzinski in January of this year, just prior to the lockdown.

The Weight Band certainly can’t be branded simply as a tribute band, they are much more than that. Their own songs impress in these live recordings and fit snugly alongside the ageless material of their masters. As you would expect the musicianship is exemplary, a fitting tribute to a band that many would consider to be the foremost collection of players, writers and vocalists in the history of what is now branded as Americana music.

Review by Declan Culliton

Jeremy Garrett Circles Organic

Eight songs and 30 minutes that will impress a waiting audience that know Garrett from his involvement with bluegrass band, The Infamous Stringdusters. Not prepared to rest on his reputation with them, Garrett produces his third solo record and highlights his superb musicianship across guitar, mandolin and fiddle. He included a loop machine to assist in the arrangements and the build of melodic layers is very impressive, especially on I Can’t Lay Your Lovin’ Down, where the sonics are quite compelling. He also sings while creating all this special music and the only other musicians are Josh Shilling who plays clavinet and sings on one track, plus Prisca who adds harmony vocals on two other tracks.

What Would We Find? I Am Who I Am, The Highway and the title track are all fine examples of the magic at work and the engineering, mix and co-production of Billy Hume also deserves great praise; bright and clean sounds throughout. Baker’s Jam is an instrumental highlight where everything gets thrown into the pot, with hints of Irish jigs mixed into free form soloing and wild sweeps of melody and tempo. Oracle is another instrumental with a new age arrangement that borders on experimental jazz leanings.

Review by Paul McGee

Wide Mouth Mason I Wanna Go With You We Are Busy Bodies

Album number eight from this duo who formed in 1995 and called themselves after a famous glass jar! Shaun Verreault on vocals and guitars, together with Safwan Javed on percussion and vocals, make up this dynamic team and the twelve tracks included here are pure blues bliss. 

As with any innovative approach to music genres, the more creative the ideas, then the greater the risk that everything could just crash and burn. To quote the recording process from the band’s website; “Wearing three slides with rounded tips on his left hand, Verreault is able to simultaneously play chords and sliding melodies on resonator/dobro guitar and electric lap steel.” Sounds difficult…but fun.

The results are very impressive with plenty of stirring arrangements to excite the listener and innovative grooves that demand to be danced along with. The old-time sound of tracks like High Road channel bygone eras when recording techniques were primitive and gritty; the authentic feel of the music coming through the speakers like a steam train. The more electric sound of Erase Any Trace and Only Child brings things into a modern perspective as these brothers in arms whip up quite a racket.

Their body of work is a breath of fresh air and the duo has never been afraid of taking chances with their sound over the years as they experimented and played around with different genres. Never more illustrated than with the terrific cover of the David Bowie song, Modern Love, complete with Shawn “The Harpoonist” Hall on funky harmonica. Elsewhere, there are turns from Tonye Aganaba (vocals) on Every Red Light, Darren Parris and co-producer Ryan Dahle playing bass guitars with a further contribution on harp by Kelly “Mr Chill” Hoppe on the track, Outsourced.

This is a return to blues-based roots for the band and the vitality of the sound was captured from the musicians never taking more than a few plays at any one track before moving on. The blues has never sounded so authentic, laid back bare, raw in the delivery and just down-right essential. It brings a smile to your face that is hard to shift.

Review by Paul McGee

Mark Rogers Laying It Down Self Release

This release from last year found its way into my review pile and I was immediately taken with the superb production on initial listen. Such a bright, vibrant sound and co-produced by Mark Rogers himself, in addition to the talents of Rob Ulsh.

Rogers had played around the L.A. music scene of the 1980’s before taking a decision to return to Washington DC and focus on other things, like raising a family and paying the bills. Dreams never go away however and thankfully Rogers eventually returned to his old guitar and started playing again for the joy of it. A number of song ideas started to form and now, with plenty of tender loving care, come the results, all these years later!

There are twelve tracks on the album and the sound is very much rooted in Americana with plenty of great ensemble playing from the gathered musicians; Tommy Detamore (pedal steel guitar), Andrew Payne (drums & percussion), Ryan Gaujot (mandolin), Larry Berwald (electric,12-string & resonator guitars), Dave Hufstedler (electric & upright bass), Jamie Lewis (piano & B3 Hammond organ) and guest slots from Lori de los Santos (vocal harmonies on 3 songs) and Powell Randolph (drums on 2 songs).

The easy swing of I Know It So Well is beautifully delivered with tinkling, understated piano linking with pedal steel and the jazzy lines of Rogers on guitar. Equally, the bossa nova rhythm of The Blues Are Passing By is infectious with the honeyed tone of the lead vocal from Rogers just perfect for a late-night reflection on those heady memories of days past. The more upbeat sounds of Right Here and No Bigger Fool are just as impressive, as is the shuffle beat to You Can Lead Me On, with pedal steel and mandolin gently coaxing the melody along.  Wishing Well closes everything nicely with a simple acoustic arrangement and Rogers singing of following that dream and not losing sight of the horizon.

Review by Paul McGee

Narcoluptuous Sugar Lime Blue Self Release

In 2011, this band released their debut album, FAR FROM THE TREE, which announced their mix of American Roots/Blues and Country sounds to the market. This third album was released last year and doesn’t stray far from that original sound, with twelve songs that are steeped in that same Americana, Blues and Country mix. 

Husband and wife team, Ashley and Dave Beth front the band in impressive style and this project was produced by Dave at Bluebird Studios, Lebanon, Tennessee. He plays guitars, mandolin, keyboards and sings, providing an array of interesting sounds for Ashley to unleash her superb lead vocals, all smokey and controlled emotion in the delivery. The early songs give way to the slower, smooth grooves of Keep On, Keeping On and Gypsy River with the bass playing of Russ Dean and the drums of Jeff Gaylor shining through.

There is a jazzy feel to the title track which features some fine guitar lines from Dave Beth. In contrast, the blues of Fool’s Lament allows Ashley to cut loose on impassioned vocals. Brickbats features some excellent riffing between Russ Dean and Dave Beth, not for the first time, as the ensemble really lock into a tight delivery.

Junior Padilla guests on keyboards and percussion, with Cleveland McPhee adding harmonica and Victoria Beth guesting, also on vocals. A very solid release, excellent playing throughout and an enjoyable listen.

Review by Paul McGee

Kaurna Cronin Glitter Or Dust Self Release

An Australian Folk artist who has toured extensively in his home country, Europe and Canada, arrives with his latest recording and quite a confident offering it proves to be. Self produced at his home studio in Australia, Cronin displays an innate skill of knowing exactly what fits where in the song arrangements and the separation of different instruments is very impressive in the mix. 

Using a group of musicians in the studio to bring an added dynamic to the arrangements sees an array of talent, including Tom Kneebone (electric guitars), Kiah Gossner (bass & backing vocals), Kyrie Anderson (drums), Matt Morison (piano, organ, synths), Rowan Harding (saxophone), Lauren Henderson (backing vocals), Jess Day (lead & backing vocals), Delia Obst (backing vocals), Ryan Martin-John (backing vocals) and Simon Cohen (backing vocals).

The eleven songs are combination of up-tempo numbers, like Head Above the Water, Gotta Get Out of This Place and Only An Illusion, to the social commentary of Don’t You Wonder Why and the easy flow of Roll On. Caught Out In the Rain is a more commercial sound and features Jess Day on co-vocal singing about love slipping away. The political message of Losers On the News is laced with frustration and final track All Grow Old Together is a song of hope to the present, family, friends and a future that points towards a better tomorrow.

Review by Paul McGee

Albums - New Reviews

Bill Kirchen The Proper Years Last Music Co.

This 2CD collection - as per its title - relates to Bill Kirchen’s three albums that were released in the UK via Proper Records. The albums are HAMMER OF THE HONKY-TONK GODS, WORD TO THE WISE and SEEDS AND STEMS. Some 38 tracks are included in total and it’s something of a statement of Kirchen’s talent that there are few, if any, duds included. It is also testament to his skills as a master of the Telecaster, a versatile and veritable singer, as well as a songwriter of some note. It is also a walk through the varied and alluring aspects of roots music.

There is a wealth of talent involved in these recordings. Included are the best of the London-based players in Nick Lowe, Geraint Watkins, Paul Carrack, Paul Riley and Elvis Costello. Added to this from the other side of the pond are the likes of Dan Hicks, Austin de Lone, Cindy Cashdollar, Jack O’Dell, Johnny Castle, Norton Buffalo, Blackie Farrell, Gurf Morlix and Maria Muldaur. All of these musicians sound as if they are there for a good time and to make good music. 

The song writing credits include Bill Kirchen obviously, with over 20 songs to his name, either solo or with a number of different co-writers. There is also some well chosen material from the pens of the likes of Shorty Long, Arthur Alexander, Donny Fritts, Butch Hancock, Merle Haggard, Roger Miller and Bob Dylan. All are selected to suit the particular musical setting that serves the song best.

It’s difficult to review this in a totally fresh way, having been well acquainted with the original albums on their release. However, it does serve to remind me why I liked them at the time and why I am enjoying them so much again now. The amalgam of talent, all with their collective hearts in the right place, is a pleasure to hear at any time. I expect that even listeners who are looking for something more contemporary or even with a more explicitly retro vibe, will find something on the collection that will appeal to them. Those who have never listened to the music of Bill Kirchen previously will be in for a treat.

Kirchen has released some nine other albums under his own name, as well as recording with Commander Cody and His Lost Planet Airmen, The Moonlighters and Nick Lowe. If one was to highlight one particular track that underlines his abilities it would be his version of Hot Rod Lincoln, especially live, where his Telecaster is used to play the signature sounds and licks of a great many guitar legends and singers, as well as his own high-speed picking. Those guitarists (and pianist and singers) include Duane Eddy, Luther Perkins, Buddy Holly, Carl Perkins, Buck Owens, Merle Travis, Bo Diddley, Chuck Berry, Link Wray, BB King, Ritchie Blackmore, Keith Richards, Steve Jones and Jimi Hendrix among others. While this may be a novelty song it’s fun none-the-less  - something that is at the heart of what Kirchen does. The album also includes a trio of unreleased songs which close the collection. The final one being a version of the The Times They Are A-Changin’ that ends the album on a positive note - as is totally proper. 

Review by Stephen Rapid

Blackbird & Crow Ailm MIG 

From the opening spoken word of Harlot on Holy Hill, the prologue which segues into The Witch That Could Not Be Burned, even the casual listener will be aware that they are experiencing something special, something rare. Maighread Ni Ghrasta unleashes a searing indictment of a patriarchal society that has failed to protect many of its vulnerable citizens, and indeed has contributed to their neglect and abuse in some cases. Clearly writing at times from personal experience as well as from a position of empathy, Maighread communicates the pain, the hurt and the shame of victims through her magnificent vocal prowess, singing proudly in her strong Donegal accent. 

Her lyrics are realised musically and equally magnificently by her partner in the duo, Stephen John Doohan, who plays various stringed instruments, percussion and harmonium. The musical backdrop combines a punk sensibility with americana and folk leanings. Stephen’s ‘down and dirty’ grungy slide blues guitar and thumping bass drum add to the gothic brooding atmosphere of these first two tracks. ‘I am the cursed, I am the damned, There’s fire in my blood boys and there’s pitchforks in your hands’ goes the strident chorus. There’s no defiance left, though, in the thoughts of the victim of child abuse who is saying their last goodbye in Mo Chuisle (which means ‘My Heartbeat’ in Irish).

By contrast, a simple yet effective acoustic guitar accompaniment serves as the backdrop to several songs, including Margaret the Martyr - a familiar tale of the wife left behind when her husband has to emigrate for work, and The Planter & The Runaway which details the surrender of a damaged woman to an illicit love affair. The pain of alcoholism as a common legacy of abuse is explored in Princess of the Ditch, from the pen of Kilkenny songwriter Richie Healy. One gets the feeling that the stark expression of pain in songs such as The Ways that I can make You Suffer and A Pox On You are ultimately cathartic. There’s a sense of redemption finding it’s way through, painfully slowly mind you, in the beautiful Blackbird, the soulful radio-friendly Sweet Surrender and the balladic Parting Rag. 

The whole project is superbly produced by Tommy McLaughlin (Villagers, Soak) in his Attica Audio Studio, where he called upon a slew of local musicians as guests on various tracks. Definitely highly recommended.

Review by Eilís Boland

Martin Harley Roll With The Punches Del Mundo

In a marked departure from his last two albums which were recorded in Nashville, Martin Harley has returned a lot closer to his roots, both physically and musically, for this latest record. He chose a new recording studio, StudiOwz in rural South West Wales. A converted church in the village of Clarbeston, the studio uses vintage analogue recording equipment, and the project was co-produced by Harry Harding (William The Conqueror), who also contributes drums, bass, guitars and backing vocals.

