New Album Reviews

David Miner Silver Valley Potholes

David Miner’s third album is proof positive that one doesn’t have to hail from the USA’s Deep South to make good country music. Traditional country themes of relationships (good and bad), rural stories and social concerns, and closeness to nature are explored in thirteen original songs on this expertly self produced record. Originally from Seattle, Miner has put down roots in Colorado state, from where he has pursued his early love of traditional country music combined with admiration for songwriters such as John Prine and Guy Clarke. 

Too Fast starkly recounts the decay of small towns that is all too common right across rural America - ‘now this town is just a gift shop and a place to pump your gas’- the mournful atmosphere appropriately evoked by Miner’s acoustic and electric guitar, and little else is needed along with his clear tenor vocal. The title track is a story song along the same theme - the dichotomy of the initial prosperity of mining towns and the legacy of irreversible damage to both the workers and the environment, that remain long after the mining companies have rolled out. 

The classic line-up of drums, bass and guitars are the basis for many of the well-constructed songs, be that honky tonk tales of outlaws (Virginia Dale, Hanging Me In Abilene) or the traditional  country ballads Dreaming of Montana and Silver Valley. Special mention must be made of young Colorado fiddle player, Jackson Earles, whose prowess on his instrument belies his youth (he’s not yet 20 years old). From a bluegrass background, his playing here is reminiscent of Scarlet Rivera on Dylan’s DESIRE - a great choice for these songs, and I reckon that’s not the last we will hear of this fiddle prodigy. 

Review by Eilís Boland 

J. Tex Neon Signs & Little White Lines Heptown

The veritable J Tex (Jens Einer Sorensen) has a good number of albums under his belt going back to 2006, released under the name of J. Tex & The Volunteers. Though he was born in Detroit he grew up in Denmark and spent time touring and playing around Europe and in the USA, including time in Nashville and other towns and cities, seeking his musical roots while all the time playing and writing songs along the way.

This album was recorded in Sweden’s End Studios in a raw and old-time fashion. The players included Tex, bassist Frank Borgaad and Thyme Van Dassen on fiddle. They were joined for some tracks by drummer Julian Guedj and Benny Pedersen on steel guitars. Tex gives these rerecording of tunes from his back catalogue a stripped back delivery, that suggests earlier times but with something of a contemporary edge. There is also some newer material included in the twelve selections. Tex has been a nominee on numerous occasions in the DMA Folk Awards and has garbed respect for his work through the years. 

His name and music (in the press release) are linked with a number of the distinguished and influential songwriters in country/folk territory, as well as some of those currently inheriting that mantle. However, while his music here is not as forceful or immediately memorable as some of these other artists it is deeply rooted in that enquiring spirit and has much to keep the listener involved. There are lyrics, such as those in the opening song Broken Rose, which deal with the inevitable relationship dilemma. Sometimes I Fell Like An Angel equally looks at the human failings and losses. While Way Down In The Country has a darker tone, with its opening lines offering that the protagonist considers his options after some unexplained adventures, “Woke up this morning / With a pistol in my hand / It had fired 3 rounds / It didn’t make any sense / I found myself quite amazed by the fact that I was still alive.” The title song deals with travel, gigging and the restlessness of the troubadour. His voice, like his features, have been ingrained with the patina of living and surviving. The songs document that experience with an authenticity that is only gained in time. Waiting For A Train is a song that would fit alongside any number of acknowledged fine worded train songs.

The band and Tex work in harmony to give these songs a simplicity that enhances the substance of the material in a way that feels like a live concert in a small intimate venue. Naturally, given these times, Tex has been playing in Denmark recently and is more likely to be known there than he may be in other parts of Europe, the UK and Ireland. This is my first encounter with his music although I am aware that there is a long tradition of roots/country in Scandinavia and around that whole region. Artists who have been gaining ground, recognition and followers around the world. J. Tex can be added to that list and offer a balance to some of the more concurrent and broader ranging musical acts from that region. Yet his music is equally a part of that rich seam that is ready to be dug.

Review by Stephen Rapid

Heath Cullen Springtime In My Heart 5by9

I have to admit that Heath Cullen was not an artist who had previously featured on my radar. But after a first listen I was captivated by his music. That the album was produced by Joe Henry was an added incentive to give it some listening time. Cullen hails from Australia and has previously released three albums, the most recent in 2015 OUTSIDERS which was recorded with Elvis Costello’s band The Imposters. Cullen produced that album, which was recorded in Australia, but on this occasion, he has made the choice, a pretty good one, to hand those duties over to Henry. This time they worked at a studio in Los Angeles. Again, as with the last album, the musicians are a tight knit unit of Adam Levy on guitars (with Cullen), the rhythm section of Jay Bellerose and Jennifer Condos and Levon Henry adding reeds alongside Patrick Warren’s keyboards as required. They recorded essentially live over three days. Pete Min handled that process along with the mixing. These are players who do not need to show off, on the contrary their role is to add (or subtract) in the context of each songs’ requirements, that in the end adds much to the song and its story.

The arrangements are full of texture and astuteness, that add much to the overall sense of the song. The Song That I Know is enhanced by slightly discordant reeds and percussive embellishments. The words here were written by Henry, the remaining songs are Cullen’s alone, bar the inclusion of T-Bone Burnett’s Kill Switch which closes the album. It acknowledges the differences that lead to decisions in life and whether they involve the need for money, fame or just love of the game. They offer a vision that is full of intrigue and introspection. Cowboy Truths (dedicated to Sam Shepard), takes the unwritten cowboy code and gives it a new plain to roam. “A cowboy must / always be kind / kind of word / and kind of deed.” Sturdy sentiments that may not have been adhered to as often as one would have liked, but a true path to follow nonetheless. The Song Always Remembers, to these ears, has a certain Irish quality. A philosophical keynote that reasons that “Every saint and every liar / will lead a verse at the final fire,” implying that we all lead the lives we are given in different circumstances. These lyrics indicate that Cullen is an engaging wordsmith who, while having something to say, doesn’t need to overstate (or overwrite) to make his point. This is something that Henry’s production understand and underscores with his characteristic diligence and dedication.

Cullen has a commanding vocal stance that is solid and adaptable to the needs of the songs. It is the central to what’s on offer here, without needing to be self-indulgent, in many ways in the same frame of fellow singer/songwriter such as Henry himself or others like Jeffery Foucault. Artists who are about better their craft and leaving a lasting mark, that is not dependent of sales or media fame to thrive. Something that is echoed in that T-Bone Burnett lyric.

The album was recorded in a number of first and second takes to keep the spontaneity that occurs when the recording is not overthought or multi-layered. Likening the process to having an unscripted conversation, rather than one that has lost much of the first take energies. That energy flows through the album and the pairing of the producer artist and player are a perfect match for all concerned. That includes the listener who can’t fail to take in the artistry and humanity involved. Kudos to all involved in an album we can all take to heart.

Review by Stephen Rapid

Melissa Carper Daddy’s Country Gold Self -Release

It’s hardly surprising that Melissa Carper’s music lands somewhere between the country trilling of Kitty Wells and the jazz crooning of Billie Holiday. DADDY’S COUNTRY GOLD has the hallmark of a childhood exposed to her parents’ record collection of Hank Williams, Patsy Cline and Johnny Cash albums, followed by delving into the music of Billie Holiday, Ella Fitzgerald and Nat King Cole while on a music scholarship at the University of Nebraska.

Carper is a vocalist and upright bass player with a number of strings to her bow. The album takes its title from her nickname ‘Daddy’, acquired from her bandmates in her early career, earned by her history of taking care of business on their behalf.  Those bandmates include Beth Chrisman and Jenn Miori, who together with Carper, are members of The Carper Family, the Austin acoustic trio that have been performing old country and jazz, bluegrass and Western swing for over a decade. She’s also a member of Arkansas foursome Sad Daddy and a founding member of the roots duo Buffalo Gals, alongside Sad Daddy bandmate Rebecca Patek.

This album was recorded at The Bomb Shelter Studio in Nashville, where Carper surrounded herself with the cream of local session players. Household names such as Chris Scruggs (guitar and pedal steel), Jeff Taylor (keys), Matty Meyer (drums) and Billy Contreras (fiddle), were all selected by Dennis Crouch of The Time Jumpers, who alongside Andrija Tokic (Hurrah For The Riff Raff, Alabama Shakes) produced and engineered the album. Other notables that guest on the album are Brennen Leigh, Sierra Ferrell and Lloyd Green. Although she is an outstanding upright bass player, Carper delegated bass duties to Crouch to allow her to concentrate entirely on perfecting her vocal delivery. 

Smouldering tracks Almost Forgot About You, I’m Musing You, Many Moons Ago and The Stars Are Aligned recall smoke filled rooms back in the 1940’s and candle lit tables occupied by couples in dinner jackets and evening dresses. On the opposite side of the spectrum the high-spirited Back When, You’re Still My Love, My Old Chevy Van and It’s Better That You Never Know offer widescreen panoramic scenes of dusty small-town honky tonks in the 1950’s.

The sweet voiced creator of all twelve tracks on the album, Carper manages to shift effortlessly between musical modes and genres on this timeless gem.

Review by Declan Culliton

William The Conqueror Maverick Thinker Chrysalis

Newquay U.K. based three-piece William The Conqueror’s 2019 release BLEEDING ON THE SOUNDTRACK managed to replicate the dynamic sound, in the studio, of a band hailed for their live shows. That album was recorded in the U.K. and produced by the renowned Ethan Johns.

MAVERICK THINKER, their third studio album, found vocalist and guitarist Ruarri Joseph, bassist Naomi Holmes and drummer Harry Harding heading Stateside to Sound City Studios in Los Angeles for the recording. Following in the footsteps of Johnny Cash, Neil Young and Nirvana, who all recorded in the legendary studio, the end product continues the band’s upward spiral and will most likely further their reputation, not just at home in the U.K., but also further afield. Joseph Lorge (Bob Dylan, Dawes, Phoebe Bridgers, Big Thief) was at the controls and has also successfully recreated their live sound with a powerful production.

The formula that worked so well on BOTS has not been abandoned, but here comes across as more concise and clinical than its predecessor, while retaining the band’s customary groove.  

Shades of Chuck Prophet emerge on the perky Wake Up, thumping drums and bass lines are nestled alongside Joseph’s piercing guitar. The Deep End conjures up memories of Dr.Feelgood at their raunchiest. Move On opens the album in the band’s trademark mid-tempo grungy style. At the other end the album closes with the title track. Weighing in at just under seven minutes, it showcases Joseph’s capacity to pen introspective and considered narratives and the band’s capacity to bring those lyrics to life. A slow burner at the onset, it grows mid song instrumentally with sweeping accordion and piano joining in to dramatic effect.

Call it roots, blues, alt-rock or whatever label you want to paste on it, the album’s essence is its ability to embrace the best elements of all of those genres. The bottom line is a killer album and one that you really need to seek out.

Review by Declan Culliton

Loretta Lynn Still Woman Enough Legacy

Fifty years since the release of COALMINER’S DAUGHTER, country royalty Loretta Lynn has released her 50th studio recording, which excludes her numerous duet albums with Conway Twitty.  Like her two previous recordings WHITE CHRISTMAS BLUE (2016) and WOULDN’T IT BE GREAT (2018) the album was, in the main, recorded at the Cash Cabin Studio in Hendersonville, Tennessee, with the production overseen by John Carter Cash and Loretta’s daughter Patsy Lynn Russell.

The album offers thirteen tracks and includes a number of reworked landmark songs from Loretta’s seventy year plus career. Also included are Hank Williams’ I Saw The Light and A.P. Carter’s Keep On The Sunny Side, both tracks being by artists that inspired her and opened her heart to country music.  Guests that joined her in the studio include Margo Price, Reba McEntire, Carrie Underwood and Tanya Tucker.

Remarkably for an artist approaching eighty-nine years old, her voice is still imposing, disciplined and instantly recognisable. She does get some help from Reba Mc Entire and Carrie Underwood on the title track, which is a new song co-written by Loretta and Patsy Lynn Russell and enjoys the same title as her autobiography, written nearly twenty years ago. Elsewhere Margo Price plays a blinder, joining in on One’s On The Way, the Shel Silverstein song immortalised by Loretta back in 1971.

Her very first single I’m A Honky Tonk Girl gets a makeover and another survivor of decades in the industry, Tanya Tucker, fittingly contributes to another Loretta standard, You Ain’t Woman Enough. Coalminer’s Daughter is simply recited in the spoken word with nothing but Matt Combs’ banjo picking in the background. 

As you would expect the accompanying playing on the album is of the highest standard. Numerous contributors are credited including Pat McLaughlin, Randy Scruggs, Robby Turner and Matt Combs, to name but a few. However, the real winner is the delivery of the songs by Loretta, who graces the album’s cover in full regalia, looking every bit the undisputed Queen of Country, which she has been for decades.

Review by Declan Culliton

Cristina Vane Nowhere Sounds Lovely Self Release

Currently based in Nashville, NOWHERE SOUNDS LOVELY is a most impressive debut album from singer songwriter, slide guitar and clawhammer banjo player Cristina Vane.

Born in Italy, Vane arrived in America to attend Princeton University having lived in Italy, England and France. Growing up in Europe, her childhood and teen years were spent studying classical vocals, music theory, piano and flute.  Her relocation to America found her also developing the skills of fingerpicking acoustic and slide guitar, alongside clawhammer banjo. Enthralled by country blues picking and old folk guitar styles, she moved to Los Angeles after college, where she worked at the noted Mc Cabe’s Guitar Shop. During her time there she became increasingly absorbed by old style guitar styles and country blues and perfected her own fingerstyle guitar style under the tutorship of acclaimed guitar teacher Pete Steinberg.