The sound is predominantly bluesy, with large helpings of soul and some gospel style harmonies. Both the opening (title) track and closer The Time Is Now are joyful celebrations of life, the soul leanings emphasised by the impressive Jonny Henderson on Hammond, Wurlitzer and piano, while the gospel style harmonies are from Jodie Marie and Harry Harding. Harley is, of course, one of the best and most interesting English exponent of slide blues guitar playing currently, and the track that stops me in my tracks is the instrumental Clarbeston Resonation - four breathtaking minutes of slow, reverberating slide resonator phrases, with lots of space in between, making the most of the studio’s acoustics. 

All songs are written by Harley and performed by him in his gorgeous rich tenor. It’s also the first time he has recorded using electric guitar, which he uses to surprising effect in If Tears Were Pennies which starts quietly and then explodes and rocks out.

The standout song for me is the gently paced Shanghai with the amusing refrain ‘Shanghai, Shang-low, any which way you wanna go”.

Review by Eilís Boland

Tyler Lance Walker Gill Self-Titled YOTD

With Hank III taking time out from raising hell on stage and in the studio for a number of years, there has been a notable absence of badass fire spittin’ honk tonkers, representing the less conservative rough and ready side of country music. East Texan Paul Cauthen certainly comes pretty close, but his fusion of soul and blues alongside country brands him more outlaw than full on honky tonker. Enter Tyler Lance Walker Gill (‘Look, I know it’s a lot of names, talk to my mom’).

Taking up the mantle of honky tonk evangelist, his debut album is laced with tales of incarceration, drinking, religion and (anti) right-wing politics.  There’s humour in the songs, lots of it in fact, but there’s also lots of ripping pedal steel, fiddles and guitars behind TLWG’s stormy country vocals.

Country music weekend jamborees were a feature of his young life, though more by design than intent. His mother and aunt did a bit of singing at these events and his aunt volunteered at the weekly Mount Washington Opry. TLWG often tagged along. Like many kids, his musical taste tended more towards straight rock and he considered country music something your parents listened to. But like many of those kids that chose rock and punk over country, the penny eventually dropped as did the musical predigests. 

He started writing a bunch of country songs in later years and performing them on any stage or bar that would allow him. Developing the bones of the songs himself, he then got a couple of local big hitters on board to put some flesh on those bones. Multi-instrumentalist, bluegrass player and singer songwriter of merit Aaron Bibelhauser plays pedal steel and banjo. The equally talented Michael Cleveland contributes both fiddle and mandolin. Gill headed in to La La Land Studios in Louisville, Kentucky where he worked with Anne Gauthier (Strands Of Oak, Jim James, Murder By Death, Ray Lamontagne) to co-produce and mix the material.

The resulting ten tracks may have come together in a piecemeal manner but they offer some kick ass country on Back To Jail and Go To Hell. On an altogether more introspective note, he makes a strong political statement on So Called Christian Politicians. The song is even more relevant today than it was when it was written over four years ago, when it appeared on a compilation album titled WE HAVE A BEVIN PROBLEM. That album featured a collection of local artists reacting to former Governor Matt Bevin’s anti LGBTQ language.

However, he’s quickly propped back onto the barstool with a plea to George Jones on Honky Tonk Chapel and The Ghost, which sounds like a distant country cousin to Hank’s Your Cheatin’ Heart. The autobiographical tongue in cheek bluesy rant Wolfman closes the album. It remains to be seen whether this is a one off venture or whether it’s going to kick off TLWG’s career as a bona fide country trouble shooter.

Review by Declan Culliton

Corb Lund Agricultural Tragic New West

My first encounter with Corb Lund was back in 2006 when the Canadian and his suitably titled band The Hurtin’ Albertans played a blinding set on a Saturday afternoon at the Kilkenny Roots Festival. Standing over six-foot-tall centre stage and wearing a white Stetson, Lund spoke of his Western rodeo upbringing before launching into a blinding sixty-minute set that mixed traditional country and rock and roll, laced with dead pan humour.

Lund has stuck to that tried and tested formula across the ten studio albums he has recorded and AGRICULTURAL TRAGIC arrives five years after the release of his last full studio album THINGS THAT CAN’T BE UNDONE. With a legacy that includes being born on a ranch in the Canadian Rockies and working as a rodeo steer rider in his teens, his writing has always been steeped in the contemporary West, as if he’s lived every line and chorus that he has put to paper.

The album title is a description of what Lund considers the most authentic label for his music. True to form the twelve tracks on this album are made up of tales, both factual and imagined, of the modern-day cowboy and the associated side shows.

Having engaged Dave Cobb to produce his last studio album, Lund has taken the reins himself this time around. The players who joined him in the studio are his regular band members - drummer Brady Valgardson, guitar player Grant Siemens, and upright bass player Kurt Ciesla.

90 Seconds Of Your Time - which runs for just under three minutes - is a lively opener based on an actual hunt that Lund took part in. Never Not Had Horses tells the tale of his mother losing her last two horses to old age and realising that her riding days may be over. He is joined by fellow Canadian Jaida Dreyer for the comical country duet I Think You Oughta Try Whiskey and Ranchin’, Ridin’, Romance (Two Outa Three Ain’t Bad) is also imbued with humour alongside a steaming rhythm. Ageism gets an airing on Old Men, which is a thumbs up to the wealth of life experience and know-how that the older generation has to offer.

Lund explains where his signature sound comes from in his own words ‘“The stuff I do to this day is a reflection of the two chunks of my life: growing up Western, and then being exposed to the indie rock scene for 15 years.” That mix of rural and urban has gifted us with consistently impressive albums that have alt-country firmly stamped on them.

Lund is beyond doubt the real deal and AGRICULTURAL TRAGIC cements his reputation as a leading light in modern yet unadulterated country music. His output continues to be a reflection of the present-day West. Twang, heavy rhythms, toe tapping beats, Texan swing, infectious melody and clever lyrics, all combine on an album that I will without doubt be returning to on a regular basis in the weeks and months ahead.

Review by Declan Culliton

John Baumann Country Shade The Next Waltz

 A member of Texan country collective The Panhandlers alongside Josh Abbott, William Clark Green and Cleto Cordero, COUNTRY SHADE is the third solo release by John Baumann.

The album is anything but upbeat. It offers twelve personal and reflective songs that denote a young writer appearing to be at a low point and less than optimistic about both his future and that of his homeland.  

He bemoans the changing landscapes in country music, but more importantly of rural America, on the opener The Country Doesn’t Sound The Same. The song considers the effects on the lives of the working man of those changes. The passage of time is mulled over on Next Ride Around The Sun, but again from a relatively negative rather than positive perspective, and Daylights Burning hints at a personal low point for the Baumann. Fools Crusade speaks of the lengths a man will go to recapture lost love. That sentiment is reconsidered on If You Really Love Someone, which concedes that you need to let go and move on to allow your estranged lover to progress.

 I Don’t Know tells of the passing of a friend at the young age of 30, the anguish and despair of Baumann as he, somewhat harrowingly, considers ‘I can only hope to get enough rope to go to see him where he is today.’

The songs are delivered in a soft Americana styling, angling towards country rock and at a leisurely pace, in keeping with the sentimentality of the subject matter. Flight Anxiety is one of the exceptions, it’s a great little rocker considering the anxious theme. He also rocks out on Second Wind, it’s a reminder to himself to pick himself up at life’s low points and dust himself down and that better times will follow. The album concludes on an identical topic as it opened with Grandfather’s Grandson as the writer once more laments past eras and lifestyles.

COUNTRY SHADE is an album that appears to find Baumann at a crossroads, unsure if he has the confidence to stride forward in his career and constantly looking over his shoulder for the comfort of past times and generations, possibly with rose tinted glasses. He certainly possesses the talented to write impressively.  One of his songs Gulf Moon was recorded by Kenny Chesney and this album also includes touching lyrics across many of the tracks. It also may offer material that may be ripe picking to be covered by others.  It’s not an easy Saturday night listen but worth investigation.

Review by Declan Culliton

Paul Messinger The Reckoning Self Release

Paul Messinger is a poet, songwriter, vocalist, and instrumentalist, originally from New York. Now based in Chapel Hill, North Carolina, this is his fourth solo project and his musical vision is one of sharing a message of hope and peace. The seven songs here run to just shy of 33 minutes and in terms of both arrangement and production quality, they all find their mark. 

The project was engineered and produced by Jason Merritt who also plays keyboards, guitars and sings. Messinger provides all lead vocals and plays harmonica in a style that really punches the music along an up-tempo path. The songs were all recorded live in the studio, with just a few additions after the event to embellish the groove that was captured.

There are many other musicians who play on these tracks, including Robert Sledge (bass), Morgan Davis (drums), Keenan Jenkins (guitars), Peter Lucey (keyboards, squeezebox), Raney Hayes (backing vocals), Jon Shain (resonator guitar), Todd Parrot (additional harmonicas), Robert Welsh (dobro), Jeremy Haire (slide guitar, bowed guitar) and Tim Smith (tenor/alto sax, flute, vocals).

The title track has a soulful sound with slide guitar, harmonica and dobro all playing off the melody and the message of a coming punishment for our wayward deeds. Time 2 Take the Guns is a song that calls for weapon disarmament in American society in order to nullify the power of the ignorant and the increasing numbers of misguided radicals. Jesus Will Understand is a song that tackles war atrocities all done in the name of Uncle Sam and the scars left on all sides. Hungry For Love has a Country swing and a lyric about a frustrated wife who writes to an Agony Aunt.

The EPIC Saga of Jason Ricci’s Socks tells the tale of the outspoken harmonica player and singer, who has been openly "queer" gay/bisexual most his career and has been discouraged from attending a number of venues and events. 

The final song, War Evermore, is the longest track at over nine minutes and is inspired from a Bob Marley song (War), which was itself adapted from a speech given by The Emperor Haile Selassie in 1963. It has a wonderful reggae tinged rhythm as it details the gratuitous violence and hate crimes that go unpunished under the banner of war. 

Credit to all concerned, this is a very enjoyable set of songs and there is much to recommend in the overall sound.

Review by Paul McGee

Steve Mednick Enough! Self Release

This album was released last year and represents the 15th release in a career that started back in 2006. Mednick works closely with singer-songwriter and producer Eddie Seville at Cottage Sounds Studios in Middlebury, Connecticut and the eleven tracks were all written by him and produced/arranged by Seville. In addition to the guitar and vocals of Mednick, we are given a range of sounds from the talented Seville who adds drums, percussion, harmonium, pedal steel, guitar and vocals. 

Karl Allweier contributes bass, guitar and vocals and there are a number of guest musicians on various tracks that help to round out the sound. The overall feel of the music is that of contemporary Folk with a twist. There are protest songs about gun control in America and the risks involved in simply trying to grow up safely and obtain an education. There are songs that show the frustrations of Mednick as he looks for real change and not just platitudes from uncaring politicians.

The rock drive of The Whole World Is Watching sums up the anger perfectly with great guitar parts and a hard rhythm. Similarly, A Dark Night Is Upon Us, which delivers a message of having left it too late to change the zeitgeist. Other tracks like What Are You Going to Do? Soon It Will Be Too Late, Weapons of War and Something In the Water tell their own story from the titles and final song, Raging Across The Land, sends portents of doom, given the apathy and sickness that grip his country. Given the message was communicated last year, the opportunity to review this in the current climate of 2020 makes it more potent than ever imagined.

Review by Paul McGe

Lawson Vallery Band Texiana Rambler

A singer who grew up in Texas and who has lived a colourful life in arriving at this release - his debut album. The sound is very much a mix of Americana and Blues with the nine songs delivering a fine workout by all concerned; Lawson Vallery (vocals), Tone Stojka (guitar, pedal-steel), Erik Nielsen (harmonica), Thor-Erik Molstad Johansen (bass, vocals), Tracee Meyn (vocals) and Øyvind Hansen (drums). 

As you can guess from the names of the band members, Vallery is no longer based in the USA. In fact, Norway has been home since he moved there to take up a job as a project co-ordinator for the construction of two offshore platforms in the oil industry. In earlier years he also went to sea as a sailor and worked as a cook on an oil tanker. He also served in the military and worked as a welder in Louisiana. Plenty of life experience to put into these songs then, given his attitude to taking risks and seeing where they lead you. His vocal is not a million miles away from Willie Nelson and the band are certainly very accomplished in turning out stellar performances. 

All songs are written by Vallery, with one co-write and the gospel blues of No Short Cuts To Glory is a perfect example of the players all coming together in perfect unison. Rocky and Wide has a tex-mex swing to the arrangement and the bar room blues of H.A.R.V.E.Y. is a real treat, with harmonica and female vocals adding great dynamic to the work out. Irma is an instrumental and has a great country sound with jangling guitar, pedal steel and dobro trading licks and harmonica jumping around a chugging melody that conjures images of the wide-open spaces and riding the railway to the horizon.  

The final track, Reflections, is an acoustic-based look back down the road and takes all the steam out of the earlier tracks as the journey ends in a very satisfactory way. A very enjoyable 37 minutes of your time. 

Review by Paul McGee

Album - New Reviews

Tessy Lou Williams Self-Titled Self Release

Musicians residing in Nashville seldom leave the Music City to take up roots in the country, it’s usually the other way around. But that’s precisely what the parents of Tessy Lou Williams did when they upped sticks and left Nashville for the small town of Willow Creek in Montana. They continued their music careers on the road from that base, often with Tessy and her siblings in tow. It’s fair to say that country music was in her blood from a very young age.

Tessy Lou previously fronted the three-piece Tessy Lou and The Shotgun Stars, which included her father Kenny on bass and Bryan Paugh on fiddle. The band moved to Austin from Montana and recorded two albums during ten years living and playing in Texas.

She journeyed to Nashville to record this debut solo album at Station West in Berry Hill. It’s produced by Luke Wooten, whose has worked with the cream of country artists including Glen Campbell, Brad Paisley, Dierks Bentley, Sunny Sweeney and Toby Keith.  She also gathered an impressive bunch of musicians to contribute to the album, all session players and artists in their own right. Brian Sutton guests on guitar, alongside pedal steel player Mike Johnson, Aubrey Hainie on fiddle and Ashley Campbell on banjo. Backing vocals were added by Jon Randall, Carl Jackson, Brennen Leigh and Jerry Salley. Two of the songs, Mountain Time In Memphis and Busy Counting Bridges are co-writes with Salley, who has previously had his songs recorded by Loretta Lynn, Brad Paisley and Toby Keith.

Having the right producer and musicians never guarantees an impressive end result, strong material and the skillset to deliver them are also essential ingredients. Williams wins on both counts. Her vocal style is very much on a par with that of Lee Ann Womack and Ashley Munroe, or more simply put, prime for delivering classic country songs. All the standard country music narratives are aired on the songs. Tears, heartbreak, devotion, longing and of course drinking, all get explored, but it’s Williams' pristine vocals and the melodies within the songs that are the winners.

Swinging fiddle and pedal steel launch the opening song Your Forever Will Never Say Goodbye before Williams’ vocal kicks in and you’re instantly left in no doubt where her sentiments lie. Without a trace of pop crossover, she also sticks consistently to her country guns on rousing gems Midnight Arms and Round and Round. Her tearjerkers include the Webb Pierce cover Pathway Of Teardrops and One More Night which hints at shades of Alison Krauss & Union Station. Brennen Leigh worked with her on the lyrics of Somebody’s Drinking About You and also adds backing vocals on the song.

Like so many of her female peers keeping the flame alive for country music, it’s unlikely that songs from this album will feature in what masquerades for country music on the Billboard Hot Country Songs chart, which is a shame because the album is a stone walled collection of bona fide country songs.

Review by Declan Culliton

Watkins Family Hour Brother Sister Thirty Tigers

The 2015 self-titled debut album by siblings Sara and Sean Watkins was an all covers affair, featuring eleven tracks that re-visited a wide range of artists from Roger Miller to Fleetwood Mac. Following the success of that project they decided to set the time aside to write original material for this album. Given the many side projects that they are both engaged in alongside their solo careers, it’s not surprising that a gap of five years exists between that debut album and its successor. Together with their solo careers, Sara has been recording and touring with Grammy nominated I’m With Her and Sean has been active with Fiction Family, his collaboration with Switchfoot frontman Jon Foreman.

The couple, who have been gracing stages since childhood, have also been hosting a monthly residency at LA’s Largo Club for the past eighteen years, where they perform with a variety of invited guests. They’re also founding members, alongside Chris Thile, of Grammy winning progressive bluegrass band Nickel Creek.

The final result of their teamwork is an album that includes seven self writes, alongside three well-chosen covers: Courtney Hartman and Taylor Ashton’s Neighbourhood Name, Warren Zevon’s Accidentally Like A Martyr and Charley Jordan’s Keep It Clean.

They approached BROTHER SISTER from a slightly more laid-back manner than many of their previous projects. Lead vocals are shared and Sara’s skilled fiddle playing and Sean’s expert guitar prowess take pride of place. The vocals impress throughout, whether individually or on their trademark harmonies and most particularly on The Cure which kicks the album off in fine style. An instrumental introduction is followed by their colliding harmonised voices on this song, the album’s stand out track.

Instrumentals Snow Tunnel and Bella Ivan both showcase their capacity to create powerful musical collages with only two instruments. Just Another Reason and Keep It Clean raise the tempo somewhat and the previously noted Accidently Like A Martyr gets a makeover. Starting at a snail’s pace with Sara taking lead vocal alongside plucked fiddle and guitar, the hushed quality of their remake of the song is both striking and atmospheric. The album is no more or no less than expected from two exceptionally talented musicians who consistently craft music that is both uplifting and extremely easy on the ears.

Review by Declan Culliton

Caitlin Cannon The TrashCannon Album Self Release

Washing your dirty linen in public is never pleasurable, particularly when your laundry basket is overflowing. Caitlin Cannon has done just that with The TrashCannon Album, which is fuelled by autobiographical and deeply intimate life issues that she has lived and continues to live through. Alcoholism, bad choices and relationships, family difficulties, gender inequality, minimum paid employment and the continuing incarceration of her brother in a maximum-security prison in Alabama are all communicated on the twelve tracks on the album.

With that baggage to contend with, you’d be forgiven for predicting a dark and demanding listen, only to be consumed by the listener when in a suitable mood. On the contrary, Cannon has taken an altogether disparate approach, lacing the album with humour, satire, dreamy ballads and toe tapping melodies. Naturally, the core subjects do emerge when the lyrics kick in, but by that time it is more than likely that you’ll be engaged, hook, line and sinker.

With or without the personal history behind the songs, she manages to shake the cocktail mixer in a number of directions and deliver an album that embodies rockabilly, countrypolitan, classic country ballads and drop dead gorgeous 1960’s style bubble-gum pop.

Cannon is a native of Alabama, who headed to Stephens College in New York on a theatre scholarship, with stars in her eyes. Like so many others, she became disillusioned with acting and theatre and the inevitable rejection and failures that go hand in glove with that scene. She turned to song writing in her mid-20’s and started getting slots performing in a local bar in Brooklyn, having formed her first band, Caitlin Cannon and the Artillery.

She eventually moved to Colorado and formed her next band The Cannonballs, an all-girl outfit. With her confidence growing as a writer and performer, she decided to bite the bullet and record this solo album. With a lifetime of experiences to draw on, she hooked up with fellow musician and producer Megan Burtt to work with her.

Cannon puts her cards on the table from the word go, with the breezy and chipper opener Going For Bronze. Despite what is drummed into us about the rewards for hard work and education, Cannon reflects on the actuality in the real world as she reflects “So, I busted my ass and I did all that, just to pour coffee in a Starbucks hat.”

Similar dead-end existences surface on Better Job and Mama’s a Hairdresser. The latter is a grungy delight, telling the distressing back story of her mother working all hours to raise money to fund visits to her brother, a life offender incarcerated in a maximum-security jail since the age of seventeen. Barbers and Bartenders are correctly credited as unqualified counsellors - many would concur given the current lockdown - on the classic countrypolitan track of the same name and Dumb Blonde gives a thumbs up to the astute females that play the game to their advantage and are the real winners ( “playing dumb is the smartest thing a blonde can do”)

Deliver is the first song written when she reached sobriety. It’s a dynamic ballad written in the third party with the opening lines “The corner bar, the liquor store, they are not on my way home anymore.” The pain and need to advance are placed in parallel alongside a relationship that only provides temporary highs and needs to end by way of moving on. It’s a quite beautiful ballad, Cannon’s vocal working alongside some evocative pedal steel. Drink Enough offers an equally powerfully sentiment, the short-lived alcohol high and the inevitable low that follows. It’s presented by way of an instantly catchy power pop song with a melody that I’m finding insanely difficult to leave behind!

Cannon, to her absolute credit, has delivered a knockout album, without anything resembling a weak track. It oozes emotion, spirit and animation and is simply a joyful and mischievous listen from start to finish.  I do hope it’s not a ‘one off’ and that we can look forward to more output from an artist that can write dynamically and deliver with equal assurance.

 Review by Declan Culliton

Jono Manson Silver Moon Self Release

As a native New Yorker, Manson was active in the 1990’s scene that included a prominent presence at the legendary Nightingale Bar on second street. It was a small venue that hosted many great bands and provided a stepping stone in the early careers of Blues Traveller, The Spin Doctors and Joan Osborne, among others. He moved to New Mexico at the height of the scene and made Santa Fe his new home. This album, his tenth, was recorded at the Kitchen Sink, his recording studio, that has been his creative hub for many years now. 

The thirteen tracks clock in just shy of 50 minutes and there are a host of great musicians who shared studio space with Manson in bringing this eclectic mix of music to fruition. All the songs were written by Manson, including seven co-writes, four of which are with his wife, Caline Welles.

The title track is a fine blues tune that features Warren Haynes on slide guitar and it is a really good example of the quality playing that is brought to the table here. Loved Me Into Loving You Again is a soulful duet with Joan Osborne, complete with horn section and easy groove. Jason Crosby contributes on organ and pianos, while Jon Graboff plays guitars, mandolin, sitar and pedal steel. Both players provide lots of colour to the melodies and the engine room of Ronnie Johnson on bass and Paul Pearcy on drums/percussion provide the drive and the gear changes.

Other players are Eric Ambel, Eric Schenkman, Paolo Bonfanti and Eric McFadden, all of whom play electric guitar on individual tracks, while Jay Boy Adams adds slide guitar to the excellent song, Every Once In A While. There are different styles across the project but Manson leads from the front throughout, playing acoustic and electric guitars, banjo and taking all lead vocals. He sings in a smokey, blues vocal tone and songs like I Believe and Shooter highlight his prowess. The Christian Thing is a gospel influenced, shared vocal with Eliza Gilkyson and Terry Allen, with warm keyboards and pedal steel filling out the key message of unity.

The Wrong Angel is a great blues workout and an appropriate way to end what is a very enjoyable album and one that will bring much pleasure to afficianados of Roots/Americana  with plenty of sweet musical union, just imagine The Band jamming with John Hiatt.   

Review by Paul McGee

Andrew Hawkey Long Story Short Self Release  

This singer songwriter has lived a very colourful and varied life since an isolated upbringing in Cornwall. Looking at his biography, it’s apparent that Hawkey has been a long-time student at the university of life and continues to study there! He has played music for many years either as a band member or on a solo basis, rubbing shoulders with the great and the good of the industry. He has also been a music promoter, a studio co-owner and had a role in running the indie label, SoSo, during the 1980’s.

Now living in the Welsh countryside, Hawkey has recorded these ten songs at Addaband Studio in Mochdre, Wales and co-produced the project with Clovis Phillips, who also restored and updated one of the tracks, Spirit, which had started life in a garden shed back in 2016. All these years of experience can do is try and impart a wisdom of the journey taken, with the gentle production creating an intimate environment for the easy melodies and the ensemble playing of the studio musicians.

Hawkey plays 12-string guitar, piano, organ and harmonicas. He also provides lead and harmony vocals, his vocal tone carries a warmth and the delivery is unhurried. Clovis Phillips contributes on acoustic and electric guitars, bass, drums and percussion and he is joined by Penny Joubert who plays banjo on Golden Heart (On a Rusty Chain), a song about living independent and free, despite the price that sometimes has to be paid. Spirit is another fine song with a remembrance of younger days and feeling strong in the face of life and all its challenges, a rekindled energy. The owner of the original ‘song shed’, Zoe Spencer, joins Hawkey on vocals and delivers a fine performance. 

Elsewhere, Bel Merriman and Penny Joubert deliver excellent backing vocals on three tracks, adding to the overall mellow feel of the album. Jones On Me is a blues tune with an easy groove and some great harmonica and organ from Hawkey, with Phillips adding superbly judged guitar lines. The title track closes the album with a message that looking back is not always the right thing to do when you can choose to look forward instead - ‘Well, it takes a cold heart to stop what was started, It takes a warm one to soften the pain.’ Gentle songs, played with real feeling and an album that resonates with honest emotion.

Review by Paul McGee

Dave Goddess Group Once In A Blue Moon Self Release

This is a nice helping of Americana Roots Rock, served up with a real swagger by Dave Goddess (lead vocals, guitars), Tom Brobst (keyboards, saxophone), Mark Buschi (bass, background vocals), Chris Cummings (drums) and Gary Gipson (guitars, background vocals). This core band is joined by Steve Patterson (keyboards), Robbie Bossert (pedal steel), Corey Purcell (button accordion) and Valerie Borman (Backing vocals).

Goddess co-produced with Konrad Carolli at studios in Pennsylvania and NYC and their sound is immediate and energetic. Opener, When You’re Happy, I’m Happy has a strong rhythm and some nice guitar lines while the title track has a slow tempo and some fine pedal steel, as does When the Past Caught Up With John Henry Weaving, the hoarse vocal tone of Goddess adding authenticity to the story song. 

Dance When You Can has a nice Tom Petty influenced arrangement and rolls along at a fast pace. The band are very much in step with the music across all ten tracks and play with real groove and gusto throughout. 

All songs are written by Goddess, including one co-write, with many highlights, including All Talk and No Action (‘I got a hotel room, but she had reservations’) and Volunteers (‘We don’t need promises, we need victories), as the assembled musicians crank up the sound and really take flight.