Having gained experience and confidence playing small venues in L.A., Vane decided to take her act on the road and headed on a five-month solo tour across America. In the main she booked gigs anywhere she could, often with the help of contacts she had made from her Instagram page. That experience and the opportunity to study local musical traditions and customs first hand was a game changer for Vane, who confesses to have known very little about country, old time and bluegrass music prior to her travels in the American South. Having previously been motivated to write songs from emotional and relationship perspectives, the whole experience opened up a treasure chest of writing opportunities for her. Out of her encounters and observations came the inspiration for NOWHERE SOUNDS LOVELY.

The album was recorded in Nashville, where Vane worked alongside Grammy award winning drummer and producer Cactus Moser. The album was engineered by Rodney Dawson and also features Dow Tomlin on bass, Nate Leath on fiddle and Tommy Hannum on pedal steel.

Describing herself as ‘a rock kid who is obsessed with old music’, Vane is undoubtedly a fast learner as she sounds like a veteran on an album that delivers twelve impressive tracks, traversing between traditional roots, delta and country blues and also rocks out on occasion. Badlands, the first single from the album, showcases Vane’s bottleneck slide guitar skills, behind her equally impressive layered vocals. She switches to clawhammer banjo and sounds every bit as dramatic on the acoustic Will I Ever Be Satisfied?  The melodic Blueberry Hill is a catchy blues driven folk romp and she lets her hair down on the rocky Dreamboy.

A technically gifted musician and blessed with a striking voice, this album finds Cristina Vane combining those skills with a hugely accomplished portfolio of songs, forged from both traditional and modern country roots. A highly recommended listen.

Review by Declan Culliton

Kaurna Cronin Aloft In Blue Self Release

Album number six for this Australian artist with a strong work ethic and a sense for steering his own career along increasingly successful lines. All the songs here were written by Cronin and recorded last year with a small group of musicians. Cronin is concerned with the internal and external on this collection of songs, the state of our mental health and the way in which we navigate through the world around us.

The fragile nature of everything is the key message on tracks, Glass Road and Sucker For That, with concern for the future and how we are living. A theme that is visited on All the Years To Come and our tendency to live on autopilot, with a look at city life versus the quiet calm of nature. Embracing life and trying to live in the moment is something that we all aspire towards and songs, Sweet Chardonnay and Roses Can Be Blue, capture this sentiment. The urge to hide feelings and our true selves in an uncaring world is tackled on The Part Of Me I l Let You See and the abstract reality of time and the passing days is tackled on Wishing On Forever. The contemporary Folk sound is mixed with some interesting departures, such as synthesiser sounds as part of the overall mix but the playing of Kiah Gossner (bass), Tom Kneebone (electric guitars), Matt Morison (piano, organ, synths) is rooted in a tight ensemble approach that anchors the arrangements.

Cronin displays his talents on guitars, synthesisers, drums, percussion, piano and harmonica, plus all vocal parts. He is joined by Lauren Henderson on backing vocals and hopefully the somewhat pessimistic message in tracks like, The Dead Things Grow, Aloft (How Far Will This Grow) and Give Your Love To A Stranger, where destructive behaviour leads to its own life lessons, is something that we can all rise above as we move forwards in these uncertain times.

Review by Paul McGee

The Mystix Can’t Change It Self Release

This band formed in 2002 and has five prior releases. They walk a line that separates Americana, Blues and Gospel leanings with a raw, pared down sound and a vocal delivery that is very reminiscent of Roger Chapman, once lead singer in Family, a band from way back when. Not such a bad thing, as the passion that is present in the voice of Jo Lily is very impressive when coupled with the guitar histrionics of dual players, Duke Levine and Bobby B Keyes. They share a great dynamic on these tracks across an array of six-string instruments, driving the arrangements and regularly colouring the melody with understated touches.

 It’s full-frontal attack on Jumper On the Line (RL Burnside) and Wouldn’t Mind Dyin’ (traditional) with the band firing on all cylinders. Marty Ballou on upright bass and producer Marco Giovino on drums and percussion, sit nicely in the pocket and provide the perfect accompaniment on all song styles with Tom West lifting the arrangements on B3, Hammond and piano.

Bottle Of Whiskey and I Can’t Change It (Frankie Miller), Backstreet Girl (Jagger/Richards) and Ain’t Gonna Cry (Byers/Yuro) all display a more stripped back sound with originals included, such as the Gospel groove of That’s All, That’s All, or the gentle Country melody of Let’s Get Started, showing a rich talent at play. Carrie is another original that has an acoustic feel to the laid-back arrangement, with accordion and restrained guitar parts a highlight. 

The slow Blues of Going To the River (Jimmy Reed) is a real joy with Kathleen Parks guesting on fiddle and Dreamers Holiday (Wayne/Gannon) showing the ability to cover a traditional pop standard in the style of Willie Nelson, who also recorded the tune previously. The production by Giovanni is flawless, given his reputation with stellar artists such as Robert Plant, Emmylou Harris, Nora Jones, the North Mississippi All Stars, Charlie McCoy and B.J.Cole.

A very enjoyable collection and superbly delivered. Perhaps a few more original compositions next time out and not so many cover songs? These guys can really play and don’t need to be seen as a covers band as opposed to building their own signature sound. 

Review by Paul McGee

New Album Reviews

Anna Elizabeth Laube  Annamania  CRS

What happens when an artist uses the impact of lockdown to revisit her body of work and assess the previous output through a current lens? Well, what you get is a 13-track retrospective from a singer, song-writer who has, for the last fifteen years, been following her muse and creating songs that are a joy to discover.

With four prior releases to draw from, plus some additional work for film, tv and advertising, this compilation includes tracks from each album, with a total of seven taken from her latest two, Anna Laube (2015) and Tree (2016). As compilations go, this one sits very comfortably in terms of consistency, with the easy flow of the selections complimenting each other and finding their own place in the well-chosen running order.

The opening songs, Sweet Boy From Minnesota and Time To Move On (Tom Petty), are concerned with leaving; the first, an optimistic look at departing the Midwest as a youth in search of fresh experiences and wishing her boyfriend all the best – the second, an older and wiser person leaving a more recent relationship. The beautiful arrangement of this Tom Petty cover is so perfectly judged in terms of instrumentation, with John Turman guesting on French horn and Anna on softly delivered vocal and sweetly understated piano. It sets a strong mark for what follows, with songs about new beginnings, meeting future lovers or just being in the moment and enjoying the essence and rapture of it all. There are also darker songs about letting go and having to reflect on lessons learned with the wonderful Please Let It Rain In California Tonight, capturing both prayer and plea for the world to right itself and fulfil all the wishes that are sent out to the universe. Of course, such naiveté could never be and the tag line alludes to the fact that in never really rains in California. Superbly crafted song writing.

Handling all production, song arrangements and a talent on quite an array of instruments, including acoustic and electric guitars, bass, banjo, drums, percussion, organ, Laube presents a relaxed persona with a leaning towards light, bright and breezy compositions.   The New Orleans jump blues sound of Oh My! (Oh Me Oh Me Oh My) is quite addictive, as is the light jazzy feel of  Sunny Days and the acoustic charm of new song, Jardim da Estrela, a park in Lisbon, Portugal that hints at new romance with the accordion playing of Chris Joyner particularly memorable. There is acoustic blues on Beautiful Boy and the feeling of being in deep with your lover, while Hippie Boyfriend has a hypnotic walking bass line from Ben Ferris and great drumming from Riley Sattler, with terrific electric guitar and harmonica licks included.

The pedal steel on All My Runnin’ by Dan Tyack is very memorable in the overall country-tinged arrangement and the blues vocal on If You Build It is right out of the Bonnie Raitt school of love gone bad. The atmospheric groove to I’m Gone is another gem, with Anna providing all instrumentation to a song that featured on Netflix show, Locke & Key. Closing track, Tree, is an ode to youth and impermanence, both locked in her memory of growing up in Iowa and the sense that everything returns to the beginning somehow.  

This is a very rewarding album and one that I highly recommend to those who enjoy quality music. It will appeal to both old fans and new.

Review by Paul McGee

Jaimee Harris The Congress House Sessions Ruby White

This new release has seven tracks taken from the 2018 debut, RED RESCUE, revisited by Jaimee Harris, with a group of musician friends, at the famous Congress House studio in Austin, Texas. The songs stay close to the originals, just pared back a little, with no drums or additional tracking for the most part. Harris has never been afraid to examine personal issues and included are confessional songs that look into her past and merit full praise for her honesty in tackling issues such as depression, substance abuse and issues of the heart, that include betrayal and self-doubt. Far from the songs dragging down the listener, the performance and passion in both the playing and the vocals create an uplifting experience. Jaimee has a great vocal tone and delivery, full of attitude at key points and laced with gentle delicacy at others. 

The playing is quietly subtle and the harmony voices dove tail nicely into what is a glimpse at how these songs were originally created.  Jaimee stars on acoustic guitar and vocals, while a supporting cast of Kris Nelson and Jane Ellen Bryant (backing vocals), Brian Patterson (electric guitar), Sammy Powell (piano), Ray Bonneville (harmonica) and co-producer Mark Hallman (piano), add warm tones to the melodies and song arrangements.

Catch It Now is a personal manifesto to rise above any anxiety and self-doubt and just go and grab life by the balls, “I’m Gonna Jump Right In / And I May Not Live A Righteous Way / But I’ll Try To Never Hide My Soul Away From Anyone Ever Again.” Spot on in affirmation and attitude.

Red Rescue recounts a story that involved an old friend who took Jaimee home to have dinner with his family and the crazy scene that greeted them. Fake is self-admonishment and a sense of imposter syndrome, ‘I Woulda Loved You Honey, If You Would Have Believed In Me, I Would Change For Something Good, I Think I Could.’  

As her career continues to develop, Jaimee Harris has overcome some childhood doubts and fears and Snow White Knuckles recounts a past journey that involved rehab, issues of faith and self-preservation against  the odds, “Well, I Never Thought I’d Draw A Sober Breath / I Always Thought I’d Be A Wreck / Always Figured I’d Have Nothin’ Left.”

Depressive State frames her past battles and her wish to break free of the cycle of depression and to continue to step into the light, “Is it forever, in my mind prisoner / Will I be okay, will I ever be okay / And not someone that everyone hates.”

Damn Right is a story song about an ex-lover who quits, leaving his partner with a baby on the way, “And If He Grows Up Just Like You, Honey / I’ll Know Who To Call,” while Creatures looks at the weakness of desire and the consequences of surrender to the forces at play in a relationship.  

Again, a strong statement from this very talented artist who impresses throughout and who can look forward to continued success along her chosen path.

Review by Paul McGee

Steve Mayone Mayone Mayone Music

An experienced artist/producer who has taken hold of the lockdown period and written some new music to add to his impressive catalogue of recordings. Living in Brooklyn and using his home studio, Mayone has drawn from the inspiration he originally felt on hearing Paul McCartney’s first solo album in 1970, to deliver a similar lo-fi project. The thirteen-track release mirrors McCartney’s home recording approach, even if it contains a few more instrumentals, with five short inclusions. The entire album clocks in at only twenty-seven minutes which is a welcome relief in these times of overly long recordings. Brevity equals quality in this instance.

Unlike McCartney, Steve Mayone has used a few musician friends to add some layers to his homespun songs and despite his myriad talents on vocals, guitar, piano, mandolin, banjo, ukulele, lap steel, bass, drums and percussion, he has included Billy Beard on big drum, Tauras Biskis, Yuval Lion and Andy Plaisted on drums; Steve Sadler on guitar & synths; James Rohr on piano and organ; Jef Charland on upright bass; Mike Castellana on guitar and Martha Bourne on lap steel.

There are 2 co-writes with Matt Keating and all other songs are written by Steve Mayone, a graduate of Berklee College of Music in the 1980’s. He played in a number of bands in his early career, has always been in demand as a session player or producer and has released eight solo albums since 2004, including his Music For Film and Radio, a twenty-five-track compilation, covering input to independent films, television commercials and syndicated shows, which appeared in 2014.

The five instrumental tracks are all beautifully constructed, each lasting less than two minutes, with the atmospheric Underwater Cave and the gentle Sing Along Stuff, standing out. Airport Goodbyes is the longest track here, at almost four minutes, highlighting Mayone’s arrangement skills with the combination of banjo, piano and lap steel colouring the slow melody and subtle guitar parts.

There is a country feel on tracks, Like You’ve Never Been Away and Stuff, while the folk leanings on Missouri Loves Company and I’ll Take You As You Are, compliment perfectly. The blues tempo of Dragging Me Back is balanced with the rockabilly groove of Sweet Little Anchor in a very enjoyable mix of different styles, all overseen and executed with great aplomb by this talented musician. Worthy of your time.

Review by Paul McGee

Bobby Dove Hopeless Romantic Self-Release

Montreal born artist Bobby Dove has been steadily gaining attention in Americana and country music circles in recent years.  Dove’s fine debut album THUNDERCHILD, released in 2016, earmarked the singer songwriter as another name to add to the new generation of torch carriers for traditional honky tonk music. A number of bases were covered on that album which blended some crunching Americana numbers together with classic old school country. The intervening years have found Dove busy on the road playing festivals and showcase gigs alongside a host of household names such as Mary Gauthier, Richard Thompson, The Sadies and J.D. McPherson.