Review by Paul McGee

Adam “Ditch” Kurtz Storms of Steel Self Release

Your enjoyment of this album will, I think, depend largely on two things - firstly your love of the sound of the pedal steel guitar and secondly on your familiarity and love of the Randy Travis classic 1986 album STORMS OF LIFE. I’m a fan of both so, for me, this is an entertaining listen. Adam Kurtz is a self-taught steel player, who has accompanied artists such as Chris Shiflett, Sarah Shook and Jason Hawk Harris. He is a solid working player who has an obvious love for his chosen instrument. There are additional instruments on the recording including bass, drums and acoustic guitar, all in the main, played by Kurtz, which provides a musical base to build upon and let the steel guitar soar.

Beyond that there’s not a lot to say. It is essentially a case of listening and allowing the waves of steel guitar to wash over you, as you take in Kurtz’s passion for his instrument and also be reminded of Travis and his deep baritone country vocals. The two offer a different perspective on the same set of songs and your preference will largely depend on how much you feel those song stand up without the iconic voice. However, taken on its own terms, this is a successful if somewhat specialised release, that will find its own fans and if you are a lover of the instrument this is one of a select few albums where the instrument is well to the fore. It certainly highlights Kurtz’s skill and dexterity which allows a number of different moods to be explored with some satisfaction.

Review by Stephen Rapid

Kevin Stonerock Twilight Town Self Release

A singer/songwriter who is accomplished in writing songs that tell stories and are an amalgamation of country, folk and rock influences. This is his 7th release, his debut album DAY BEFORE TOMORROW came out in 1978. It is a fine album that will have broad appeal and features eleven songs written by Stonerock and also co-produced by him and Gabriel Stonerock. It was recorded with a set of seasoned musicians, who play alongside with Stonerock who contributes lead and harmony vocals, some electric guitar (alongside fellow lead guitarist Gabriel Stonerock). He also plays baritone and acoustic guitars as well as bass and banjo. The pedal steel is from veteran player Ed Ringwald, forming part of the overall sound which also includes piano and fiddle. The sum of all the parts is a sound that is varied and interesting, fitting easily into a contemporary but relatively loose umbrella of Americana.

The opening track Too Young To Quit is a solid rockin’ song that is as good as it gets as an example of melodic roots/rock. It is a rumination about the on-the-road life of a musician troubadour, with an aversion to getting something akin to a real job. Life on the road and the people that are met along the way provide the subjects for songs like Life Of The Party and Gypsy Road. Black Diamonds is not only about the brand of guitars strings that were used by everyone at a particular time. They were (then) inexpensive and available everywhere back in the day. The song also relates to the men who used them and is a tribute to those (often unsung) players and the instruments they played. Other songs such as I Wish I Was A Riverboat seem to be a metaphor for life on the move set in earlier times. Railroad Man is also a song set in earlier times which looks at the life of a man who does not work for any particular company but moves around in his work. Stonerock researched this for a commission for a historical society. If he wasn’t a railroad aficionado before, he became something of one after researching the project.

The title track has some pleasing twang, which suits the song’s sense of creating the will to carry on and find a place in some far away (twilight) town. The closing track The Town Where I Was Born is a gentler look back at what could have been an upbringing in any Mid-Western small town and is Stonerock’s recollection of the people and places that made an impression on him growing up. All of these songs reveal Stonerock as a writer of some finesse and thoughtfulness. I’m not acquainted with Stonerock’s previous albums, but this new album sounds like the culmination of his career to date. It is one of those albums that deserves a wider recognition, so a quick visit to his website will give you some background and insight to the man and his music (and some selected videos).

Review by Stephen Rapid

Ben Bostick Among The Faceless Crowd Simply Fantastic

Another storyteller who easily fits among the new names, both male and female, who are developing their craft as songwriters and performers. This is Bostick’s third full album release and has touches of such diverse influences as Bruce Springsteen and Johnny Cash through to Otis Redding and country icons like John Cash and Merle Haggard - among many others. However, a little time in the company of his warm voice and engaging songs and you will find yourself enjoying listening to these dark, weary, world worn songs. For instance, the opening duo of Wasting Gas and Absolutely Emily where the music is subtle and understated, with such elements as harmonica and Hammond added to the overall mood of often what amounts to quiet despair. Although Working For A Living is a tougher theme it works again with a sparse backing that features what sounds like a tea-tray being bashed on someone’s head and is a convincing percussion device here given the stark nature of the world unveiled.

This hard road ahead is again the subject of I Just Can’t Seem To Get Ahead, one that is clearly laid out in the title where the man is burying his dreams while drawing in debt. There have been mentions of the aforementioned Springsteen’s Nebraska in comments about this album, although musically it is never quite as black and white as that album.  The lyrics address a similar anguished world view from the prism of a seemingly endless life of toil, something the lead character of The Thief wants to bring things to a conclusion in a different and tragic way “I keep hoping for blue lights coming up behind, coming to relieve all this pressure on my mind.” He is a man who realises “I ain’t no Jesse James” but has a family he wants to be able to feed and is forced into some desperate decisions.

There is little information with the album in terms of production and musician credits (though his long-time guitarist Kyle LaLone is on hand for some telling guitar). Regardless, these are Bostick’s songs and they are presented in a way that he wanted them to sound. If the subject matter sounds a little harrowing, then in contrast the collective 10 tracks hold together in a way that many examples of the blues songs can do by offering something akin to hope in the way that they are performed here. There is little pretension in these fictional tales of woe, but a lot of underlying truth for a layer of working lives that find it hard to ever get out of a rut. The music here has not placed any such restriction on itself and will be a just reward for those who don’t like their music all light and jolly. So, let’s hope Bostick rises above the fate of the title. He deserves to.

Review by Stephen Rapid

Album - New Reviews

David Haerle Death Valley CMH

This follow up to debut album, GARDEN OF EDENDALE (2018), is another very strong statement from a musician who knows how to play and produce any number of impressive tracks from his catalogue of self-penned songs.

Haerle was introduced to the guitar in his early teens and developed an immediate passion and understanding for the instrument. However, at the age of 24 he was compelled, upon the sudden death of his father, to take over as president of the CMH Label Group and his music career had to be put on hold. His father originally emigrated from Germany with a dream of working in the country music industry. Having arrived in the USA, he co-founded the independent label CMH Records (Country Music Heritage). 

David was also influenced by his maternal grandparents who co-owned the first full time country music radio station in Nashville, WENO. In addition, Roy Acuff, the King of Country Music, took Haerle onstage at the Grand Ole' Opry before a full house when he was only 9 years of age – any wonder that the bug bit him hard as a result!

Prior to the new album, Haerle decided to release a series of singles and music videos to support the project and to gain increased media interest. Over recent months, four singles have surfaced, Go Do That With Sharon, The Free Show, Edendale and the latest track, Romy and Michelle - a look back at younger days and memories (in this case, a movie) that give touchstones to the future.

Including these songs, there are a total of 15 tracks on the new album, with a running time just shy of 60 minutes. Similar in length to his debut and a very generous package, if not for the fainthearted! It is a commitment to listen straight through but certainly worth the rewards.

The project is laced with terrific production and great musicianship, part Americana and part Rock, with a fair helping of sunny, up-tempo commercial-leaning arrangements included. As expected, Haerle leads from the front and his ability on acoustic, electric guitars and lead vocals is very impressive. He is joined on the tracks by studio musicians Alex Wand (guitar), Carson Cohen (keyboards, mandolin, bass, backing vocals), Jose Salazar (percussion), Reade Pryor (drums, percussion), Jon Lee Keenan (backing vocals), Erica Koesler (vocals), Derek Stein (cello), Ken Belcher (acoustic guitar, backing vocals), Jeremy Castillo (guitar) and Luanne Homzy (violin), all of whom add greatly to the overall dynamic sound of the production. 

First three tracks, I Want To Be Like Him, The Free Show and Edendale are a gentle introduction with easy grooves before Go Do That With Sharon kicks up some dust with a more rock oriented beat that displays the excellent band work and solo skills of Haerle on guitar. The nostalgia of Romy and Michelle is captured so well and the bass playing is to the fore in leading the melody and rhythm along. Also, Forgiving Myself is similar with the band interplay superbly pinned by the rhythm, a song about self-acceptance, forgiving yourself and developing a self awareness that Haerle injects into his daily life. 

Ms Bell is about accepting the things that you have, the choices made and the road not taken. Smoggy Days is a trip down memory lane, taking the good from what was not always a happy time and seeing how it formed the person in adulthood. It is a rock-based tune that is very strong. Tellers really attacks with a look at bombastic, self-absorbed people, only interested in self-promotion.

The Groove Of the Record has a great melody with s fine guitar break – a song that looks at repeating old habits and being stuck in a rut. Perfect Lover has nice keyboards as it tells of a secret crush and an imagined romance. Also, Run and Be Free, more warm keyboard sounds and a gentle groove with its message of not letting ambition take over the need for inner joy and the cost paid if you let it. 

The title track has some superb ensemble interaction with the fiddle of Luanne Homzy soaring above the arrangement, making me wonder why she was not given a greater role in the other songs featured on this release. Her contribution on the debut album was much greater and her playing was a joy. Final track Eureka is an instrumental guitar piece that again highlights the skills of David Haerle and his excellent technique and touch. Something for everyone across these tracks and a very expansive offering to all who want to feel that sun on their skin as they relax into mellow moods and quality sounds.

Review by Paul McGee

Stevie Ray Latham & The Nomads of Industrial Suburbia Self Release

This is the second EP in as many years from the creative musical mind of an artist who always surprises and who displays a playful approach to his creative muse. Starting out with La Forêt, a simple instrumental of just over one minute, it is delivered on what sounds like a toy xylophone, with a soft mandolin strum in the background.

Everything Changes is a track that looks at the steady nature of a trusted lover while everything else is in a state of constant change, it’s easy melody echoing the sentiment in the song. Half way through the track there is a build towards a wall of sound dynamic, before it all breaks down again in the final minute of reflective guitar strum and background sounds.

Thief has a great rock groove, wrapping a vocal delivery which resonates with a fuzz tone and an insistent backbeat that winds through the arrangement. Madeline is a quiet acoustic melody that drifts gently along with some nice touches from keyboard effects. The final track, I Don’t Mind, has a brooding guitar sound with a change toward the end that breaks down the track and delivers a more even-paced finale.

Sixteen minutes of engaging music that always keeps the interest and again points to an artist with much to offer.

Review by Paul McGee

Shayna Sands Motions Of The Day Self Release

This debut EP is one that announces the song-writing talents of an artist that grew up in Corpus Christi, Texas. Her subsequent travels gave the necessary experience and perspective to infuse the creation of these five tracks with something that is very much her own and rooted in a mix of blues and country noir. The almost-spoken word delivery of first track, 3417, lends a deadpan air to the atmosphere created, which is then cut with an intriguing mix of trumpet, cello and harmonica in a dynamic that brings everything vividly to life.  The title is a house number in the Texas city of Longview where the occupant holds dark secrets and lost children run through the imagery. 

The title track has lovely cello from David Lescalleet IV with a trumpet part that conjures up a Tejano feel. The backing vocals of Victoria Majors are very understated, yet add a great atmospheric to the arrangement. If You Don’t Mind has a torch song influence and laid-back delivery, that sits perfectly into a bored chanteuse whispering her regrets and wishes to drift away in dreams of freedom. The keyboard sound of producer Ben Howard is reminiscent of an old Farfisa instrument with backing vocals channelling the hint of 50’s night club smoke filled rooms.

Secret Pain has John Macy playing superb pedal steel while the harmonica of Shayna slides around the edges of the melody. It’s a song about false promises and shady characters who are never what they seem. Final song, Heart Beat, is a treat with the violin of Jacob Lipman perfectly capturing the noir feel of love and delirium mixed into a lethal cocktail. Throughout, the thoughtful and winning delivery from Jm Muniz (bass) and Cody Strong (drums) fuels the song arrangements and does not get in the way by overplaying at any turn. 

An atmospheric, confident debut and hinting at next steps that will gain this interesting talent even greater exposure to a wide audience.

Review by Paul McGee

Molly Maher Follow Real Phonic

There’s a fairly diverse mix of sounds on this album. It opens with an instrumental Jango, which is wide open to interpretation, without really giving anything away about what is to follow. However, the second track really captures your attention. Run, Run, Run, like all the compositions on the album, is written by Maher (though in this case it is a co-write, as are 6 of the other songs featured). It is a single taken from the album and undoubtably a highlight of the album. It has a strong chorus that resonates over the guitars, bass and drums setting. It also has a solid hook that is memorable and a video to go along with it to also offer a visual dimension. But that’s far from the only track worthy of attention as it is just one of a number of tracks that are a part of the overall picture such as Bird Song (I’ll Follow You) with additional Spanish vocals and lyrics from Iraida Noriega, Pale Face River and the more experimental Open Road.