While many promising artists struggle with the ‘difficult second album syndrome’, the reverse is the case with HOPELESS ROMANTIC. The album finds Dove embracing the finest elements of old school traditional country and doing so with some aplomb.  The result is a collection of prime songs, confident vocal deliveries and most importantly, a cracking set of players to bring the songs to life. The icing on the cake is the slick production by Dove, with the assistance of Blue Rodeo’s Bazil Donovan, who also plays bass on the album and Tim Vesely of Rheostatics, who contributes tambourine. The other players Dove rounded up are some of Canada’s finest and collectively give the songs the same uplift that The Hot Band gifted Emmylou on her early albums. Those players are David Baxter on electric guitar, Jimmy Bowskill on violin and electric guitar, Burke Carroll on pedal steel, Michelle Joseph on drums and Steve O’Connor on keys. Jenny Whiteley adds backing vocals on a number of the tracks and Blue Rodeo’s Jim Cuddy joins Dove by adding support vocals on the track Chance In Hell.

Tear jerkers, lost love and dubious life choices all get an airing, communicated impressively with vocals drenched in passion and sincerity.  While Dove possesses the skills to deliver up-tempo treasures such as Gas Station Blues and the title track, the more laid-back country ballads are every bit as imposing. Sometimes It’s A Lonely Road, Golden Years and Early Morning Funeral are ‘tears in your beer’ excellence.  The closer New Endings New Beginnings could have been plucked from the Tammy Wynette songbook and the previously aforementioned mid-tempo ballad duet Chance In Hell is honky tonk nirvana.

All in all, an excellent album and as pure a musical experience as there is. It’s also an album that, no doubt, will encourage newcomers to Bobby Dove’s music to also check out its predecessor. 

Review by Declan Culliton

Gillian Welch & David Rawlings All The Good Times Acony

Recorded during lockdown last year, this collection of cover songs was released in July 2020 as a limited-edition handmade CD. Following the album’s 2021 Grammy nomination as Best Folk Album, it now sees the light of day as a full CD release, with revised artwork and packaging.

Covid-19 and the tornado that ripped the roof off their Woodland Studio in East Nashville last March kick - started a flurry of activity from Welch and Rawlings. Fortunately, the couple were able to salvage their equipment and master recordings from the studio. That near disaster and the potential loss of their recordings stimulated them to release some of their vintage archive recordings into the world. The result was the arrival of three albums of archived material titled BOOTS NO2 THE LOST SONGS VOLS.1,2 and 3.

What was somewhat unexpected was a covers album also surfacing. The skeletal recordings on ALL THE GOOD TIMES sounds as if Welch and Rawlings simply turned on the recorder on a typical weeknight, while they jammed some of their favourite songs, which is precisely what they did during lockdown by way of distraction. Interestingly it’s the first album in which Rawlings gets equal billing in the title. He takes the lead vocal on two Dylan covers, Senor and Abandoned Love and also leads out on the traditional song All Gone Times Are Past and Gone. Particularly impressive are the traditional songs which are given a makeover. The dark murder ballad Poor Ellen Smith and the love song Fly Around My Pretty Little Miss standout. Fittingly, John Prine, who passed away in April of last year, is remembered with the sorrowful Hello In There. A strikingly evocative song, documenting the passage of time, the selection is a touching tribute to an artist much admired by the duo.

For those starved of product for quite a while from the king and queen of old timey folk and country, ALL THE GOOD TIMES is a must have and a welcome addition to an absorbing back catalogue of recordings.

Review by Declan Culliton

Mary Stokes Band featuring Sarah Michelle Comin’ Home Self-Release

With eleven of the thirteen tracks recorded live in one session at Displace Studios in Dublin and the remaining two completed at Sonic Studios in Dublin, Mary Stokes and her band fully capture the raw and powerhouse sound so popular with her live audiences for the past twenty-five years. The initial recording acted as a rehearsal for a gig, with the selected material the actual set list for that show. Well-chosen covers, self-written material and remodelled traditional blues numbers all feature, the common denominator being the passion injected into them all.  The band members are Mary Stokes on vocals, Brian Palm on harmonica, Chris Byrne on bass, Robbie Barrett on drums and Dermot Stokes on piano. The latest recruit to the band is ace guitar player Sarah Michelle, whose input was her debut with the band. Shobsy O’Brien of local band State Lights also contributes vocals on a number of duets.

The self-written title track opens the album in fine style with Stokes’ rasping vocal and Palm’s piercing harmonica in fine fettle, in front of a driving rhythm section.  Classic selections included are the jazz standard Fine and Mellow, penned by Billie Holiday, which gets the full seven and three-quarter minute treatment, and Roll With The Punches, the title track from Van Morrison’s 2017 release. Bessie Smith’s At The Christmas Ball, previously released as a single by the band, gets a rootsy makeover and equally impressive is a storming rendition of the epic Story of Bo Diddley. Mixed by Pete Holidai and mastered by Joe Chester, the recording wholeheartedly captures exactly what Stokes and her band are all about. It seizes the passion, vitality, vigour and talent of a collective of players that seem to be enjoying every moment themselves.

Blues artists can often boast the enviable delight of sounding even better as the years march on. This certainly applies to Mary Stokes and her band and until we put this pandemic behind us and get out to hear smokin’ live music again, we have COMIN’ HOME to remind us of what we’re missing.

Review by Declan Culliton

Sean Burns & Lost Country A Bakersfield Half-Dozen Stringbreakin’

Better late than never - my vinyl copy of this 2020 release from Canadian Sean Burns took all of nine months to reach me, thanks to the you-know-what! So I think we’ll be forgiven for being a little late with this review - indeed Declan reviewed a more recent release (We Gotta Lotta Truckin’ to Do’) from the prolific Burns and his band Lost Country, in October last.

Continuing with his reverence for the Californian Bakersfield arm of country music, Burns and his band recorded this album live over two nights in their local Winnipeg country club, Times Change(d) High & Lonesome. You’d be hard pressed, however, to detect that this was recorded live as there isn’t a hint of audience/ambient noise to interfere with the clarity of the sound. Across seven tracks, Burns and his four piece band give it their all in reproducing six typical songs and one instrumental from musical trailblazers of the sound that became popular with ‘real America’ in the 50s and 60s.

Not being very familiar with this genre, the album sent me  scurrying back to check out the originals. Buck Owens is represented, not surprisingly, by three songs:-  the straightforward love song Above and Beyond (from the pen of Harlan Howard), the heartbreak of Playboy, and the two minute classic Truck Drivin’ Man. The pedal steel of ‘Skinny’ Dyck is prominent and adds to the melancholy on the sadder songs that highlight the misery of the life of the long-distance drivers, which came as a bit of a shock to this relative newbie to the sound. They don’t get much sadder than the tear jerker She Didn’t Color Daddy (a hit for Wynn Stewart) or the maudlin, though catchy, Merle Haggard classic Too Many Bridges To Cross Over. Burns does a good job of reproducing the vocal styling of his hero Buck Owens, and the playing throughout is stellar. 

You can also check out Burns’ weekly radio show on Winnipeg’s CKUW 95.9 for more of the same.

Review by Eilís Boland

Sara Petite Rare Bird JTM

Described as a genre blending Americana artist, the word outlaw is often linked to Sara Petite’s name, but in reality, that is because she has chosen to tread her own path. Even though, as often happens, that comes with comparisons to other strong female artists like Lucinda Williams, as well as to some of her like-minded contemporaries. The truth is that while there are reminders here of classic country, rockabilly and roots-rock, her amalgam of these influences has resulted in her defining her music in her own way. The one artist that came into mind as I listened was that of the similarly approached work of Rosie Flores. Given that she has released five previous albums from her debut, TIGER MOUNTAIN in 2006, LEAD THE PARADE (2008), DOGHOUSE ROSE (2010), CIRCUS COMES TO TOWN (2013) through to ROAD LESS TRAVELED (2016), you can be assured that Petite knows what she wants from her music and has learned how to get it.

Petite produced the album with Ben Moore, who also engineered the album. Initially she worked with David Bianco, a producer with whom she had a track record for past recordings, though they only got to work one song for this album project as Bianco passed away soon after the recording. That song The Misfits was, in many ways a summation of her music and ideals. The spirit of that song’s ethos pervades the rest of the album and the end result is one that all can be proud of. The listener can enjoy the album on a number of levels, from the immediate energy that many of the songs exude, to the title tracks more contemplative considerations of how life can give one strength to survive so much: “I’ve had triumphs / I’ve had tragedies / But I’m still standing through it all.” 

The players involved with the recording included Mike Butler on guitars, Steve Peavey on acoustic, electric and steel guitars, fiddler Bobby Furgo, percussionist Michael Kastner and the renowned Harry Stinson on vocal harmonies. All are solidly behind Petite given her the platform to perform and do these songs justice. The scope of the material runs from the harder roadhouse rockin’ of Crash, Band Boom, to the traditional influenced country of Floating With The Angles and to the realisation of how life imprints itself on one’s soul in Scars “I got scars / I wear like tattoos on my heart / Imprinted little lessons / Like a tortured work of art.” It’s just one example of Petite’s thoughtful reflections, turn of phrase and ability to tell a story with honesty. Medicine Man has some B3 organ as a key element which gives it something of a different feel. Keep Moving On adds a trumpet to the B3 to give the song something of a more nocturnal mood that is a statement of intent. In the final track Working On A Soul, Petite recognises that her spiritual development is an ongoing project. Something that this album shows to be a journey that can be beneficial to all and that is often a rare bird indeed.

Review by Stephen Rapid

Lauren Napier Mourning Moon Self Released

This self-released mini-album comes in cassette format as well as a self-decorated CD version. It was recorded by Napier in a pleasantly lo-fi and stripped back process which is often just voice and guitar but on occasion with some added elements. She is a poet, model and artist as well as a songwriter. The seven songs on the album engage with their directness and purity of vision. A blend of melancholy and melody is how she has aptly described these recordings. The songs have specific inspirations as has been noted, with St Charles Romance referring to a favourite location in Prague. Although Napier relates a love of such icons as Patsy Cline and a liking for the space of the soundtracks of spaghetti westerns, the nature of the songs in this format have hints rather than any direct references to either of those influences. She had realised that her music would not necessarily fit some of the accepted frameworks of the current state of country in the mainframe, although it still draws from elements of a more folk noir and traditional country sensibility.

I have listened to this now a number of times and still find there is an element of mystery in the songs intertwining of voice, guitar and melody. It was recorded by Tom Zwanger during a November full moon and he has aptly captured the essence of the songs. All contain interesting lyrical prose and some words that stand out like the intriguing one from Bedfellows “The priest was on time but the devil set his watch twice as fast.” The devil pulls a fast one in an unworldly romance. Then there’s the largely self-explanatory Cigarettes & Carefree Love, while Hiding From The Sound Of Fire was inspired by her time living in Berlin during riotous times. The remaining tracks are Put It On My Tab, Dirty Deeds and Chapters Of Lace. Whilst the process means that there is an overall similarity in the performance, it is the nuances of the songs that give them their individuality.

What I was reminded of from first listen was of an old favourite of mine which was the band Tarnation (once signed to 4AD) and their lead vocalist Paula Frazer. There was something in the quality of both voices that has a distinctive tone that is very effective. Not for everyone perhaps but still worth discovering this set of full moon fever recordings. 

Review by Stephen Rapid

New Album Reviews

Domenic Cicala Come On Over (The Honky Tonk Duets) Tortured Artists

From the opening bars of the first song Loving Arms, you know you going to be embraced by a similar audio experience. The pedal steel that is prominent throughout lays out a stylistic road map that is rooted in the classic country duets of the past.To that you can add a sense of a definite love for these songs and for the project. The album in itself is nothing new; simply a set of songs performed in classic country duet style. However, it is an exercise in relaxed and resolute styling and making the right choice of song fro be covered. The warmth of Cicala’s voice set against a number of female duet partners who, alongside Cicala’s warm vocals, would tend towards the spotlight for the most part. Which is nothing against Cicala’s delivery, as he performs his part of the equation with aplomb.

He only began performing in a solo capacity, by all accounts, in the late 2000’s and released his first album (WHO’S FOOLIN’ WHO?) in 2014. Previous to that he had played in the Americana band Vincent 52. This project was recorded over a period of three years or so. That may account for the added sense of ease and comfort to the nine songs featured here. Cicala is a Washington DC based artist and has brought in many of the best roots musicians from the area to perform on the songs, not least Lynn Kasdorf on pedal steel and Gary Ferguson on guitars, to mention two among the other fine players featured. However, it is his chosen duet partners who will no doubt garner some attention here. They are BettySoo, Michelle Hannan, Rachel Harrington, Janine Wilson, Mindy Miller and Jaimee Harris. A collection of singers who each bring something considered and assured with their vocals and an understanding of the songs. So it seems unnecessary to highlight one singers contribution over another as they all work in context and feel compatible overall.

The songs are Loving Arms by Tom Jans (which has been recorded by many including Doby Gray), Drinking Too Much written by Fred Eaglesmith, both of which feature Michelle Hannan. Jaimee Harris joins in on the cover of the Tift Merritt/John Howie Jnr song If Only You Were Mine, originally recorded on a duet EP by the Two Dollar Pistols. I Want Out and Come On Over (the latter not the Shania Twain song but a country take on the Bee Gees song) find Cicala singing with Rachel Harrington. Mindy Miller is the partner on We Had It All which was written by Donnie Fritts and Troy Harold Seals for Waylon Jennings. Miller also features on the Sean Locke/Billy Montana song The Coldest Fire In Town, which was originally recorded by Pinmonkey with Elizabeth Cook.  Appropriately, the final song is another much covered and loved song.  The tender and fragile If I Needed You by Townes Van Zandt finds Janine Wilson as the duet ally on this one.

When listening to this album I felt, at first, that I would be making comparisons to other versions of these well-chosen songs, but instead I found myself just enjoying these songs for what they are. No doubt it is something of a side project but also a labour of love for Cicala and his friends. My only slight concern is that it would take a pretty sedate honky tonk setting to appreciate these songs as they are here. In your own home, or on the right jukebox in the right location though, they offer a very enjoyable thirty-five minutes of music to unwind to. 

Review by Stephen Rapid

Dean Owens The Burning Heart -The Desert Trilogy EP’s Vol.1 Songboy

With many strings to his bow and seldom without a very full workload, Edinburgh’s Dean Owens has four recordings due for release in the coming months. His album SINNER’S SHRINE, recorded at Wavelab Studios in Tucson, Arizona, with Calexico members Joey Burns and John Convertino, is due for an autumn release. The album was recorded prior to the arrival of Covid-19 and tracks from it are included on a three volume EP project titled DESERT TRILOGY that precedes the release of the full album. The EP’s will be released individually in March, May and July of this year. The songs that are included on the EP’s are a combination of material recorded during the album sessions and home recordings during lockdown, aided by long distance contributions by a number of Owen’s fellow musician friends.

2019 saw the release of Owen’s collaboration BUFFALO BLOOD, a project where he joined Neilson Hubbard, Audrey Spillman and Joshua Brit to record an album of songs exploring the migration of Native Americans from their homelands. The album was recorded outdoors in the New Mexico desert. Owen’s devotion to travel and the musical and writing inspirations offered to him by such voyages come very much to the fore once more on THE DESERT TRILOGY recordings. Fascinated in particular by the states of Arizona, New Mexico and California and their desert lands, the material conjures up scenes of ghostly celestial spheres, burning suns and scorching sands.

New Mexico previously featured on Owens’ debut album THE DROMA TAPES, in a quite skeletal format. The reconstructed version breathes new life into the song. With the Calexico team on board, Jacob Valenzuela on trumpet and complete with handclaps, it’s a sparkling affair. A similar styling repeats on the carefully measured and refined Here Comes Paul Newman, which was inspired by the classic film Hud and the spaghetti western soundtracks composed by Ennio Morricone. That cinematic critique is also perfectly captured on Riverline, where the atmosphere is further enhanced by nimble percussion and tuneful whistling. The final track Tombstone Rose is a tender-hearted ballad, its minimalistic approach features only vocals and nylon string guitar. Written during lockdown, its subject matter is a desert plant waiting for rain and rejuvenation. Its wider message suggests a reflection on the world we currently reside in and our own regeneration as we await liberation from the current pandemic.

Attractively packaged with a most impressive sleeve design, THE BURNING HEART is a mouth-watering taster for what we can look forward to from Owens’ recordings in the coming months and a pointer towards what is likely to be his most accomplished work to date.

Review by Declan Culliton

John Blek  Digressions#2 Grounded Warr

Written and recorded at home during COVID-19 quarantine restrictions, GROUNDED continues John Blek’s prolific recording output of recent years.  The album follows his DIGRESSIONS #1 LIVE AT STUDIOWZ, which he released last May. A ten-track album, it was recorded in Pembrokeshire, Wales in April 2019 and was a live recording, coming after four studio albums previously released by John in consecutive years.

The pandemic, and the enforced lifestyle changes that ensued, turned John’s attentions to subjects closer to home when composing this album’s material. Marrying his long-term soul mate Ciara O’Leary Fitzpatrick in July also opened a new chapter in the life for the Cork born folk singer. The result is an album of quite uplifting songs, openly honest and thought provoking. It’s also a diversion from his traditional skeletal recording style and finds him experimenting, quite successfully it has to be said, with a synthesiser and drum machine.

Simple homely delights surface on the punchy love ballad Right Moves, where walks in the woods, dances in the kitchen and singalongs to Van the Man are fondly recalled. A glorious summer, despite lockdowns and restrictions, is commemorated on Summer’s Lament.  Sage advice, imparted by his father who was also John’s best man at his wedding, is recounted in the spoken word My Father’s Son. It also reads as a reminder to himself of principles and ethics that he may himself need to utilise in the future. Like A Child is a ‘prodigal child’ type elegy and a reminder of doors that are never fully closed. The equally affecting Thin Air celebrates the liberation from anxieties, whether at present or in an afterlife. A similar theme emerges on the closing track Joy In Sorrow. A gentle ballad, it proclaims fond remembrance and celebration of a passing life, rather than sorrow and despair.   

More than anything else, GROUNDED is a joyful and introspective album. Vulnerability and sorrow emerge in the song writing but are ultimately conquered by optimism. The construction of the songs is certainly a change in direction for the composer, but the end result is every bit as satisfying as we’ve come to expect from this treasured songsmith.

Review by Declan Culliton 

Kimon Kirk Altitude Dos Kay

Los Angeles based musician, singer songwriter and producer Kimon Kirk has toured as a bass player with a lot of big hitters. Aimee Mann, Gaby Moreno, Alejandro Escovedo, Session Americana, Grant-Lee Phillips, Amy Correia, Sarah Borges, Jennifer Kimball and Kris Delmhorst have all offered him a seat on their tour buses over the years. Production duties for a host of artists such as Dennis Brennan, Lyle Brewer, David Champagne and Steve Shook have also added to his workload, alongside lecturing in songwriting and music performance at Berklee College of Music, Georgetown University and Boston University.

ALTITUDE is his first solo album in ten years, having released SONGS FOR SOCIETY in 2011 and it’s well worth the wait. Packed with melodic songs that make an instant impact on first listen, Kirk has coined a suite of songs that land somewhere between the 60’s countrified pop of The Byrds and the quintessential power pop of Big Star.

Tracks like Evergreen and Trampoline are breezy and beautifully constructed gems. They are also the opening two tracks of twelve on the album and they simply bombard the senses.  Sarah Borges adds backing vocals on the latter and also on the Jayhawks sounding The Girl I Used To Know. Kirk’s former employer Aimee Mann joins the party, adding her honeyed voice on the album’s stand out song Baby Who Knows, a song that she shared the song writing credits on. It boasts a melody and hooks that are impossible to shake off and demands a hit on the replay button. Kirk is equally comfortable with a lighter foot on the gas pedal with soothers like Halfway Right, the otherworldly What Do I Know and the retrospective My Old Neighbourhood.

Not surprisingly, Kirk self-produced the album and contributed vocals and guitar. His studio band that contributes to the fine sound throughout were Lyle Brewer on lead guitar, Jamie Edwards on keyboards, Jim Haggerty on bass and John Sands on drums.

There is hardly a weak moment on this album, which gifts the listener twelve sparkling and jaunty songs that resonate in the mind long after they have finished. An album that’s so easy to fall in love with.

Review by Declan Culliton 

Spencer Cullum Coin Collection Yewknee

In a city that can boast a wealth of homegrown gifted pedal steel instrumentalists, Londoner Spencer Cullum has established himself amongst Nashville’s finest players. A co-founder, with Jeremy Fetzer, of the instrumental space country duo Steelism, Cullum is also a member of Miranda Lambert’s band and has recorded with Dolly Parton, Andrew Combs, Caitlin Rose and Dylan Le Blanc.

His debut solo album’s origins are disclosed in its title COIN COLLECTION, which finds Cullum revisiting music and genres dear to his heart, of yesteryear. He has temporarily abandoned the sounds of his adopted home of Nashville, returning for influences to his birth country. The album’s direction visits the Canterbury Brit Folk of the late 60’s, together with scatterings of prog rock, jazz and krautrock.

Produced by Grammy winning producer Jeremy Ferguson (Lambchop, Nicole Atkins, Joshua Hedley) at his Battle Tapes Recording studio in Nashville, it features vocal contributions from neighbours Caitlin Rose and Erin Rae. Other members of that tight knit East Nashville musical community that also lend a hand are Andrew Combs, Sean Thompson and multi-instrumentalist Luke Reynolds.

The jaunty Tombre En Morceaux lands somewhere between Robert Wyatt and Caravan and Kevin Ayers, one of the mentors that inspired the album, comes to mind on the sweeping The Dusty Floor. He takes a detour from the U.K. to Germany and tips his hat to NEU! on the powerful instrumental Dietrich Buxtehude. The eight-track album closes with a cover of The Incredible String Band’s The Tree.  While remaining close to the original, it is enhanced by the addition of backing vocals in the chorus. Similarly enriched by accompanying vocals alongside those of Cullum’s is the ballad Jack Of Fools which opens the album.

Circling back to sounds more celebrated back in the 60’s and 70’s may very well be a diversion from the day job for Cullum. Regardless, it’s an intoxicating mix, probably best described as alt-folk, by an artist with more than one string to his bow. A delightful listen in its own right, it’s also likely to jumpstart a revisit to some of the classic music and artists that it brings to mind.

Review by Declan Culliton

Rod Abernethy Normal Isn’t Normal Anymore Self Release

On his impressive website, this artist defines himself as a southern troubadour, storyteller and solo guitar player. Somewhat short of the full story, as Abernethy has many more strings to his bow, including accolades as an award-winning composer for film, TV, and video games. He also creates steampunk robots from antique parts and found objects around his home in Raleigh, North Carolina.

This new album is his third solo outing since 2018 and this time around Abernethy has used Grammy-nominated producer Neilson Hubbard and recorded the tracks at Skinny Elephant Recording, Nashville. The musicians involved, apart from Abernethy on guitars and vocals, are Will Kimbrough on additional guitars and mandolin, Michael Rinne on bass, Nielson Hubbard on drums, Dan Mitchell on piano, David Henry on cello and Mia Ernst on backing vocals, augmented by Hubbard, Kimbrough, Rinne. 

One of the songs on the album is a cover version of the Bob Dylan 1962 classic, Oxford Town, with a back story of entering it into a competition run by American Songwriter Magazine, where Abernethy won the grand prize. 

His fluent guitar style and finger picking dexterity are very prominent across all tracks but his deft touch as a lyricist of some perception may get lost in the overall mix to his many talents. Abernethy has a good balance of social commentary (Another Year and Normal Isn’t Normal Anymore) and personal perspective (My Father Was A Quiet Man and Just Around the Corner). He also pens a fun slice of life on Birds In the Chimney, turning frowns into smiles with a well observed tale. Again, on the wry look at self sabotage, It’s Always Something, he quips ‘It’s always something that I did, Or didn’t do.’ 

Get In the Car is a personal song that Abernethy wrote with his deceased brother in mind, imagining a conversation they would have around taking a road trip together. When Tobacco Was King is a commentary on the mass hypnosis that the corporate lies of 50’s and 60’s generations ingested from the tobacco industry and the way that history is repeating today with current vaping habits. There is a cover version of the John Mayer song, Changing, which suggests that being aware to the twists and turns of life will keep your options always open. There are two instrumentals included, both of which featured on the Without A Word release from last year. Over the Fence is light and breezy while Whiskey and Pie is more rhythmic with 12-string guitar creating a strong tempo. 

The life lessons handed down in the standout, My Father Was a Quiet Man, is a quality piece of writing, with memories of his own father giving him a first guitar, to their bonding in grief over the passing of his brother and the hopes he has for his own son as he grows. This is a very well-constructed release and certainly one that will enhance the already impressive reputation of Rod Abernethy. 

Review by Paul McGee

Andrew McConathy & the Drunken Hearts Alive ’n’ Free Self Release

This is a live album and takes in all three prior studio releases from this interesting band. There are thirteen tracks included and the running time is just short of an hour, so there is plenty to enjoy, including three new songs and dynamic interplay between McConathy on acoustic guitar and vocals, Alex Johnson on drums, Jon McCartan on bass, Cody Russell on pedal steel, lap steel, and dobro and Kory Montgomery on electric guitar and vocals. 

Produced by McConathy & Todd Divel at his Silo Studio in Denver, the tracks were recorded by sound engineer Taylor Hines during a 20-gig tour in late 2020 and then mixed and mastered. The sound is classic Americana with hints of the Allman Brothers woven through a number of the songs. The interplay between Montgomery and Russell is very much the driving dynamic in the band sound with the rhythm section of Johnson and McCartan providing a solid bedrock for the expressive soloing. McConathy has a vocal tone that carries the songs along a familiar path with good range and character in the delivery.

The absence of almost all crowd reaction is somewhat strange, given that this is a live album, with the fade out on the songs cutting most of this away. The live feel does shine through however with the band members displaying a polished, tight sound, with workouts on tracks like Fire In A House and In the Middle showing fine energy. The driving rhythm on Shining Eyes is built upon by Montgomery and Russell with some nice  guitar dynamics that excite. Title track of their last album, Wheels Of the City, slows things down and gives McConathy the space to deliver a soulful vocal performance.