FOLLOW is her fourth album and first since 2011 so it feels like a certain amount of reassessment and reflection - not to mention financing that went on during the gap. It again sees the Minnesota artist working with co-producer Eric Koskinen, who also adds guitars, percussion and vocals throughout. The duo bring much to the process, delving into a number of loosely Americana based sources such as rock, soul, country and sounds from further afield like the tablas on StormCloud and the touches from south of the border. It has been noted that both waited a long time to be able to make this amalgam of sounds work in a way that is not confusing but rather cohesive. She had apparently recorded an album some years back that was unreleased because it wasn’t, in the end, what she what she hoped or wanted.

That kind of commitment to one’s legacy is not always easy to find, but attest to an artist seeking to better their chosen craft. There are influences she absorbed after a break travelling through Mexico that are subtlety applied with hints of early Calexico but without using the obvious route of Mariachi style horns or accordion. The end result is a testament to a strong artistic vision, that rewards the listener with a set of songs that benefit from repeated listening as little touches are revealed. That make it well worth it to follow Molly Maher in what she has done here and may do in the future. 

Review by Stephen Rapid

Emily Duff Born On The Ground Self Release

This self released album offers a robust sound from a fine studio band fronted by seasoned singer/songwriter Emily Duff and offers some rough and ready rock ’n’ roll, laced with some country rock and soul. It includes a set of songs that takes a hard look at relationships from both sides of the love/loathe fence, but from a mature and self-confident perspective. Titles such as We Ain’t Going Nowhere, There Is No Way Out, Killer and Knuckle Sandwich underline the notion that life can be tough but conversely the tough can have a life. 

Duff has been releasing albums through the years starting in 2015 with her debut solo album GO TELL YOUR FRIENDS. MAYBE IN THE MORNING followed in 2017 and HALLELUJAH HELLO (2019) being the most recent. So, this is Duff further exploring her sound and muse. One that has been likened to a number of diverse names that can easily be related to but are largely subjective depending on individual interpretation. This is usually a combination of strong women and classic rock sounds - both of which seem appropriate. It is that blend of insight that comes with age set against a tough mental stance and some rock ’n’ roots swagger.

Not that everything is full tilt, as with Knuckle Sandwich for instance, there is a lot of variation within these nine songs. The titles Born On The Ground and especially the final song Forever Love are examples that reveal a side to them that balances the toughness of the music with a more nuanced delivery and strong sense of melody. The overall album works as a unit, with a couple of the songs offering a sense of immediacy and coming through as universally accessible. 

The production by Eric “Roscoe” Ambel is spot on and perfect to bring these songs to fruition. He and Duff have brought her regular band and guests into the Brooklyn studio to give them clarity and cohesion. Guitarist Scott Aldrich, bassist Skip Ward, keyboard player Charlie Giordano and drummer Kenny Soule are joined by Amber and a selection of backing vocalists - Mary Lee Kortes, Sad Straw and Tricia Scotti, to all add additional layers to the overall delivery. This is a testament to all involved and a fine slice of contemporary roots-rock from a strongly personal point of view.

Review by Stephen Rapid

India Ramey Shallow Graves Self Release

On my initial listening I really liked the sound of this album it. First and foremost, it has Ramey vocals front and centre and behind that an interesting mix of traditional country, folk, Americana noir with some southern-gothic allusions in the interesting, memorable song selection. This is her fourth album release and follows on from her last album SNAKE HANDLER. An album produced, as is this latest release, by Mark Petaccia in the House Of Blues studio in Nashville. This one features the work of the Medders brothers, who grew up in Georgia as did Ramey and who are namely Will on drums, Carson on guitar and bassist Cheyenne. There is also a contribution from fellow artist Brian Wright, who added lap steel on The Witch. 

Ramey was in previous life an attorney who dealt with abuse cases, so she has doubtless seen some of the darker sides of life and she perhaps channels some of that into some of these lyrical journeys which see her looking for a good time in Up To No Good. On this track she is warned that “nothing good happens after midnight” but that is something that she “exactly had in mind.” The title song and the current single King Of Ashes deal in elements of darker behaviours. The latter seems very prescient in these times of how silence is complicit in some abuse situations by noting that “pain is the gasoline and silence is the matches.” Elsewhere Ramey viewpoint takes in the strange world around her and in Debutante Ball, where? the focus is on perception, privilege and hypocrisy in the Bible Belt’s regions of area and mind.

Something closer to home is the loss of a close friend Gordon Downie to cancer. He was the frontman in Tragically Hip and Hole In The World is a touching tribute to him and is played down with a restrained and melancholic violin-led song which has a universality in message. Moving on in another sense is the theme of Montgomery Behind Me. The album closes with the very suitable choice overall of the Hank Williams Snr song Angel Of Death which given the album’s title and overall mood seems to make a lot of sense. Ramey has aimed a lot of these songs against the way that a certain elite and strata of society feel that they own their moral high ground and the right to have their perceived lifestyle of wealth and power.

Aside from that sense of injustice, there is also a sense of vibrancy and hope and, well, a just uplifting sound that Ramey, Petaccia and the others have imbued this recording. In the end, even if you don’t take in all of its lyrical libretto, this is an album to admire for what it lays before you in terms of sound and attitude that is far from shallow. 

Review by Stephen Rapid

Secret Emchy Society The Chaser Self Release

One of the figureheads in the Queer Country movement, Cindy Emch’s latest album, with her long-time band Secret Emechy Society, cuts across just about every component of country music. The album twangs, croons, surfs, shuffles and aches in equal doses. There is also humour alongside heartache on the eleven tracks, which recollect her own often eventful past life, and experiences of her and her bandmates from their road travels.  Emch’s voice is broad and lived in and gives the impression of having endured the sentiment of many of the songs that feature.

Booze features across a number of the songs, quite a number in fact, some tongue in cheek and some with a more solemn content. Much of the backdrop to the stories feature barrooms, the classic country venues for finding loving, drowning sorrows and getting into drunken brawls. Howlin’ Sober at The Moon and the driving Whiskey Fightin’ Terri fit the latter whereas the carefree I Get Drunk takes a more light hearted look at the imbibing tradition.

The title track, a slick country ballad, finds her looking in the mirror, dwelling on past memories and accepting her ‘thrill seeking’ personality. Leavin’ Powell River and Hell Is A Hard Place are jaunty Bakersfield sounding up-tempo tracks. You could be forgiven for thinking you were approaching a novelty album before you pop THE CHASER into your player. It’s much more than that and is loaded with catchy hooks and easy on the ear melodies.

Emch is very much a leader in the Queer Country movement and is editor of Country Queer magazine, whose logo is ‘Bringin’ the goods to the LGBTQ country music family’. THE CHASER is an album that should find wide appeal way beyond the community that she initially targets. Have a listen and make your own mind up.

Review by Declan Culliton

My Girl The River Cardinal In The Snow Independent

Consisting of Louisiana born artist Kris Wilkinson and UK bass player Joe Hughes, My Girl The River’s latest album is a collection of songs with themes that consider expectation, mortality and prediction.

Wilkinson was formerly a member of roots bands Perfect Strangers and For Kate’s Sake, whereas Hughes musical career started as part of the punk band The Flys. They joined forces and created the folk-rock duo Cicero Buck and released three full albums and one EP.  2012 saw the emergence of My Girl The River, with the duo slightly rebranding their core sound and morphing more towards Americana territory. They celebrated the new venture with their debut album THIS AIN'T NO FAIRYTALE in 2016.

Produced by Neilson Hubbard, the album features twelve songs penned by the duo and boasts an impressive collection of contributing musicians. Together with his production duties, Hubbard also adds drums and is joined by Will Kimbrough (guitar, mandolin, glockenspiel, piano), Danny Mitchell (piano) and Juan Solorzano on steel and electric guitars.  

The album’s title refers to the distinctive bird of the same name. Something In The Water opens the album in fine style, layered vocals and slick guitar work combine alongside a rap verse. The track also features their 14-year-old daughter Ruby Kate on ukulele. He Doesn’t Know He’s Gone is a gentle ballad written in honour of singer songwriter Tommy Keane, who passed away in his sleep in 2017. You Do Not Deserve My Tears is a powerful anthem and a defiant statement, more straight rock than Americana. Needy is a jaunty reminder to prioritise the important things in life and discard the trivial. Won’t Find Our Bones delivers a funky reggae-like slow rolling groove, depicting a scene of impending death in the wilderness.

Loaded with positive energy CARDINAL IN THE SNOW ticks a lot of boxes. Impressive songs, excellently delivered vocally by Wilkinson with equally striking playing throughout, result in an album that fully deserves your attention.

Review by Declan Culliton

Emily Zuzik Torch & Trouble Maenades Music

Vocalist and song writer with the San Francisco alt-country band SexFresh in the late 1990’s, Los Angeles based Emily Zuzik’s career as a solo artist has delivered an impressive stockpile of albums since her debut solo album THE WAY IT’S GOT TO BE in 2003. During this period, she has also collaborated with a wide range of artists from Moby to Shooter Jennings' bass player Ted Russell Kamp, who produced her latest album and co-wrote three of the ten tracks.

What unfolds on the album is an easy on the ear collection of guitar driven rockers, alongside some more relaxed ballads that hit home from the word go. The more up-tempo tracks include Stay Wild and the Alanis Morissette sounding Trouble complete with impressive crunching guitar breaks from John Schreffler, another artist that performs with Shooter Jennings. Slipping down the gears to a more serene sound, both Magic and Embers, the latter a duet with Russell Kamp, are tender ballads and the more expansive Wild Mustang Across The Great Plains is the album standout. Shadows, written by Yo La Tengo and the only cover on the album, gets a poignant re-modelling.

There’s much to enjoy about TORCH & TROUBLE, particularly Zuzik’s rich vocals and the exceptional musicianship and production throughout. Comparisons with the work of Sheryl Crow surface across much of the album which, in itself, is a high recommendation.

Review by Declan Culliton

Album - New Reviews

Nick Hornbuckle  13 Or So  Ruby’s Slipper

Instrumental records in the bluegrass/stringband realm don’t come along very often, and this one seems to have slipped under many a radar since its quiet release into the world in late 2019. This is indeed a shame because it is a brilliant labour of love by the Canadian banjo player, Nick Hornbuckle.

Unlike his first solo recording, 12 X 2 (+/- 1) released in 2015, this one is composed entirely of original tunes. It is inspired mainly by a celebration of family, ranging from Nick’s emigrant ancestors in Oklahoma, Oregon and Idaho in the 19th century, right up his family in the present day. 

There’s a distinctively Celtic feel to the lively opener, Wellesley Station, written in memory of his mother’s birthplace. It introduces the listener to Nick’s unique two finger banjo picking style - which lies somewhere between clawhammer and Scruggs-style. The track also introduces us to several of the many talented Canadian guests that Nick has called upon to help realise his tunes- fiddle player Trent Freeman duets with Nick’s lead banjo, then the tune is picked up by mandolin maestro John Reischman (The Jaybirds) and then by Darryl Poulsen (Slocan Ramblers) on guitar, all the while Patrick Metzger (Pharis & Jason Romero) adds his magic on upright bass. Nick calls in Chris Coole (Lonesome Ace Stringband) to contribute frailing banjo for The South Road, which remembers his ancestors who joined a wagon train travelling across the US in 1846, the rollicking journey evoked by the interplay between bass and both banjos, and some superb dobro playing from Ivan Rosenberg. Another Lonesome Ace guest, John Showman, plays some great fiddle on The Crooked Man, while Ivan Rosenberg impresses on dobro on this tune and several others. Cleo Belle is a delightful song inspired by Nick’s daughter’s love of swimming in a swimming hole near their Vancouver Island home.

It’s not all upbeat tunes, the contemplative title track and A Farewell (to the Cowgirl with the Pigtails) written in tribute to his late mother, slow things down for a welcome breather.

The whole project was arranged, engineered and mixed by Nick in his Ruby’s Slipper Studio at home and there are extensive notes on the origins of the tunes on his website. Seek out and enjoy.

Review by Eilís Boland

Steve Earle & The Dukes Ghosts Of West Virginia New West

On April 3rd 2010 a coal dust explosion at a coal mine in Raleigh County, West Virginia, claimed the lives of twenty-nine miners, only two miners survived the blast. An investigation into the tragedy found that glaring omissions in safety procedures contributed greatly to the fatalities.

Steve Earle was approached by documentary playwrights Jessica Blank and Erik Jensen to compose a collection of songs for the documentary they were developing on the occurrence, having visited West Virginia to speak with the few survivors and the families of those that lost their lives.

Traditionally well renowned for his left-wing opinions, the album is written for and about working-class Trump supporters (‘’written for and about for the people who didn’t vote the way I did’’ to quote Earle).Earle approached the subject matter with outright passion and no little anger. His backing band in the studio featured Chris Masterson (guitar), Eleanor Whitmore (fiddle & strings), Ricky Ray Jackson (pedal steel & dobro), Jeff Hill (bass) and Brad Pemberson (drums & percussion). They all also contribute backing vocals and Whitemore takes the lead vocal, representing a widow of one of the deceased, on the hugely moving If I Could See Your Face Again. The musical styles range from old timey bluegrass to muscular country tinged rock.