There are a lot of references to the road, especially on earlier tracks, Tell Me, Happy, Unrest and Don’t Go, songs that speak of spinning wheels, going back home, lack of sleep and missing the girl; code of the road motifs. Black Snake introduces harmonica and a song that builds to a fine crescendo, with some great guitar driven, rhythmic solos. Want You Back is another up-tempo arrangement with great band dynamic and the twin guitar attack providing the fuel that drives the beat.  Prom Night is a cover song that has McConathy  singing strongly against the great bass lines of McCartan and the change of tempo, mid-song, allows for some interesting back-and-forth between the players when the arrangement picks back up again. A real highlight among many impressive tracks. 

Denver, Colorado has something in the air that produces a band of this quality and a live act that would be a joy to experience in full flow. 

Review by Paul McGee

Elvis Perkins Creation Myths MIR/Petaluma

Released in the final months of 2020, this is a peek inside the creative mind of an artist who has been active since the release of his debut album, back in 2007. Two subsequent releases, in 2009 and 2015, don’t really tell the story of this talented musician, who in recent years has been collaborating with his actor/director brother, Osgood, on film scores. One such project has been Blackcoat's Daughter which was released in 2017. Being the son of famous actor, Anthony Perkins, clearly exposed Elvis to much in the way of creative individuals and influences as he grew up. His family lineage includes fashion designers, art experts, astronomers, psychic mediums and actors. The fact that he was named after Elvis Presley gives insight into the dynamic at play and the shaping of a talent from an early age.

This album has many influences, taken from the wide panorama of music, and it’s hard to find a central sound to define the recording. There are Beatle-esque sweeps of melody and the use of horns is a constant throughout. Balanced with this is the evocative pedal steel sound on some songs and the psychedelic, dream-like backdrop for others like on Sing Sing, with its cryptic lyrics and broad message to just enjoy the moment and not let outside factors cramp your style. The use of strings and synth sounds swells the arrangement. Similarly, See Monkey, has a big production with grand horn sweeps and melodic drifts that channel 60’s Pop sounds.

Produced, engineered and mixed by Sam Cohen, who also plays bass, pedal steel, percussion and electric guitar; with Perkins on guitar, piano, sitar, harmonium, moog and singing duties, this is very much a twin project. Daydream sequences like that of I Know, You Know takes a skewed look at relationships and how separate we all are in our singular existence. Pedal Steel blends perfectly with the isolation. Mrs. & Mr. E hints at domestic conundrums and again the theme of separateness is explored with pedal steel echoing the distance between.

The gentle swoon of Iris is a love song to a special person who equates to the entire universe and all it contains; moons, suns, supernovas, islands, diamonds, black holes and cataract skies. On the other hand, Half Life is a song that reflects self-doubt and a reluctance towards commitment, ‘Half of the time, I think twice to myself, Am I halving the time of my life?’ Again, pedal steel plays a nice melody line with violin and piano enhancing the sound. The brass section returns for an almost vaudevillian arrangement on Promo and what seems to be a swipe at our automated ways of living, following the lure of retail therapy and numbing the pain in front of tv sports, drinking beer, while the corporate giants turn the screw on what to promote and sell as essential lifestyle purchases. It would fit nicely into any number of movies.

See Through is just that, a look at transparent lives and wanting to hide away from all those messy feelings. ‘I’ll leave you alone with your headphones We’ll be just fine.’  The string arrangement and muted horns is again back to Beatles territory in feel. Final track, Anonymous, is a song of desire with the enigmatic ‘other’ so hard to pin down; ‘you are the one who’s gone crazy, you are the rain, who fell out of love.‘

All very engaging and enriching, this album is a far step from his initial Folk roots. However, it is painted with many colours and well worth exploring the hidden depths that await within. 

Review by Paul McGee

John John Brown Americana Comics Self Release

A second album from this contemporary Folk artist who was born in New Milford, Connecticut. The seven tracks are all story songs, based around different characters that represent everyman and the ways in which we try to navigate life on a daily basis in order to survive.

From the schizophrenic shopper in the mall, On Black Friday I Met Jesus, to the veteran of the Vietnamese war who is haunted by his past actions, Where the Good Buzz Goes, both tales are a look at the real cost of damage suffered by the individuals concerned. Graduation Day is a fine song that looks at the blossoming of young dreams, cruelly cut short by a motor accident. The tragic consequences and loss of life, trapping a ghost who haunts the lake site of the tragedy. An inventive use of lyrical and musical ideas. 

Mary is a song that reflects on the life of a young girl who lives out the aimless ramblings of her mother from town to town and lover to lover. It’s a really sad look at what gets sacrificed along the way to adulthood and the scars that remain. The Armadillo Song is a fun look at finding road kill that suddenly turns out to be still alive and intent on revenge. Yossi the Balloon Man is another slice of life that highlights the colourful characters in local neighbourhoods and the past that can be carried – in this case, the haunting memory of war, concentration camps, and finally, new life in another country. An immigrant tale of moving on and making something real. 

Big Old Beard is another example of clever song-writing that looks at growing a beard, spreading well beyond imagination and the tune is given an old timey arrangement with fiddle and upright bass. 

John John Brown provides lead vocals, acoustic guitar and harmonica, with Andy Stack contributing electric guitar, acoustic guitar, mandolin, pedal steel, piano, keys and backup vocals. They are joined by Jacob Silver on upright and electric bass, Konrad Meissner on drums and percussion, Jeremy Baum on B3 Organ and Adrien Reju on backup vocals.

Don’t take it all so seriously, is the abiding message here and these songs bear testament to a real talent when it comes to raising a smile and handing out life lessons at the same time. The release is accompanied by an illustrated comic book (drawn by Sapri Andy), plus online videos of selected songs in an innovative way to promote the album. All excellently captured and realised in different creative forms to add to the enjoyment and fun.

Review by Paul McGee

New Album Reviews

GRANT NESMITH  DREAMS OF THE COAST Self Release

Despite the fact that he has spent most of his life living in the beach community of Myrtle Beach, S.Carolina, it is evident that the novelty has never worn off for Grant Nesmith. His second solo album covers the gamut of genres from surf psychedelia to country to rock and pop, and the influence of the ocean is never far away. Dreams of the Coast is a mid-tempo country rock affair, lush layered vocals sing the praises of the sea, enhanced by the masterful slide guitar of Sadler Vaden (Jason Isbell, Drivin’ N Cryin”), another Myrtle Beach native. Seizing the day is the theme of Another Day which gets a psychedelic rock treatment, dominated by the freely riffing fiddle of Gene Elder (Lyle Lovett, George Strait). Elsewhere is evidence of the unsurprising influence of the Beach Boys and the Beatles (Kaleidescope, Souvenir). Recorded in the studio of Ed Dennis, he adds his sweet pedal steel playing on most tracks, particularly outstandingly on the love song Haunt. Nesmith’s falsetto vocals invite inevitable comparisons with a youthful Neil Young and on the closer Such a Dream he indulges this with a whole eight minutes of fuzzy guitar driven psychedelic rock - ‘the ocean kisses outer space, the moon would like to get a taste’. Chill and enjoy.

Review by Eilís Boland

Israel Nash Topaz Loose

Missouri born Israel Nash’s last recording was LIFTED, released in 2018. It was conceived in his fully functioning custom-built studio named Plum Creek Sound in Dripping Springs, Texas. An expansive affair, it was created with layer upon layer of vocals, horns, strings, guitars and percussion, as Nash relished the freedom to experiment in his treasured home studio environment. Co-produced with Ted Young (Kurt Vile, Rolling Stones), it featured a number of Austin based musicians and garnered, quite deservedly, very positive feedback in the music press.

TOPAZ finds Nash taking complete control on this occasion. The album was self-produced and recorded in isolation between touring over the course of a year, with only minimal input from other musicians. The sound retains the sonic laminations, soaring vocals and harmonies of its predecessor with the addition of a full horn session, courtesy of Austin funk band Hard Proof.

Despite being the recipient of a Master’s Degree in political science, Nash’s writing has more often concentrated on the intimacy of relationships and his love of nature. There have been political sentiments expressed previously but seldom to the extent that emerge on TOPAZ. He hasn’t totally abandoned writing about matters close to his heart, though. The ballad Closer speaks of loneliness on the road many miles from home and similarly evocative is Stay, where the reality of leaving the nest to tour once again beckons. Though written a while back, the swirling opening track Dividing Lines is very much a song of its time, as the writer reflects on the politics of recent times that promote division rather than unity.

The worst mass shooting in an American place of worship that took the lives of twenty-six people in 2017 is recalled on Sutherland Springs. It’s a quite beautiful and heartrending song, the sadness is further emphasised by mournful pedal steel guitar throughout. Down In The Country places its emphasis on ‘rock bottom’ rather than the escapade that its title might imply. It riles at the empty promises by politicians over the past decade which have done little to assist families whose farms face repossession, or factory closures and crumbling small towns dotted across America. The first single taken from the album Southern Coasts, is a sun-drenched triumph, coaxed along by a thumping bass line. The album closes with Pressure, which reflects on the struggles which face the growing numbers of helpless and marginalised people and families, simply attempting to survive.

Nash’s superb 2011 release BARN DOORS AND CONCRETE FLOORS was a breakthrough album for him, gaining him universal acclaim. Many of those accolades made reference to him being firmly rooted in Neil Young sounding territory. In successive albums Nash has distanced himself from pretender status to develop his own unique recognisable sound. He achieves that and more on TOPAZ, which gifts the listener with further listening treasures on each subsequent play. Headphones recommended.

Review by Declan Culliton

Esther Rose How Many Times Father/Daughter

‘I don’t grapple with fate, I accept my bad luck and my good luck equally’ confides New Orleans based Esther Rose, discussing her third album HOW MANY TIMES. That simple sentiment goes a long way to define the background of this ten-track album where distress and jubilation are greeted equally and channeled into some extremely listenable songs.  

Rose is the possessor of a silver-toned vocal range that’s often closer to spoken delivery rather than full blown, in a similar style to Laura Cantrell. It works spectacularly well on this album where she’s in the company of crack musicians and quality songs. Those players are Matt Bell (lap steel), Max Bien-Kahn (electric guitar), Dan Cutler (upright bass), Cameron Snyder (drums) and Lyle Werner (fiddle). With this team and under the co-production of Rose and Ross Farbe, the album was recorded live to tape at The Tigermen Den in New Orleans.

Fiddle player Lyle Werner has featured prominently on all of Rose’s albums and he’s first out of the blocks on the opening and title track. It’s the perfect introduction to what follows as Rose confronts reality and a painful break up head on, drawing a line in the sand and preparing to move forward. Given the album’s soul-searching content, the track sequencing is carefully arranged, with each song reading like a personal diary entry. Keeps Me Running, which follows the opener, is very much a ‘note to myself’ reminder to steer clear of a rebound relationship while the wounds from a previous fall out remain unhealed. Refreshed and energised, the gorgeous glass half full Coyote Creek finds Rose in a carefree state.

The buoyant Good Time is a self-deprecating and cheerful jaunt, disguising the fact that it was conceived when, after a sixteen-hour drive, Rose’s car died a death five hundred miles from her home in New Orleans. Less stressful recollections surface on the sprightly Mountaintop and the mellow ballad Songs Remain.

Rose signs out on the hugely impressive HOW MANY TIMES with Without You, the first song written for the album. It’s an apt closing statement and recognition that there are no quick fixes to rebuilding your life and that acceptance is the best starting point.

Review by Declan Culliton

SomeRiseSomeFall  No Simple Highway Fitzz

This twelve song collection features some of the finest Irish musicians reinterpreting songs by a host of artists from the Americana, folk and indie genres. An extremely worthy project, it was undertaken to further raise awareness of the ever-growing issues relating to mental illness in Ireland. All proceeds will be directed towards Aware Ireland, who support those struggling with anxiety, depression, bipolar disorder and other mood related conditions. The recording is particularly timely, given the increasing crisis in mental health related issues, intensified by the ongoing Covid-19 pandemic.

The artists that contribute include quite a few that have featured previously on Lonesome Highway, in album reviews, interviews and/or our radio show. The silky voiced Anna Mitchell provides four songs, showcasing her range of vocals on the haunting Beth Gibbons /Paul David Webb composition Funny Time Of Year and Eliza Carthy’s delicate Fallen Leaves. Anna also performs Thought Dream penned by Country Joe Mc Donald and Roy Wood’s The Rain Came Down on Everything.

John Blek has established himself as one of the leading lights in the new folk movement, not only in Ireland but also in Europe and the United States. His contributions include Blues Run The Game, written by American singer songwriter Jackson C. Frank in 1965 and Greg Trooper’s Biologically Blue. Breathing new life into the former and in typical fashion, John performs with minimal support, joined only by Brian Casey on Hammond organ. The latter also features Casey, on this occasion adding piano and electric guitar. John also remoulds the bluesy I Remember You written by Eilen Jewell.

Noted guitar player Kevin Herron chose Dave Ball’s When The Thought Of You Catches Up With Me and Jimmy La Fave’s The Beauty Of You for inclusion. His delightful guitar skills shine through on both, supported by a relaxed vocal delivery. The Grateful Dead may not be considered the obvious selection by the Choice Music Price nominee Marlene Enright. However, accompanied by pedal steel maestro David Murphy and adding vocals and piano herself, she injects even more heartache into Stella Blue, the Robert Hunter/Jerry Garcia classic, while remaining faithful to the original version.

Cork indie band Rowan dipped into Joanna Newsom’s songbook and selected Swansea from her debut album for their input, adding a degree of depth to Newsom’s version. Also included from Rowan is a stripped back rendition of Years Gone By from The Milk Carton Kids. Like so many of the selected songs, the lyrics perfectly capture the theme of the project. 