The album kicks off fittingly with Heaven Ain’t Going Nowhere, with an a capella lead by Earle who is then joined by the full band. Earle’s vocal is cracked, bordering on choking, as if his air waves were filled with the lethal coal dust that contaminated many of the miners he sympathises with on the song Black Lung.

The jaunty upbeat Union, God & Country pays homage to the generations whose simple lives evolved around hard work, sweat and survival (‘‘You shifted coal til Friday, drew your pay and then walked down to the company store and gave it back again’’). Fiddles and guitars dance in the background as Earle tells the tale. The album’s climax is It’s About Blood, delivered spitting fire, Earle calls out the company authorities (‘‘Tell yourself it was an accident, isolated incident, part of the job. Yeah?  Well, tell that to the families, kids without Daddies. Tell it to God’’), before naming the twenty-nine minors that perished.

The rewards for the lifetime down the mine are articulated on the aforementioned Black Lung. A semi breathless grandfather reminiscing on his life underground, weakened to the extent that he’s unable to lift his grandchildren on to his knee. A similar sentiment surfaces on Time Is Never On Our Side, which also reflects on the perilous daily grind faced by the miners, with little or no other work opportunities available to them except that daily descent down the mine shaft. He also takes the opportunity to remind the listener of the toils faced by all working men in West Virginia with his tribute to African American folk hero John Henry on the lively John Henry Was A Steel Drivin’ Man.

Never one to shirk a challenge, Earle has done his subject due justice with GHOSTS OF WEST VIRGINIA. He’s also pieced together his finest album since 2004’s THE REVOLUTION STARTS NOW.

Review by Declan Culliton 

Gretchen Peters The Night You Wrote That Song Thirty Tigers

Although considered by his peers to be one of the all-time finest American singer songwriters, Mickey Newbury is best known for the string of classic singles written by him but recorded by household names such as Elvis Presley, Kenny Rogers and Andy Williams. His songs have been covered by others on over 1500 occasions. His talent as a songwriter, and indeed a vocalist, found him covering a wide range of genres throughout his career. Country, blues, jazz, western swing, gospel and rock ‘n’ roll all feature in his expansive body of work that presented on over twenty albums.

Whereas his albums were seldom more than moderate sellers, his genius was recognised and regaled by Johnny Cash, Jerry Lee Lewis, Tom Russell, Steve Earle, Waylon Jennings and John Prine who described him ‘as probably the best songwriter ever.’ He is also much loved by fellow Nashville Songwriters Hall of Fame member Gretchen Peters, who sums up her regard for him on her website where she notes “Of all the songwriters of his era, he was the one I really listened to, he was a definite hero of mine. And I didn’t feel he was given his due as much as some of the others’’.

Gretchen was exposed to Newbury’s music from a young age. Her mother was a huge lover of his music and became equally enthusiastic about her daughter recording a tribute album, when they teased out the idea fifteen years ago.

She was also the ideal candidate to record a selection of his songs given that her own writing is similarly textured.  To this extent, the listener unfamiliar with Newbury’s work could be forgiven for assuming that the material that makes up the album was composed by Peters.

Many of the original songs were recorded by Newbury at Cinderella Studios, Nashville’s oldest surviving independent studios. Peters and her co-producer and husband Barry Walsh visited that studio three years ago and were struck by both the sound and nostalgia of the room. Digging deeply into Newbury’s songbook they returned to the studio every few months and without any pressure or deadline, finalised the twelve tracks that made the album, often ignoring Newbury’s more well-known compositions.

Being in a position to knock on the doors of Nashville neighbours to join her and Walsh on the recording also was a winner. Newbury was renowned for his eagle eyed attention to detail in the studio and that level of perfection is duplicated here with the assistance of Will Kimbrough, Dave Roe, Eamon McLoughlin, Dan Dugmore, Charlie McCoy, Neilson Hubbard, Bryan Owings, Kim Richey and Buddy Miller.

Despite that collection of some of Nashville’s finest players on board, the majority of the songs are delivered in a low key style, Peters’ pristine vocals being the focal point, as she beautifully emphasises the emotion and spirit within the selected songs.

Collectively she and her accomplices only break sweat on the lively Why You Been Gone So Long and to a lesser degree Just Dropped In (To See What Condition My Condition Is In). The latter is a relaxed bluesy delight, bringing the song to life and a welcome addition to the treatment of Newbury’s original cut and Kenny Rogers’ remodelled version. The former was previously recorded by both Johnny Darrell and Jessi Coulter, but this latest reworking surpasses both of those efforts.

The title track The Night You Wrote That Song is the closing song from Newbury’s 1979 recording THE SAILOR – AFTER ALL THESE YEARS. Like the majority of his studio albums it made little or no commercial impact when released. The Sailor from that recording, is also the opening track selected by Peters.  A short piano intro opens the track, before Peters’ crystal-clear vocals connect. It’s both a stunning and mournful performance and a taster for much of what follows, with Peters consistently breathing new life into songs that can boast truly touching and imaginative lyrics. The icing on the cake is the flawless production and playing throughout.

You win on the double by picking up a copy of this album. It’s another stunning album for fans of Gretchen Peters. It also gives those unfamiliar with the work of Newbury the opportunity to delve into his extensive body of work.

As was the case with Newbury, Gretchen Peters is also very much a songwriters’ songwriter. No doubt, future generations will also revisit and be influenced by her own personal songbook and this delight is a welcome addition to that stockpile.

Review by Declan Culliton

Prinz Grizzley To My Green Mountains Home Self Release

Chris Comper, aka Prinz Grizzley, released his debut album COME ON IN in 2017. Its core sound was very much Americana, an impressive blend of country, blues and folk. It established him as one of the premier acts emerging from Europe in the genre and earned him bookings at numerous festivals in Europe, including Kilkenny Roots in Ireland and Static Roots in Oberhausen, Germany. An invitation followed in 2018 to perform at AmericanaFest in Nashville, giving him and his band the opportunity to showcase their skills on that side of the Atlantic. Residing in the Bregenz Forest area of Voralberg in Austria, Comper and his bandmates have also toured relentlessly in Europe, establishing a solid following with their spirited live shows.

Having self-produced that debut album, he turned to Beau Bedford to oversee this time around. Bedford had worked with the country outlaw extrovert Paul Cauthen on his highly acclaimed 2018 album HAVE MERCY, an artist cut from the same musical cloth as Comper. With over sixty songs written for the album, he selected twenty to bring to the studio, eventually selecting the twelve that fitted the consistency he and Bedford strived for. In a reverse of the norm, rather than travel to Texas or Tennessee to work with Bedford, he invited the producer to Austria where they worked on the album for ten days at Nautilus Studios in Dornbirn, which is close to Comper’s hometown. The benefits of that decision were essentially two-fold: it gave Bedford the scope to get a feel for the writer's background and environment and also allowed Comper to have his band The Beargaroos in the studio for the recordings. Those band members comprise his long-time musical friend Johannes Bischof on pedal steel, together with two musicians from Switzerland with backgrounds in jazz, Claude Meier on bass and Andy Wettstein on drums.

The twelve songs selected cover a range of topics and emotions, from the sanctuary that his own home environment affords, to the drifting soul searching for a similar refuge. The musical styles shift from country rockers Cutting Wood and Nothing Left But Scars to dreamy pedal steel laced ballads Green Mountains, Drifting and Rush Little Man. The lattermost considers the colourless, mundane and repetitive existence often borne by the average working man.

You Don’t Know Love is bluesy, soul soaked and expansive and the equally chipper Shovel offers a groovy country soul vibe. It tells the tale of his great grandfather, who emigrated from Italy to Austria and the toils he encountered being accepted in his newly chosen homeland. Bookending the album is a sea shanty The Salty Life Of The Ocean, a further reminder of that safe haven of home.

Rather than a variation on the direction of his debut album, TO MY GREEN MOUNTAINS HOME finds Comper continuing on his musical travels from rock to roots. In a previous musical life, he had recorded four indie rock albums with his band Golden Reef. He’s challenging himself and expanding his musical war chest to store some soul infused nuggets alongside his trademark country rock offerings. In doing so he has also recorded an album that you’re well advised to check out.

Review by Declan Culliton

Hannah White & The Nordic Connections Self-Titled Paper Blue

Combining the silky vocals of Londoner Hannah White and the skilled Norwegian honky tonkers The Nordic Connection, this album follows hot on the heels of the well-received single City Beats from last year.White’s 2018 release ELEPHANT EYE earned her invitations to perform at Black Deer, Larmor Tree and The British Music Festival in 2019, where she played with The Nordic Connection as her backing band. 

The Nordic collaboration shouldn’t come as a major surprise given the increasing amount of Americana - more appropriately Nordicana - emerging from that part of the world. White travelled to Bergen in Norway to record the album live in the studio with musician/producer HP Gundersen at the controls.

That punchy single City Beats offered a rootsy beat, sounded as if was plucked out of the mid 1960’s and showcased precisely how White’s polished vocal tones and the band's smooth groove fitted hand in glove. It’s one of a number of musical themes that the album visits, from the tearful country ballads Never Get Along, Start Again, Like We’ve Always Done and Man Without Men to the up-tempo soulful rocking power of Gotta Work Harder. The heartfelt My Father embraces the finer elements of folk and pop. Pay Me a Compliment, due for release as the next single from the album, is a ‘tug at the heartstrings’ ballad that could have been plucked from Elvis Costello’s late 70’s songbook.

There’s a recurring retro feel to the material that brings the listener back to eras when artists with this degree of talent would be hoovered up by record labels and given a generous budget to further develop their careers. Unfortunately, such luxuries do not exist in the current musical market. Hopefully with this release, White and her talented players will get the recognition that this most impressive and radio friendly album merits.

Review by Declan Culliton 

Courtney Marie Andrews Old Flowers Loose

It’s generally accepted that relationship breakdowns are one of the paramount motivations and inspirations for artists to pour their hearts out and translate those sensibilities into songs. Heart rending for the writer at the time, dealing with loneliness and rejection, but the stimulant for classic recordings from Patsy Cline to Bob Dylan and Joni Mitchell to Bruce Springsteen.

Developing and maintaining a relationship for the average artist is difficult enough. Attempting to juggle the balancing act of gruelling touring schedules, an often unstructured career and a caring relationship is like walking a tightrope.

Courtney Marie Andrews has spent the best part of her musical career on the road. Her early career, while still in her teens, found her performing on stage with both Jimmy Eat World and Damien Jurado, before launching her own solo career with her breakthrough album HONEST LIFE in 2016, having recorded two previous albums which slipped under the radar at that time.  As its title implies, that album offered a bird’s eye view of a young woman drawn to a particular lifestyle, while often yearning for a more uncomplicated existence. Given her uplifting vocal delivery and charming persona, it is easy to overlook the hurt and self-examination on that album. ‘‘All I've ever wanted was an honest life, to be the person that I really am inside’’ she admits on the title track, while Table For One and Rookie Dreamin’ spoke of the less desirable and unglamorous aspects of living out of a suitcase on tour.

OLD FLOWERS finds Courtney pouring her heart out once more, on this occasion after the dissolution of a nine-year relationship. The album is minimalistic by comparison to HONEST LIFE and LET YOUR KINDNESS REMAIN which followed two years later. The emphasis is on her striking vocal and the stories that vocal delivers. It wills the listener to concentrate on her words with minimum distraction.  Andrews was discerning in the choice of company for the recording, seeking out allies that both understood where the material was coming from and the importance of ensuring that the production did not smother her sentiments. In this regard she engaged Andrew Sarlo as producer, and multi-instrumentalist Matthew Davidson who had toured with her both in Europe as her support act and as bass player on her American tour. Davidson (aka Twain and former member of The Low Anthem) plays pedal steel, bass, mellotron, piano, pump organ, celeste and Wurlitzer. The only other musician that features is James Krivchenia (Big Thief) who adds drums and percussion.

Rather than anger or heartbreak, the ten songs on the album are laced with reflection and sensitivity, more akin to a series of recollections of a romance from its arousing commencement on the beautiful If I Told You (‘‘what would you say if I told you you’re my last thought at the end of each night’’), to its dissolution on Guilty  (‘‘I cannot give my love to you when I am guilty’’). The opening track Burlap String acts as a prologue for what follows as she ponders on the relationship with compassion rather than anger, her vulnerability and loneliness on public display. The vocals are precise, crystal clear as if ensuring no word or phrase are lost to the listener, the weeping pedal steel in the background is as sorrowful as her delivery. The equally moving Someone Else’s Fault feature her vocals double tracked, a technique that is repeated on a number of other tracks.

The unhurried piano intro on How You Get Hurt sets the scene perfectly on a song that would be heart breaking even if written fictionally. It’s simply beautiful with Andrew’s wonderfully paced vocals carrying a song that is laced with both emotion and tenderness. 

‘’I hope one day we’ll be laughing together or alone’’ she considers on the mournful Together Or Alone, flanked by moody piano she wonders ‘’In some other lifetime would you pick me out again’’. 