The project was the brainchild of Michael Fitzgerald, founder of Fitzz Records, which funds community artistic ventures, the proceeds of which go to support organisations that provide aid to those suffering mental health issues. Particular mention is also merited for producer Brian Casey, graphic designer Riona O’Regan and Richard Dowling of Wav Mastering in Limerick, who mastered the final mix. Other musicians that contributed include Brian Hassett, Davie Ryan, Dylan Howe, Fionn Hennessy, Kealan Kenny and Hugh Dylan.

Cover albums can often be hit and miss affairs. However, in the case of NO SIMPLE HIGHWAY there is a fluent connectivity from start to finish. Setting aside the most worthy cause that inspired the album, it stands on its own two feet as a treasure chest of well-chosen songs, beautifully performed. Hopefully, at some stage in the near future, the collective will be in a position to perform the album in a live setting, both as a fundraiser and to display the wealth of talent that brought this project to life.  Highly recommended and well worth your attention and support.

Review by Declan Culliton

Hjalte Ross Waves Of Haste Self Release

Following on from his 2018 debut, Hjalte Ross releases a follow-up album of nine tracks, recorded in Dreamland Studio, Sebbersund, Denmark. Ross has again employed the services of producer John Wood (Pink Floyd, Nico, John Cale, Cat Stevens, Nick Drake, John Martyn, Bert Jansch), together with the talents of Steve Turner for all brass and string arrangements. It’s unclear whether Ross used studio musicians during the recording process, although I know that he has previously worked with Who Killed Bambi, a string ensemble trained in classical music and experienced with folk, jazz and improvisation music.

The pace never gets beyond the gentle, melodious slow-tempo of almost all the song arrangements, with the notable exception of Thinking About You which has a busier, up-tempo feel, perhaps reflecting the part of the recording process that Ross spent in NYC, as a contrast to the isolation of Northern Jutland. The use of understated brass works well as an atmospheric bedrock upon which Ross can layer his soft, almost whispered vocals and if the lyrics are difficult to make out, it is the atmosphere created that carries one along on a wave of sound, almost akin to somnambulism.

Nordic Folk music with a twist, the opening, Accidents, announces itself with minimal acoustic guitar and piano, along with subtle strings, certainly reminiscent in overall feel of Nick Drake in spirit. Adrenaline introduces brass and an easy percussion beat over which strings set the emotion and an electric guitar plays a restrained solo. Off My Mind is another restful vocal performance, almost slipping into an easy jazz vibe with plucked bass, quiet piano parts and a saxophone to compliment the crooning delivery. If Norah Jones had been offered to duet, you could see a perfect symbiosis.

How Am I Supposed To Feel has an almost breathless, vocal tone and a slower treatment, hinting at the Neil Young classic, Tell Me Why.  The aforementioned, Thinking About You, is a welcome break with its driving beat, female backing vocal and an almost Pet Shop Boys groove, complete with brass instrumentation giving a bigger sound. The title track reverts to simple acoustic guitar with background piano sounds, occasional trumpet and minimal string support. 

The sense of sweet isolation continues on the atmospheric Holidays with talk of procrastinated time wrapped around haunting strings and minor acoustic guitar progressions. Passes By has an arrangement that would fit in a Hovis advert from years past but also introduces a downtempo drum beat and keyboard swells.

The closing song, The Truth, complete with the sound of waves lapping, (that link the previous song), consolidates the sense of trying to just go with the flow of the natural world. There is a quiet, compelling tug on the sleeve that has one returning to these tracks, with the calm of the music providing an ideal evening companion.

Review by Paul McGee

Jim Ghedi In the Furrows Of Common Place Basin Rock

Sheffield in South Yorkshire is home for this Folk artist who delivers his third album, since he first appeared on the music scene, back in 2015. Ghedi finds his passion from exploring themes of social politics, history and environment, with the titles of his previous releases signposting his focus; HOME IS WHERE I EXIST, NOW TO LIVE AND DIE (2015) and A HYMN FOR ANCIENT LAND (2018).

This time out, we are given eight songs with a sound that is rooted as much in the distant past, as it is seeking a new direction for English Folk music. The atmospheric and organic instrumentation fits perfectly with the vocal delivery of Ghedi, which is full of passion and frustration, and aimed at the universal themes that speak to a time once filled with the challenges of hard manual labour and the need to survive. With this in mind, opening song, Common Thread, addresses the generations of agricultural and industrial workers who filled the English landscapes and who toiled for greedy profiteers. You can also find relevance in the present economies of both England and beyond, where industrial jobs have disappeared and heavy labour has made way for technology in ghost towns filled with the grim reality of unemployment.

The harmonium drone of Lamentations Of Round Oak Waters, laced with violin, presents a stark backdrop before both trumpet and flugel sounds are added in what almost constitutes a prayer that greed and avarice to be punished. It asks that the lives of the poor to be given a dignity, that stretches not only back to tenant land workers, but also forward into current economic injustice and social deprivation. Centred around the area where Ghedi grew up in the Yorkshire midlands, these are authentic songs of great feeling and passion where the twin industries of Coal and Steel dominated the landscape for generations and shaped the lives of so many.

Instrumental, Mythlom, winds its way into a rousing acoustic guitar display of tone and tempo. It is set against the quietly gentle delivery on Stolen Ground with its traditional Folk tunings that recall a young John Martyn in the full, compelling power of delivery. Ah Cud Hew is a traditional coal mining song that originated in North East England and is delivered with both an urgency and a sense of anger running through it. Beneath the Willow has haunting violin, playing over the beat and the impassioned, nuanced vocal of Ghedi venting in honour of his working-class South Yorkshire brethren who paid such a high price for their lives of hardship and poverty. There is an additional instrumental piece that forms an addendum to this track where guitar, fiddle, harmonium and double bass combine to great effect. Final song, Son David, runs for eight minutes and is a traditional Scottish ballad that confirms the quality and strength of musicianship running through these songs, conjuring up visceral images of the past and the future - a sense that the old ways point the direction for future challenges. 

Dan Bridgwood-Hill plays violin, Neil Heppleston plays double bass, with Sally Rowan Smith on flugel and trumpet. Jim Ghedi plays guitars and harmoniums while singing with a fire and with strong vowel annunciation. Ed Pickford originally wrote Ah Cud Hew, and the John Clare poem, Lamentations Of Round Oak Waters provides the lyrics for the song of the same name. Otherwise, Ghedi wrote the songs and produced the album which was recorded in Scotland at the Black Bay studios in the Outer Hebrides. A very impressive work and one that grips the listener throughout.

Review by Paul McGee

KB Bayley  Little Thunderstorms  Self Release

Reflective, contemplative, contemporary Folk sounds from guitar player, songwriter and composer KB Bailey. He is a London-based musician who grew up in the North-East of England and this is his second album. There is a strong sense of intimacy across the tracks and Bayley displays his great range of playing skills on acoustic, cigar box and lap steel guitars, dobro, piano and vocals.

Bayley recorded at home during lockdown last year and the tracks were mastered by George Shilling, who also worked on his debut album from 2017, Rivers and Rain. He reached out for contributions from a group of musicians who recorded their parts remotely and included Charlie Jonas Walter (pedal steel and banjo), Dean Parker (electric guitar), Simon Small (percussion), Brin Heywood-Snell ( trumpet), Gavin Thomas & Glen Vaal (harmonica), Adiescar Chase (violin), with Ben Glover, Jim Cozens, Claudia Stark (vocals). 

Bayley has cited the influence of Tom Waits on his writing approach, but it’s not very evident here, as the overall feel is that of roots music with a hint of Americana on certain tracks. These are relationship songs, where reaching out for simple communication and companionship is sometimes the hardest thing to do. Blood Red Lullaby is a song about loss, in its different forms, people gone from our lives and others whose innocence has slipped away. Some beautiful guitar playing from Dean Parker lifts the sombre mood, whereas Night Dogs looks at lonely isolation and the muted trumpet of Brin Heywood-Snell sits comfortably with the understated melody of Bayley on keyboard and Parker on electric guitar, ‘streetlights burn bright in the darkness, whisky burns cold in the glass.’  

Pedal Steel on Time To Leave Town is played with subtle atmospheric touch by Charlie Jonas Walter in a song about wanting love to last, whereas North Coast Girl is a memory of younger days, with the harmonica of Gavin Thomas echoing a distant sense of reminiscence, against lap steel playing from Bayley. Wistful and yearning. Crazy About Me is a song about feeling lost and not coming to terms with the end of a relationship. It can be a dark world if you let it but for all the sadness contained in these songs, there is a light of understanding and empathy that shines, giving perspective and hope for better days. Melancholy keeps its own company. North Shore Road speaks about a Church and the memories contained within its walls. Harmonica from Glen Vaal and banjo from Charlie Jonas Walter both beautifully intertwined with the acoustic guitar of Bayley and the clear vocals. Wayfaring Stranger is a traditional tune that also appeared on the debut album, but here it’s given a fresh interpretation in instrumental form with the violin of  Adiescar Chase particularly atmospheric. 

Cheap Suit ends the album and it’s a cover of the Jeffrey Foucault song which captures a memory of his Father playing guitar in the living room, ‘I see him from the doorway, I see that look in his eye, And I know I’m going to go there, Where My father’s dreams lie.’ A fitting way to end what is an album about simple dreams and longing for a better sense of connection. Worth your time for the simple grace of the song arrangements and the superb musicianship running throughout.

Review by Paul McGee

Martin Simpson Home Recordings Topic

This consummate musician is something of a living legend within English Folk circles. Over the years, since his arrival in the 1970’s, his talent as a guitarist, singer and songwriter, has seen him in great demand, not only as a session musician but also as a collaborator on various projects. His live performance has always carried a hypnotic quality and Simpson has not only released instructional DVDs, but also published a book. His many honours in the folk music industry place him at the very centre of all that continues to represent this genre of music, both the past heritage and future direction.

Armed with just guitar, banjo and ukulele on this stripped-down project, this constitutes an arsenal of formidable weaponry in the hands of a master musician. The flavour of the album is captured on the instrumental, Lonesome Valley Geese, punctuated by the background sound of honking geese and the soft laughter of Simpson as he exclaims, “Geese”, at the end of his home recording, proving that it was indeed entirely live and in the moment.

These songs were recorded during the early pandemic lockdown and a wide array of influences are woven through the song choices. There are covers of songs by Lyle Lovett (Family Reserve), John Prine (Angel From Montgomery), Bob Dylan (The Times They Are A-Changin’), Robin Williamson (October Song). There is a tribute to Mike Waterson with the inclusion of Three-Day Millionaire, coupled with Don’t Put Your Banjo In the Shed Mr Waterson, the former appeared on a Waterson’s album back in 1975 and the latter is an instrumental piece written on clawhammer banjo by Simpson. 

Separately, it is the atmospheric and dynamic playing on Plains Of Waterloo that really captures the imagination, an instrumental that was first recorded in 1997 by Simpson for his COOL AND UNUSUAL album. Equally, the traditional and long-time favourite, House Carpenter, was one of the songs that appeared on 2005 release, KIND LETTERS and is included here to great effect. An Englishman Abroad has all the hallmarks of classic Richard Thompson and was featured in 2009 on the TRUE STORIES album. 

The fingerstyle playing is so good across these selected tracks that there appears to be more than just one musician playing. His ability to move effortlessly along the frets and strings is equalled by his unwavering strum and tempo, which generates a rhythm that adds a bottom layer of percussion. Admiral Benbow is a fine example of this and the instrumental, Augmented Unison, has Simpson showing his prowess on ukulele, with beautiful spacing and note perfect flow.

Fourteen tracks and forty-plus minutes of real pleasure in the company of a master craftsman. His star has always shone brightly and his inclusion alongside such folk icons as Davy Graham, Bert Jansch, John Renbourn and Richard Thompson is fully earned and justified. This is a quiet gem and one that would stand tall in any music collection. 

Review by Paul McGee

David Olney & Anana Kaye Whispers and Sighs Schoolkids

When David Olney passed away just over a year ago, the world lost another first-rate singer/songwriter who, while he may not have been that well known in wider circles, deserves to be considered as a member of the higher echelons of respected and revered songsmiths. So, it was something of a surprise when this album, recorded on equal terms with Anana Kaye, arrived. It opens with My Favourite Goodbye (after a short instrumental prelude) which finds Olney’s writing and distinctive vocals still resonating. It has the feel of a track from one of his more recent albums. Kaye is of Eastern European origin and shares many of the writing credits along with Olney as does Irakli Gabriel. There are also a number of co-writes with Olney’s long-time writing partner John Hadley. Gabriel is not only a co-writer and co-producer but also the guitarist on the project. He is the husband of Kaye and both are now based in Nashville where this album was recorded. Brett Ryan Stewart is the fourth member of the production team and also mixed, engineered and helped with the arrangements on the album.

 Given the circumstances of subsequent events there seems a somewhat melancholy feel to some of the songs which take in reflections on life, love, death and departing. The material here can move from the emotional, to the historical, to the more existential thoughts on existence. The dozen musicians, some who have worked with Olney in the past, involved with the recording add much to its depth and range. While in the past on occasion Olney’s music has had a sparse feel, here there is much to enhance and develop the sound. Strings, brass and an ever-present forward-thinking rhythm section are all a part of the thoughtful arrangements here. Some of the tracks like The Last Days Of Rome also manage to set the pulse racing and rock out and are testament to the change of mood and tempos that run through this rewarding album.