The number of aspiring American singer songwriters who have been both casually and lazily compared to Joni Mitchell and Linda Ronstadt are numerous. Very few approach anything near Mitchell’s writing skills and Ronstadt’s honeyed vocals. Andrews is the exception and as her career continues to develop, comparisons to both become increasingly plausible and merited.

‘’You can’t water old flowers’’ she declares on the title track, accepting the finality of lost love and appraising it unambiguously in those five words. OLD FLOWERS is an album that equals anything she’s recorded before and will unquestionably feature in many ‘Best of 2020’ listings. It certainly will be at the business end of mine.

Review by Declan Culliton

Miles Nielsen and the Rusted Hearts Ohbahoy Self Release 

Rockford, Illinois is the home for this singer songwriter who has a lot to offer in terms of superbly crafted Americana songs and sounds. Over a career that has seen seven previous releases, Nielsen has displayed a keen eye for spotting a potent song arrangement and wrapping it up with strong imagery in the lyrics.

His band are a really tight unit and play together with a comfort and ease that really comes across on this new release. The production is shared by the band members and Duane Lundy and the impression is of a group who know exactly what they are looking for. The playing is full of colour and the melodies allow for plenty of input from each musician, whether it’s Miles Nielsen (guitar, vocals), Daniel James McMahon (guitar, vocals), Adam Plamann (keys, piano, horns, vocals), Dave McClellan (bass, vocals) or Jeff Werckle (drums, percussion). 

The harmonies are really bright in the mix as is the terrific guitar lines of both Nielsen and McMahon. The rhythm section of Werckle and McClellan deliver a rich groove throughout and they anchor the arrangements with some impressive playing. The added textures of keyboards and horns are provided by Plamann and together it all makes for a very dynamic release. They are supported by Kelly Steward on vocals (a talented singer songwriter in her own right), Darren Garvey on drums and percussion (but no credits as to how many tracks) and Sadler Vaden who contributes additional guitar on Old Enough.

Being the son of the great Nick Nielsen can be a blessing or a curse and whereas the sound of this band has to acknowledge some of the influence of Cheap Trick, it by no means defines them in any way. There are also elements of Tom Petty along the way but the overall sound is very much in the americana/rock space with Miles more than capable of penning some killer songs of his own.

Starting out with two really strong numbers, Hands Up and Howl at the Moon, the band come out of the traps with everything in the mix – a great ensemble groove and a dynamic that only comes from playing together on a regular basis.

Old Enough channels some Beatles influence to my ears and the slower, nuanced tunes, like Ghosts and Big 3, sit nicely into the running order and don’t fight against the more up-tempo numbers. Life Is Hard Enough has a nice soulful delivery on vocals and the more commercial sounds of Heaven Only Knows and Hannah are attractive tunes that balance the overall flow of the album.

Review by Paul McGee

Kelly Steward Tales and Tributes of the Deserving and the Not So Self Release

This talented artist started out life in Rockford, Illinois before moving to Los Angeles in search of her dreams and making a mark in the music industry. After a few years, Steward subsequently decided to return home and to focus on developing a career on the local music circuit, together with raising her son. She released her first EP in 2000 and it was another eight years before her second EP arrived. Exactly what slowed her career progress is not very clear but suffice to say that any momentum was lost again with another three years passing before the appearance of a third EP in 2011. 

These songs seemed to be rooted in personal perspective with a sense of chasing some lost horizon, undertones of isolation, feelings of unhappiness and wanting to reach out. Equally the sense of feeling lost and vulnerable in those songs was balanced by nods towards exploring new love, offering fellowship and more. The soulful, yearning quality in her voice always a compelling influence. 

Now, seven years on from the last EP, we are given a fresh look at the talents of this interesting songwriter. The ten songs are all written by Steward and the running time of less than 30 minutes leaves you wanting more, which is always a good sign. Her approach here is more band-centric and the overall feel is one of more up-tempo tunes and less self- reflection. 

Steward has a great band that has been backing her for the last number of years, including Greg Whitson, who co-produced this album with Steward. He also produced her 2011 EP, Out From Within, so his presence is an important factor, contributing on a variety of guitars (electric, acoustic, lap-steel, baritone), mandolin and banjo. Also in the band are Darren Garvey (drums), Scott Ford (bass) and Jon Rozman (violin). They are augmented in the studio by Miles Nielsen (rhodes, vocals), Dan Pitney (pedal steel), Jim Westin (keyboards) and Kristina Priceman (violin).

There is an easy swing to many of these songs as they fall into the traditional country arena, Generation, Restless Kind and Heartbreak Heart being prime examples. There are songs that seem to touch a more personal note and Earthquake tells of the anniversary of a death of someone who was close (family or friend)?

Travelin’ Ghost is another personal look at the journey taken and the illusions shattered along the path; feelings of wanting to make peace with the past. Golden Sun is a fine slice of down the road swagger and the strong vocal performance of Steward is always prominent in the production. No Time For Loving You brings everything to a very satisfactory conclusion and is a real rocker. 

I am glad that Steward has returned to the recording studio and I can only hope that, this time around, the momentum is built upon and we get more from this rich voice and accomplished song-writer. Highly recommended.

Review by Paul McGee

American Aquarium Lamentations New West

An aquarium gives you a transparent view of life on the other side of the glass. It’s an appropriate metaphor for the divided state that exists in the American homeland of BJ Barham, founding band member and songwriter. Ever since 2006, his band has struggled to maintain an existence despite a growing fan-base and successive releases. It got to the point where splitting up seemed to be the only option. However, a turnaround in fortune happened in 2012 and the success of 2 albums released that year began a new chapter in the life of the band. There have been numerous line-up changes with musicians joining and leaving in a manner that would unsettle the best of artists, but through it all BJ Barham has kept the faith and his vision to endure. As he sings on final track, The Long Haul, ‘Ain’t never been the kind of guy to cut and run.’ 

While it is a laudable trait to have the courage of your convictions, the actual work has to be able to withstand the test of scrutiny and hard work is not always its’ own reward. The song, The Luckier You Get, tends to differ with this point of view but I do think that there is an element of tongue-in-cheek from Barham as he looks to dissect the illusion of the imaginary American dream; that assumption of equal rights for everyone and justice for all.

God has gone missing and greedy politicians turned up with lies and hidden agendas in the heartland. The downturn in tobacco production is the subject of Brightleaf and Burley, while the need to meet daily bills is tackled in Before the Dogwood Blooms and the tale of illegal trucking as a means to an end. Me and Mine (Lamentations) sums up the frustration, ‘They showed up, they shut us down; The same old story, the same old town.’ There are songs of hard-earned lessons and being wise after the event, where the personal failings of the character populate the songs. The drunk driver who lost his wife and child in Six Years Come September is similar to the sorry protagonist of How Wicked I Was, who realises that his past deeds have consequences and the reality of being without his daughter as she grows up. Again, the self-reflection and regret at love lost is the theme of The Day I Learned To Lie To You and you have to wonder if there is any light at the end of this tunnel. Well, help is at hand and the positive affirmation of Start With You brings a message of true love turning any negatives into positives. Hope for a better tomorrow and pride in identity is captured in A Better South and getting sober, staying the distance and being there is the final message in The Long Haul.

The ten tracks run to 40 minutes and the production from Shooter Jennings is big and bright with plenty of texture to bring colour to the melodies. The band is comprised of BJ Barham (acoustic guitar, vocals), Shane Boeker (electric guitar, vocals), Rhett Huffman (organ, piano), Neil Jones (pedal steel guitar), Ryan Van Fleet (drums, percussion) and Alden Hedges (bass guitar, vocals). The sound is very much Americana with some leaning towards Country influences, mainly in the understated playing of Neil Jones on pedal steel. The band are very strong throughout and add plenty to the arrangements, while the vocal tone of Barham conjures images of John Mellencamp and Bob Seger on occasion. 

Review by Paul McGee

New Album Reviews

Madison Galloway Moon & Mercury Purple Bee

From the small town of Fergus, Ontario, the impressive roots rock debut album from the talented Madison Galloway has recently been released to an unsuspecting world. This young Canadian woman is going places in the music world, if talent means anything (and that’s a debate for another day!).

It’s hard to believe that at 19 years old she wrote, coproduced and performed all the material on this record. Indeed by that age (the album was recorded in 2019) she was already somewhat of a road warrior, having spent many days gigging solo, as a duo and with her whole band throughout Ontario, including playing some substantial festivals. 

On the twelve originals and one cover she amply demonstrates her powerful and versatile vocal skills, her mature songwriting, her accomplished guitar and harmonica playing and, above all, her passion and enthusiasm. There’s lots of electric guitar and rock drumming, with a strong blues flavour running through, but she mixes it up with the addition of traditional Indian instruments like sitar, tanpura and tabla, to particularly good effect on the instrumental Coffee Stains. Citing Led Zeppelin as an early influence, it’s easy to hear the influence of Plant and Page seeping through. 

However, this artist is already showing she can forge her own sound. She wears her heart on her sleeve too - songs like Bye Bye demonstrate her worry for ongoing effect of environmental damage on insects and birds, while Season of Treason is a plea for peace. Co-produced by Ron Hawkins in Escarpment Sound studios in Ontario, and funded by crowdfunding, Madison also did the artwork and design of the album. Worth checking out.

Review by Eilís Boland

David Latto Show Me How To Feel Self Release

This 5-track EP highlights a welcome return for this Scottish singer, songwriter and producer. Latto had stepped away from the music industry to take a break, gain some perspective and store away the implied pressure brought about by writing block. Here, we are treated to his honeyed vocals and songs that reflect his journey in living over the last few years.

The title track is about communicating with no walls, just showing real emotions and not shutting down. Blood & Whisky is about coming home to reconnect with an old friend, shortening the distances and feeling that bond of friendship. Better Way is concerned with relationship woes and trying to find happier times. Haunt Me looks at old emotions, remembering a past feeling and wanting to have it back again. So, these songs clearly come from a very personal space and are authentic in their delivery as a result.

The EP was produced by Iain Hutchison at GloWorm Recording Studios in Glasgow and Latto is joined by John Mather on electric guitars and pedal steel, Lewis Gordon on bass, Phil Wilkinson on drums and augmented by producer Iain Hutchison on keyboards. A special mention also for Mally Smith who contributes superbly on backing vocals, a talented songwriter from Boston who now lives in Edinburgh and adds lots of sweet textures behind Latto’s acoustic guitar and lead vocal.

Everything comes together on the final track, Losing You, a song about waking up to the realisation that a relationship is slipping away. The band really shine on an arrangement that builds nicely to a strong climax, great guitar sounds and a driving rhythm. Welcome back!

Review by Paul McGee

My Darling Clementine Country Darkness Vol.2 Fretsore

The second instalment - and hopefully not the last - of Michael Weston King and Lou Dalgleish’s appraisal of the Elvis Costello songbook, follows the splendid first chapter which was released in 2019. As in the case of its predecessor, they have delved deeply into his extensive back catalogue to discover songs that may not always have been the obvious candidates for a country makeover. 

They initially pinpointed twenty-five songs for consideration. Their objective was to select songs that best suited their trademark conversational type delivery as a duo. Working once more with Elvis Costello’s long time keyboard player Steve Nieve, they reduced their selections to the twelve songs that best suited revamping. Four songs were then selected to make up this mini album. Nieve then recorded his keyboards solo input remotely, as the foundations for the songs, which were fleshed out by the duo under the guidance of Mercury nominated producer Colin Elliot. Having co-produced and played on all Richard Hawley’s albums, Elliot was well suited to craft the rich sound that populates My Darling Clementine’s own albums. Elliot also contributes guitar, alongside Shez Sheridan and Dean Beresford on bass and drums.

This album’s title is drawn from Costello’s 2004 album THE DELIVERY MAN - hopefully the title song will feature in a future volume. That album is Costello’s most rhinestone stimulated album of original material. Either Side Of The Same Town, taken from that album, is given a more full-bodied treatment than the original version and sounds all the better for it. It’s particularly suited to the My Darling Clementine model and a tear jerker with shared vocals, harmonies and heavenly piano combining beautifully.

The prolific songwriter and Godfather of Americana Jim Lauderdale, was a feature in the acoustic string band that recorded SECRET, PROFANE & SUGARCANE with Costello in Nashville back in 2009. I Lost You was co-written by Lauderdale and Costello and is taken from NATIONAL RANSOM, which was recorded in Nashville the following year.  It is tailor made as a male/female duet and reads as a typical self written song from Weston King and Dalgleish, both in lyrical content and delivery.

Different Finger appeared on Costello’s 1981 release TRUST. It seemed somewhat out of place, sandwiched between a collection of songs that were composed on a diet of cider, gin, various powders, hangovers and near exhaustion. Though it received mixed reviews at the time, it also includes some of Costello’s strongest song writing, flitting between power pop, soul and roots. Different Finger is classic 'tears in your beer’ honky tonk. However, it is short of two minutes long and came across as a teaser on the album, as if he’d knocked it together in the pub between recording breaks. It’s fleshed out here and given an extra minute and a half. While remaining true to the original, the inclusion of accordion and Spanish guitar reinvigorates a song that otherwise may have remained unfinished and throwaway.