 The lead vocal is often taken by one or other and it should be noted that Kaye’s voice has a distinctive edge to it that is in harmony with Olney’s elder statesman voice. There was an obvious interaction and respect between both artists and it provides, in many ways, a fitting bookend to Olney’s career. It displays his willingness to explore his writing, and the subject matters therein and the way these songs are to be recorded. It was completed just as the news of his passing was announced. These songs and arrangements do justice to the talents of all involved. They captivate from the first listen and then manage to reveal further, with each play, its stories imputed with a sense of imagination and craftsmanship, that is important to the memory of this most individual of artists, as well as to the growing reputation of Kaye and Gabriel.

Review by Stephen Rapid

New Album Reviews

Dave Desmelik The Calendar Album Self Release 

A few years back, Dave Desmelik set himself the challenge of writing a song a month about what that month meant to him. Luckily for us, the upheaval of the past year afforded him the time and impetus to finally get these works recorded and self-produced in his home studio in Brevard, N. Carolina. Being a multi-instrumentalist, he didn’t need to call on anyone to play the myriad of instruments he uses here - from stringed instruments to piano to percussion. His reflections vary in mood with the months and the seasons, as one would expect, but they are never less than thoughtful and mostly uplifting. 

The album opens with the ‘hopeful aspirations’ of January, a country rock ballad which is enhanced by the tasteful electric guitar work of the only guest musician, David Philips (an Englishman living in Spain). Here we are also introduced to Desmelik’s vocals - reminiscent in their yearning wistfulness of those of Americana legend, Mark Olson. There are two instrumentals, October being the standout with its backdrop of acoustic guitar, piano and banjo pierced by chiming Rickenbacker riffs. May is an emotional month, bringing the birthday of Desmelik’s firstborn son and Mother’s Day and June is dominated by the loss of his dog, the pain expressed by the visceral pounding on the acoustic guitar. The sultry heat of July ‘remind me to be nothing but a child, and I remember to be nothing but wild and free’. The intimate and honest aspirations continue throughout the months, culminating in the closing chapter of December when ‘we’re all a bit longer in the tooth’ and ‘softer in the gut’ but we can take stock and be grateful that we ‘made the cut’. 

The self described ‘journeyman songsmith’ has given us an album to cherish for all seasons.

Review by Eilís Boland

The Barlow Horseshoe Lounge Self Release

I was instantly attracted to this album on learning that Mike Harmeier, the front man of Mike and The Moonpies, contributed vocals and Zachary Moulton, the pedal steel player also from that killer Texan band, features throughout the album.

The Barlow are a band from Denver, with a reputation for belting out their own model of Colorado Country, which is a cross breed of outlaw and Americana with a side helping of Southern Rock. This is their second album following their self-titled release two years back and it doesn’t disappoint. There’s no attempt to reinvent the wheel here, just a suite of cleverly written songs, supported by a frontman with a weather beaten, road weary tone and a skilled bunch of players behind him.

Close friends since high school, The Barlow are Shea Boynton (lead vocals, guitar), Ben Richter (drums, vocals), Brad Johnson (guitar, vocals) and Troy Scoope (bass, vocals). It’s no surprise to learn that they have shared stages and barrooms with like-minded acts such as Mike and the Moonpies, Sunny Sweeney, Ward Davis and The Steel Woods. There are noticeable parallels with all these acts and their sound is honed from numerous live shows where they traverse modern and classic country.

The songs seldom deviate from their up-tempo hard-hitting flavour. Richter, an oil field worker during daylight hours, writes uncomplicated and matter of fact lyrics from both personal and observational perspectives.  Pick of the crop are the racy opener Hard Lovin’, the bar room ditty with hints of Tyler Childers Ain’t Ever Comin’ Round and the bubbly title track. Chris Knight’s Homesick Gypsy gets a worthy makeover and they tone it down on the closer Part Of The Band, with the aforementioned Mike Harmeier sharing the vocals.

The album is packed with songs and sounds that add up to the perfect Saturday night live show at The Horseshoe Lounge or any lounge for that matter.

Review by Declan Culliton

Bob Collum and The Welfare Mothers This Heart Will Self Destruct Fretsore

Born in Tulsa, Oklahoma, but resident in the U.K. since his teenage years, Bob Collum’s latest recording has its foundations in the music of both locations. Mixing 1960’s Brit beat music with the swinging sounds of Bob Willis and the rockabilly leanings of Buddy Holly is his trademark and very much to the fore on this recording.

THIS HEART WILL SELF DESTRUCT is a ten-track collection that would have been pigeonholed back in the pre-punk early 1970’s as pub rock, alongside bands like Brinsley Schwarz, Ducks Deluxe and Bees Make Honey. Clever lyrics, fine playing and humour - evident in both the band and album’s titles - are the order of the day.

Written and recorded during the period when the U.K. entered and exited various levels of lockdown, Collum’s vocal and guitar contributions are ably assisted by Mags Layton on violin and backing vocals, Martin Cutmore on bass and Paul Quarry on drums. Also featured on guitar and Fender VI is honorary Welfare associate and former member of Graham Parker’s Rumour and Nick Lowe’s Cowboy Outfit, Martin Belmont. Originally intended as an EP, the songs flowed freely from Collum’s pen resulting in a worthy successor to his 2018 album PAY PACK AND CARRY. Highlights are the broody ballad From Birmingham, the full-on rock and roller Saved, the zippy title track and the flowing country ballad Second Fiddle.

Collum’s songs and the players that passionately support him, are tailor made for a lively Sunday afternoon’s session in a packed pub. Let’s hope that comes to fruition sooner rather than later and uplifting music like this is available to raise the spirits.

Review by Declan Culliton

The Weather Station Ignorance Fat Possum 

Without totally abandoning the alt-folk leanings of her two previous albums LOYALTY (2015) and THE WEATHER STATION (2017), Tamara Lindeman has taken a detour both lyrically and sonically on her latest release.

 Unlike her previous work, Lindeman chose to write the material on piano rather than guitar. This departure, together with coproducing with Marcus Paquin (Arcade Fire, The National), signalled a change in direction and a body of work more dramatic and indeed emotive than before. A more generous recording budget on this occasion also offered opportunities not previously feasible for her. If her earlier works were principally ‘sit back and listen’ affairs, IGNORANCE is more akin to a danceable record and that musical diversion works exceptionally well.

‘I never believed in the robber’ is the opening line on the first track Robber. You’re left in little doubt of the central character or the populist agenda that motivated the song. ‘He had permission by words….it was all done real carefully’ she continues, her vocals bolstered by string, synths, layered percussion and ripping saxophone.

Despite the addition of heavy backbeats, strings and synthesisers, Lindeman’s vocals are dominant throughout, out front in the mix and more aggressive than on previous albums. A point in case is the break up song Tried To Tell You, where, unlike previous similarly themed songs, she is less confessional and more forthright. Paquin’s stamp is firmly felt on the free-flowing Parking Lot which is steered along by heavy drum and steady bass beats and the sweeping Atlantic recalls vintage Talking Heads. Lindeman’s writing has frequently explored relationships, occasionally flourishing but more often failed. A shattering divorce is called to mind on the quite beautiful Trust, with riveting strings that emphasise the raw emotion of the drama to perfection. The equally impassioned Separated follows a similar theme of disconnection.

Like most talented female singer songwriters hailing from Canada, lazy comparisons are often made with Joni Mitchell and Lindeman is no exception. Notwithstanding that, the impact of leaving her comfort zone on IGNORANCE does bear commonality with Mitchell’s musical explorations.  That resolve has given rise to an album that sounds better on every subsequent listen and also one that is most likely to feature in my favourites of 2021.

Review by Declan Culliton

Stuffy Shmitt Stuff Happens Self Release

A survivor, by the skin of his teeth, of decades at the bumpy end of the music business, STUFF HAPPENS is Stuffy Shmitt’s first album in eight years. Living in New York, at the end of his tether, battling bipolar disorder and on a self-destructive path, he made the crucial decision to finally ditch his deadly lifestyle in the West Village and attempt to rebuild his life. Moving to Nashville and getting himself correctly medicated set him on a path towards normality and regained sanity. 

Growing up in Milwaukee in a somewhat dysfunctional family, Shmitt bailed out and headed for New York at a young age. A further move to Los Angeles before heading back to New York, he played in numerous rock bands and recorded with a host of luminaries. Those musicians ranged from Willy De Ville to David Johansen and Levon Helm to Gordon Gano of Violent Femmes. Five solo albums followed prior to STUFF HAPPENS, all of which offered a combination of husky voiced Tom Waits type observations and the unwashed rock and roll of The Replacements. Despite the impressive calibre of the recordings, Shmitt surprisingly remained relatively unknown, enjoying a cult following rather than commercial success.

 Having settled in Nashville, a chance encounter with artist and producer Brett Ryan Stewart in the 5 Spot bar in East Nashville, where Shmitt was performing, was the connection that cemented a relationship and resulted in Stewart producing this album at his studio in Franklin, Tennessee. The final cog in the wheel was an introduction to a close ally of Stewart, multi-instrumentalist and producer Chris Tench, who worked hand in hand with Shmitt on the preparation of the songs for recording.

The song development and production took on an altogether more disciplined approach than previously tackled by Shmitt. Accustomed to self-production and recording with minimal pre-production, he spent two months working the songs on acoustic guitars with Trench, before taking them into the studio to flesh them out with his band.

 With a clear head, decades of demons to exorcise and the guidance and input from Stewart, the resulting album is a treasure chest of honest and hard-hitting songs. Writing from personal experiences and observations Mommy And Daddy recalls his parents, once wild, carefree and unpredictable, now aged and weakening. The raunchy opener It’s OK speaks openly of a close friend, a walking car wreck who’s constantly messing up, despite the many helping hands offered to her. His vocals never sounded better than on the belter She’s Come Unglued. It boasts an addictive and killer riff and tells the story of a partner heading for a breakdown and  a crumbling relationship.  The striking piano led ballad The Last Song grieves a failed love affair and Sleeping On The Wet Spot is a self-deprecating yarn of recurring catastrophe, a possible recap on the writer’s often ill-fated life choices. 

 An unusual yet exceptional combination of soothing ballads and hardcore rockers, STUFF HAPPENS plays out like a few genres melting together, by an artist with a hyperactive brain and on this occasion, firing on all cylinders.

Review by Declan Culliton

Tammi Neilson Chicka Boom Outside

A genuine powerhouse vocalist who mixes fiery R ’n’ B and rockabilly tropes. This edition of the album, originally released in February 2020, includes five additional songs recorded live at Roundhead Studios. Neilson moved from Canada to New Zealand and has built a reputation for the strength of her no holds barred vocal stance that can be seen as taking the emotion and inspiration of Wanda Jackson into a new era. Not that it stops there though as she is equally influenced by Mavis Staples and a myriad of other female vocalists who deliver their music true and from the heart. In this part of the world, it would be easy to see why fans of Imelda May would find a kindred spirit here.

Neilson is not just a front woman; she is also in command of her music by writing and co-writing the ten tracks from the original release. She also co-produced the recordings with guitarist Delaney Davidson, who is a player totally in sync with the singer’s musical journey. But it’s not all hell-for-leather as witnessed by the subtle 60s pop stylings of Any Fool With A Heart and the soft lullaby of the tender Sleep. She can easily turn her hand (and voice) from rockabilly, old school country, soul, gospel and jazz-tinged swing among other genres. Neilson is making her music on her own terms and has reaped the rewards, if not in large sales and radio exposure, then in critical and fan based-responses.

Understandably a lot of writing comes from a female perspective. Some of the songs come with a touch of innuendo and humour as well as with some insight. For instance, A Woman’s Pain from the live tracks, shows an understanding and universality from a distinct female viewpoint. In the main with this album Neilson wanted the sound to be short, sharp and stripped back to guitar bass drum and voice, while still giving them the necessary chicka boom boom. 

The opening Call Your Mama continues the classic cheating song template but, this time, reversing the charges. It features also as one of the additional live tracks where you can easily compare the urgency and intensity of Neilson’s ability as a vocalist. The nature of the recording is not entirely different in either setting. The studio version is fuller using that facility for an extra depth to the sound. Either way Neilson, live or in a recording studio, is someone not to be taken for granted. This album is here to prove that she is both righteous and ready for action.

Review by Stephen Rapid

XIXA Genesis Jullian

The Tucson based band have a sound that brings together elements of Latin rhythms, cambia and Peruvian chicha with psych rock, desert blues, dark folk and elements of a lost gothic/horror/western soundtrack. There is an overall trippy nature to the sound that is apparent from the opening Thine Is The Kingdom and then throughout the ten tracks on the album. The band are led by guitarists Gabriel Sullivan and Brain Lopez, who produced and recorded the album in Tucson. They used their own studio Dust and Stone Recording to capture these cosmic, cactus-barbed anthems. The band are completed by Jason Urman (keyboards), Winston Watson (drums and percussion), Efrén Cruz Chávez (timbales, percussion), and Hikit Corbel (bass). They are additionally joined by Uummannaq Children’s Choir from Greenland for some tracks, and also invited some additional guests such artists as Sergio Mendoza of Tucson based Orkrsta Mendoza and others from further afield. This has allowed them to explore the outer regions of their musical landscape that finds them having, at times, more in common with the likes of some Tuareg musicians that their location, if not methodology, might suggest. This is evidenced on Eve of Agnes where their sound is melded with that of five-piece Algerian quintet Imarhan. The end result is seamless and readily identifies the connection and commonality of purpose.