Still Too Soon To Know was one of the more placid inclusions on Costello’s 1994 BRUTAL YOUTH, an album that found the writer at his most cranky, bitter and with quite a lot to get off his chest.  It also offered some killer songs and none less than this composition, which is slowed down by Dalgleish and King, giving it an altogether more atmospheric identity.

 The striking aspects of COUNTRY DARKNESS VOL.1 & 2 are twofold: They provide the listener the opportunity to enjoy some beautifully arranged songs and a richly textured sound, delivered by two voices that combine flawlessly; the albums also invite the Elvis Costello admirers to re-evaluate some of his material, when played back to back with these two thoroughly satisfying mini albums. Hopefully Vol.3 is already under starters orders and the icing on the cake would be concert dates by My Darling Clementine with Steve Nieve accompanying them on piano in the future.

Review by Declan Culliton

Mark Olson & Ingunn Ringvold Magdalen Accepts The Invitation Fiesta Red 

The third collaboration between Mark Olson and his Armenian wife Ingunn Ringvold is a continuation of their idiosyncratic musical journey that began with GOODBYE LIZELLE in 2015 and SPOKESWOMAN OF THE BRIGHT SUN two years later. Interestingly but hardly surprisingly, this time around the album is credited to both, given Ringvold’s increasing input into the three albums.

Olson may be best known for his pioneering work with The Jayhawks, who for many were their first introduction to Alt-Country or what eventually morphed into Americana. Their first three albums, with Olson sharing song writing duties with Gary Louris, were ground breaking, before they moved slightly more mainstream after Olson had departed the band.

In many ways his projects have been more interesting since then. His albums with The Original Harmony Creekdippers, alongside his then wife Victoria Williams, were home-made, charming and childlike, the other end of the scale from his work with The Jayhawks. Two solo albums followed. THE SALVATION BLUES (2007) was a catalogue of striking tales of a person in limbo, depressed and unsure of what the future promised.

This latest album finds Olson and Ringvold in spirited form. It’s not unlike their two previous albums, following a similar pattern of personal songs and reflections on the couple’s relationship and their travels, both physical and intellectual. The mixing and mastering were handled by John Schreiner at Thermometer Shelter Studios near Death Valley National Park in California. The originals had been recorded by the duo on a Nagra field recorder.

Themes visited on the tracks include re-birth and continuity on the soothing Black Locust and imaginativeness on the breezy and poppy April In Your Cloud Garden.  Excelsior Park recalls an amusement park on Lake Minnetonka, which was strictly out of bounds for Olson during his childhood. Silent Mary, possibly the album’s stand out track, was conceived when Olson was researching some old horror movie classical soundtracks. Elmira’s Fountain got its title from a meeting place in Vanadzor, Armenia, a meeting point for the couple with their host named Elmira, prior to days sight seeing and swimming in the cold waters of Lake Sevon.

Olson and Ringvold continue to write and record from the heart, without any external pressures or markets in mind. Impossible to categorise, the instrumentation adopted by Ringvold includes mellotron, chamberlin, tambourine and Qanun whereas Olson sticks to acoustic and electric guitars and occasionally dulcimer. Their somewhat eccentric sound, landing somewhere between pop and psychedelic folk, would have been at home in the mid 1960’s when experimentation was at large and prior to record companies channelling bands down a particular road and discouraging anything left of centre. In the meantime, the couple have their core followers, who will be well pleased and captivated with this delightful update on their trials and travels.

Review by Declan Culliton

Zach Aaron Fill Dirt Wanted Self Release

The cover of Texan Zach Aaron's third studio recording is a cartoon sketch of an open grave with his name etched on the headstone. A makeshift sign is embedded in the grave reading FILL DIRT WANTED, the title of his third album. Signs with that caption are popular in Aaron’s hometown of Cleveland, given its lowland profile and they gave him the bones for the song that also ended up as the title of the album.

That song tells the tale of a lost soul, drifting and locked in self-imposed limbo (‘running from a memory of a man I once was’). It’s one of twelve tracks on an album that intrigues and amuses in equal measures.

The album is a catalogue of tales firmly rooted in the classic and vintage Texan song writing style - a musical travel memoir of Aaron’s observations on relationships, homelessness, life and death.  Like many of his peers, there are nods in the direction of the departed Guy Clark and Townes Van Zant. The song writing styles of Sam Baker and Hayes Caryll also surface on some of the songs.

Dayton Train was written tongue in cheek about a railway junction that delayed car drivers travelling to and from work. Complete with false start and neat guitar picking, it races along at pace and is a clever exercise in wordplay. Composed after the passing of a close friend from cancer, Shelter of The Storm is sweet and melancholic. The song is a co-write with another gifted singer songwriter Kayla Ray, whose 2018 recording YESTERDAY & ME was one of the most loved albums of that year at Lonesome Highway.

Southeast Texas Trinity River Bottom Blues is delivered semi spoken and typifies Aaron’s ability to both charm and stimulate at the same time. The slow rolling groove of the country ballad Hold The Line also impresses, all the better for the understated backing vocals courtesy of Lauren January.

A new artist to me, Aaron’s latest album stopped me in my tracks on first play and has been on constant play since then. I expect it will make a similar impression on any other Texan singer songwriter enthusiasts.

Review by Declan Culliton

Eleven Hundred Springs Here ‘Tis State Fair 

An institution in the Dallas country music scene, Eleven Hundred Springs have been keeping folks on the dancefloor for two decades now. Their personnel may have changed since day one, but their unyielding devotion to traditional Texan country music has remained steadfast. The band was founded by singer and guitarist Matt Hillyer and bass player Steven Berg in 1998, both having been members of rockabilly band Lone Star Trio. The music of classic country artists Merle Haggard, Hank Williams and George Jones were their primary influences. The duo remain at the helm of the band and those influences are still resolute.  The twenty years plus on the road and in the studio has produced thirteen albums prior to this release.

HERE ’TIS follows the release of THE FINER THINGS IN LIFE two years ago and follows a similar template of well-constructed and well-delivered country songs.

All Jokes Aside has nods in the direction of their fellow Texan Rodney Crowell, both in the melody and vocal delivery. It’s an upbeat effort with fiddle and pedal steel breaks in true Texan country style. Let’s Move Out To The Country offers twangy rhythm guitar alongside the fiddle and pedal steel, more Buck Owens than Hank.

The Song You’ll Never Hear could qualify as a classic George Jones cover of yesteryear or possibly a Jim Lauderdale classic of more recent times. Let Me Be Your Man is toe tapping Western Swing, ageless and frenetic, tailor made for the Saturday night dancehall. Loneliness, break up and heartbreak have been done to death by country songwriters over the years, sometimes to spectacular effect, other times less impressively. Eleven Hundred Spring’s tear jerker is the opening track This Morning It Was Too Late and it qualifies as one of the more memorable offerings and also the most sombre track on the album.

Eleven Hundred Springs have established themselves as the premier country band in Dallas over the past two decades. The greatest compliment I can pay them and this album, is that every song on the album sounds like it’s a cover version of a song rooted in your distant memory whose author you can’t seem to quite recall. I can only imagine how impressive this six piece band would be on stage. File beside Mike and The Moonpies as Texan dancehall music at its best.

Review by Declan Culliton

Paul J Bolger Self-Titled Wolfe Island 

Film maker, animator and author Paul J Bolger resurrected his musical career two years ago with the release of the four track EP aptly titled THE START OF IT. This recording followed a break of over twenty years since his debut album THE MOSS HOUSE. That album also included a video for each song, directed by Bolger.

An invitation to support American singer songwriter David Corley on the Waterford date of his Irish tour was a pivotal factor in the emergence of this recording. Corley’s producer Hugh Christopher Brown was part of his touring band and Bolger’s encounter with him developed into a casual friendship. Brown is the leading light at Wolfe Island Records in Ontario and his encouragement was the stimulus that Bolger required to consider developing material he had already written, or partly written and to record a full album.

A trip to Canada to consult on a film offered Bolger the opportunity to visit Wolfe Island and its quaint recording studio. The structure is a renovated cedar shake cabin which previously functioned as Post Office and has been the recording home of the vibrant musical community on Wolfe Island and visitors who are drawn to the island to record at the studio. A number of members of that musical community appear on the album including Hadley Mc Call Thackston, Sarah McDermott and Kate Fenner on backing vocals. Stephen Stanley also adds backing vocals on the opening track Swim and Joey Wright plays electric guitar on a number of selections. Hugh Christopher Brown produced the album and plays keyboards on all tracks. Lisburn resident and ace drummer Michael Mormecha also features. 

Bolger’s music always brings to mind the signature sound that the ‘back to basics’ pub rock scene offered in the mid 1970’s, both in Ireland and the U.K. It blended roots with soul and blues, was entertaining rather than spectacular and fitted the live setting perfectly. It was a short lived era however, a kick to touch from punk rock killed it off, the only trace left behind being a number of the same musicians who traded their shoulder length mops and flares for brutal haircuts and drainpipe trousers, rescued from their grandfather’s wardrobes.

The previously referenced Swim fits that bill perfectly, echoing the early driving sound of Graham Parker. How Many More Tears is equally retro, it’s a soulful affair fleshed out by harmony backing vocals from McCall Thackston and McDermott.  I Believe is a stripped back bluesy album closer. Wedding Gown is dark and emotional, with weeping pedal steel by Burke Carroll adding to the ghostly ambience.  

Review by Declan Culliton

Joey Allcorn State Of Heartbreak Blue Yodel

The traditional country stalwart returns with a 6 track extended play that’s released on digital and very limited edition CD. It is as good as anything he has previously released on his three full length albums and the standout track is his own Lefty Was Right but nothing here is less that convincing.

Alongside his own songs he includes a cover of the Kris Kristofferson and Shel Silverstein penned Faron Young covered Your Time’s Coming. The other outside song his interpretation of Where Did You Sleep Last Night? also know as In The Pines, a song that has traditional origins but is often attributed to Lead Belly. It was also recorded by Nirvana on MTV Unplugged and is here given a more contemporary arrangement with some raucous guitar that is slightly at odds with the other tracks. However it still fits with the overall mood of the release and hints at a broader canvas to work with in the future.

Allcorn’s vocals, as one would expect, have echoes of ol’ Hank but that’s his vocal style and it perfectly suits these recordings. He has again gathered some notable players around him for the sessions. Stuart Duncan on fiddle, Eddy Dunlap on steel guitar, UK born guitarist Sol Philcox-LittleField (a player who has added his skill to Miranda Lambert) but here shows his understanding of the genre’s roots in the main. The rhythm section of Dave Roe and Shawn McWilliams are solid and dependable - all are players who understand where this music has come from and where it can, equally, go to.

There are those who won’t get the retro sounding honky-tonk infused direction that has been taken here but that is to deny a musical genre heritage that needs to survive against the unappealing cross over pop and (un)hip-hop that pervades the mainstream content on country radio. You won’t hear these songs played there but you should seek them out for a listen. Allcorn is his own man and is producing the music he feels most comfortable with and this release just makes you want to hear his next instalment, but for now I have been playing State Of Heartbreak on repeat - because it is worthy of that. 

Review by Stephen Rapid

Cory Grinder and the Playboy Scouts Good Boy Self Release

Previously know as the Cory Grinder Band who released an album titled Cahoots & Other Favourites back in 2018 and have now put out, what seems to be something of an industry standard these days, in this extended play release. It is a five track collection of original songs that are true to the band’s moto of doing duty “for two-step dancers and honky-tonkers everywhere.” This they do with an energy and a fitting melodic sensibility that endorses the collective skills of the band fronted by the mellifluous vocal of Grinder. Stephen ‘Tebbs’ Karney adds pedal steel and harmony vocals, Jason Willis is on upright bass and Brian Roberts completes the line-up on drums. They also add fiddle and lead guitar on occasion. Based in Akron and Cleveland, Ohio they have built up a solid local base as well as playing in major cities like Austin, New Orleans, Nashville and Chicago. I’m sure they would also love to be able to reach out to an audience beyond that too.

On the strength of this they sure deserve to. The key tracks here are I Wouldn’t Count On It and the title song. Both are vibrant slices of modern honky-tonk with fiddle and steel and show off the band’s instrumental and melodic skills with strong guest fiddle and lead guitar contributions behind Grinder’s likeable voice and Karney’s streamlined pedal steel. The song has a solid vocal chorus that is memorable. Good Boy is something of a metaphorical ode to a favoured dog as well as to the places that were associated with the hound that no longer exist and a differing attitude.

The remaining three songs are Sweet Eyes, Until The Next One and (Honky Tonkin’) All I Ever Do all fit the lost, strayed and found love stories that are the essence of honky-tonk songs. Cory Grinder and the Playboy Scouts have been building a solid reputation as a live band performing at times with Dale Watson and Kenny Vaughan. One can easily see how these legendary musicians view the potential in the band. They are promising a new full album later in the year and on the evidence here that would be a welcome release.

Review by Stephen Rapid