XIXA have developed their sound now over two releases - a debut album and an EP (BLOODLINE and CODE) and now Genesis which is epitome of the exploration of their measureless music at this point in their career. There are many sonic clues in the sound as there is in the lyrical content which they have revealed is topically centred around the age-old battle between good and evil and the innate spirituality that exists between the two. There is also a notion that this may be a parallel universe version of a latter day incarnation of The Shadows, such is the melodic and incisive guitar interplay.

The sound is immersive and takes you through their world in a way that seems you are lying down in a desert oasis listening to this sounds as they flow over and through you. You hear hints of fellow Tucson artist and a whole lot more as the album evolves from the darker Nights Plutonian Shore (a song that has Edgar Allen Poe in its psyche) to Velveteen, a riff-based song with soft surreal vocals that has a Twin Peaks dream-like quality that is nevertheless not without a slightly sinister sphere. These diverse elements make the album stronger by allowing the listener individual interpretation.

The front cover image by Daniel Martin Diaz brings mysticism and symbolism elements that have an old world feel that is like discovering an old map that indicates a rarely explored future. His work is totally in sync with XIXA’s musical vision and allows the beholder to interpolate the music and art in a way that makes sense to them as an a singular entity. It is the same kind of synchronicity that Barney Bubbles had with early Hawkwind.

This is an album that may seem like it is an outsider of those we normally review, but it is still considered Americana by its very nature and sources. It may not be for everyone but it is an album that will give much to the intrepid explorer.

Review by Stephen Rapid

Saugeye Self-Tilted Horton

The band’s name is taken from that of a favourite hybrid fish from Oklahoma. They are a collaborative collection of Tulsa-based musicians led by Jared Tyer, a singer and guitarist who has previously worked for a number of years with Malcolm Holcombe as a key sideman. He has co-produced the album with Jake Lynn who held the drum chair for these sessions. They were joined by bassist Casey Van Beek, Set Lee Jones on additional guitars and keyboard player Isai Mireless. The music incorporates a range of influences from the areas and beyond that take in rock, blues, folk and country - the melting pot that is Americana.

Aside from his time working with Holcombe, Tyer worked on his own projects and music, releasing three albums under his own name. The aim here was to capture the essence of their live shows, so they recorded the basic tracks in a single day in a studio and added overdubs later. The end result captures that simple groove and their intention is apparent from the opening song, the Malcolm Holcombe penned To The Homeland. It is a great introduction to the band’s sound and an immediate highlight with some tight guitar at its centre. Holcombe’s One Leg At A Time is given an outing here also and is a recommendation to approach the start of the day by putting one’s pants on by the time honoured method suggested in the title. It also features some strong guitar soloing. There are other songs that have been chosen to cover such as Gideon’s Bible from the late Brandon Jenkins and Grandma’s Hands which was written by Bill Withers. While Another Lifetime which closes out the album is a contemplation of what one might need to find a deeper truth and it’s delivered in a thoughtful rendition.

They are also songs (Dirt On Your Hands, Gwendolyn, Death Of Me, Waltzing Around With My Shadow) taken from Tyer’s solo work that get a workout here in a more immediate band setting. There is a chemistry at work as the players dovetail into the songs that capture the live feel in the recordings which they were after, taking it beyond just a solo project into something more organic. Tyer’s vocal contribution should not be underestimated, as he has the capacity to give a song its essence without ever overplaying his hand. The backing vocals also add to the overall enjoyment of the tracks, fitting easily over the musical substance.

Tyer’s song Keystone Lillie is an ode to his faithful dog and the nature of their relationship and its unconditionality. It shows, along with other originals and co-writes, that Tyer is a solid writer who has something to say with his simple approach to laying out the heart of the songs. Songs that also reflect the locality and heritage of the music made in Tulsa. The end result is laid back when it needs to be and kicking when it needs to be. So, it’s a credit to all involved and an album that will easily be savoured in an old school way.

Review by Stephen Rapid

Ian Fisher American Standards Self Release

Sonically, this album seems a little different from previous albums by Ian Fisher, who has expanded his musical vision to include a broader context. He names albums such as Neil Young’s HARVEST and the Beatles WHITE ALBUM as foundations he built on. He has done this with producer René Mühlberger (aka Pressyes) and a set of players including Mühlberger who mixes the bass, drums, electric guitars with a selection of synths and pedal steel. That it is his least sounding country outing is noted, but he has not totally moved away from that influence in his lyrics and influences. However, the hardcore honky-tonker would be forgiven for missing out on that particular connection. 

Alongside the poppier moments there is an element of experimentation with ambient tracks like Early Morning Haze that sit beside the more acoustic-based Be Thankful’s consideration of those things that we should, indeed, be grateful for. It flows along on a collection of synth and pedal steel soundings. Two tracks that feature an essential element of the album having melody in their titles are Melody On Tape, a brief instrumental, and Melody In Nashville which has a more after-hours sadness and rainy night feel. The same town is also a feature in the album final track Ghosts Of The Ryman which takes into account those on both sides of the stage. Those who fill the pews to listen to these ghosts and, as it moves along, those ephemeral presences are echoed in the accompanying vocals. The slow build up has a sense of something that matches the grandness of the occasion with Floyd-like guitar and surrounding synths. It Ain’t Me has a unifying chorus over a building goose that suggest whatever you might be looking it likely won’t be found herein.

Pressyes is, under that guise, featured on One Foot with its wah-wah guitar refrain and an arrangement that recalls something of a soft soul ballad. Much simpler and starker is Three Chords And The Truth (itself a description of country music songwriting) which is one of the tracks that takes the song to a basic level that could be taken in many different directions, which could be country music or farther beyond its boundaries. It is effective here for its directness and diversion. Winterwind again starts low key and builds its melodic structure to something that is effective in many ways. Fisher travelled outside of America for some time, which saw him playing and working in theatre all over the world and using the time and experiences to consider the country he had left and the reasons why. 

That is something that is at the heart of this album and its varied sounds and themes. It hangs together as a complete statement and one that is captivating in its diversity and range. It easily reaches beyond the standard, America or otherwise. 

Review by Stephen Rapid

New Album Reviews

Dallas Moore The Rain Sol

Another fine effort from Dallas Moore, who keeps developing and refining his musical output. Moore is a striking vocalist in the big voice/big beard mode of operation. He writes again here about the life he leads on and off the road. These are a new set of original songs - two are co-writes with fellow musician Ted Russell Kamp. After a time off the road Moore began to write in lockdown and the inspiration flowed. He went back into the studio with producer Dean Miller for a two-day session to lay these songs down and to capture the energy in a way that was both relaxed and focused, benefitting from the process of recording live with the musicians. 

Moore’s road guitarist and friend Chuck “Lucky Chucky” Morpurgo brought his guitar expertise to the session, along with some players who show that they are fully conversant with what the music and personality of these songs should be. These included Steve Hinson on pedal steel and a rhythm section of Chad Cromwell and Lex Price. It serves as a timely memorandum of where and what Moore was thinking of at the time. Songs that relate to what he missed about being on the road include tracks Every Night I Burn Another Honky Tonk Down, On Through The Night and California Highway.

Other songs such as Blue Jean Jesus are reflections on people he has encountered along the way. The song is a scripture quoting a long-haired individual who receives the brush-off from a conservative community, who consider him something of a freak, although Moore counts him a friend. A broader perspective on life is at the heart of Better Days wherein he proclaims his pride in the family he has raised, even if he himself has previously seen better days. Locked And Loaded takes note of the situation so many are in right now with the pandemic restrictions in place worldwide and being unable to do what they would have done in “normal” times.

What is apparent here is that although recorded swiftly, the results capture the ensembles playing and energy. This is done in a way that not only does justice to the material, but also sees Moore deliver nuanced and naked vocals that show he is increasingly growing on that score. His recent albums have all entertained as indeed THE RAIN does. But beyond that, with the parameters of playing country music, outlaw or otherwise, Dallas Moore is doing it this way and should gain praise for the redemption that it has offered him and to what the end result offers his listeners.

Review by Stephen Rapid

Jason Ringenberg Rhinestoned Courageous Chicken

After a period of reflection following the release of his last album STAND TALL, Ringenberg is back revitalised and ready to face the world with his music again. Those who know him will be aware of what to expect from his storytelling songs and his utterly recognisable vocal twang. His comrade-in-arms George Bradfute again sits in the production chair, as well as bringing his multi-instrument ability to bear, creating the bedrock of these songs. The many vintage electric and acoustic guitars that feature are listed in the liner notes. The songs were all recorded in Bradfute’s Tone Chaparral studio which is situated in the basement of a house once owned by Jim Reeves. Therefore, the recording location as well as the song themes are largely rooted in history.

Also involved are old friends, vocalist Kristi Rose and Fats Kaplin, who added his skilful pedal steel and fiddle contributions. Both feature on the open track Before Love And War, which asks that very question of a time when there were “no suspicion, no demands.” I Rode With Crazy Horse is a case in point wherein the song’s subject speaks of his allegiance to the famed Native American leader for better or worse. More recent history is the subject of The Freedom Riders Weren’t Free. It is set at a time which was, conversely, tinged with both demands and suspicion. It is a remembrance of those courageous souls who took part in the Freedom Riders, to highlight the injustices of apartheid and to protest segregated bus travel in the South.

Nashville Without Rhinestones and Stoned On Rhinestones both look back at a time when that particular garment ornament was a part of an overall symbol that allowed the audience to be transported by the event that they were witnessing. Where they were allowed, for a short time to forgot their individual troubles. Those performers, who seem electric on stage as well as in the light, where the embroidery and rhinestones of a tailored Nudie (or other suit) were an indelible part of country music. These days it is often a clear cut signal of a particular artist’s allegiance to the deeper tenants of country music’s history. Think Jim Lauderdale, Marty Stuart and some more recent artists like Joshua Hedley as well as Jason Ringenberg

As Ringenberg has done in the past, he has recorded some specifically chosen cover songs to include on this album. There’s the public domain hymn Christ The Lord Is Risen Today, a song that would also underline his own spirituality and faith. Another long held faith in the power of song is recognised with the choice of Hank Williams Snr’s You Win Again. The Ozark Mountain Daredevils Time Warp also gets a spirited workout which is totally suited to Ringenberg’s methodology. All represent different periods of country music’s ever changing and evolving history.

In some ways Jason Ringenberg’s basic game plan hasn’t changed too much through the years. He has had a notable confidence from the start that has been developed, refined and is totally recognisable. In that light this will be a welcome new chapter for those of us who were always attracted to his honesty and enthusiasm.  It can be hoped that the others might also get rhinestoned and fall under its spell. Another Nashville scorcher.

Review by Stephen Rapid

Brit Taylor Real Me Cut A Shine

For every artist that manages to survive and earn a crust in Nashville, there are hundreds of equally gifted artists that have their dreams and hopes crushed in a drastically over crowded market. Many arrive in Music City with stars in their eyes and bags of prowess, but discover that talent alone is no guarantee for establishing themselves. Without the support of family and friends, the end game can often be a return to their home State after years of rejection and struggle.

Brit Taylor could very well have been one of those statistics. Performing from the age of seven in her home State of Kentucky, she possessed the skillset to follow in the footsteps of her fellow Kentuckians Loretta Lynn, Patty Loveless, Dwight Yoakam and Chris Stapleton.  Her career path found her relocating to Nashville after high school graduation, where she gained a college degree and a publishing contract with Caliv Entertainment. She co-wrote alongside touring with her own band, got married and settled in Nashville. What seemed like the faultless career path went off the rails when her marriage failed, the bank sought repossession of her house and she lost her backing band.

Following a harrowing period of self-doubt and depression, she dusted herself down and channelled her sunken and unfulfilled dreams into a catalogue of powerful songs, fuelled by some seriously impassioned soul searching. The stimulus for REAL ME was born out of a songwriting session with producer, Black Keys front man and winner of several Grammy Awards, Dan Auerbach. A two-day session with Aurbach yielded eight songs, five of which feature on the album. Other writers who contribute are Pat Mc Laughlin, Will Hoge and Dave Brainard, who also produced the album having previously worked with like-minded talented songsters Brandy Clark and Sunny Sweeney. Notwithstanding that the songs are co-writes, they read as unguarded and self-confessional admissions by Taylor from the opening Bobby Gentry flavoured Back In The Fire to the upbeat Western Swing closer Go Down Swingin’.

Waking Up Ain’t Easy recalls rock bottom, with tear inducing lyrics emphasised by stinging pedal steel. Married Again is a honky tonk hoot, both from the heart and tongue in cheek, it mirrors Loretta Lynn at her most feisty. The gorgeous ballad Leave Me Tomorrow uncovers Taylor clutching at straws as she comes to terms with a crumbling relationship. The autobiographical and gentle title track finds Taylor accepting who she is moving on to a better place.

With a ‘lonesome as they come’ country voice and music flowing freely from her studio partners, REAL ME is pure unadulterated country, without a hint of stepping into the dreaded pop/ mainstream crossover.  It’s also a triumph over tragedy for an artist alongside others Nashville survivors such as Kelsey Waldon, Kristina Murray and Ashley Ray, who are recording bona fide country music on their own terms and not at the behest of a record label executive committee.

Review by Declan Culliton

Peach & Quiet Just Beyond The Shine Self Release

Welsh born Heather Read and Canadian Jonny Miller are Peach & Quiet and JUST BEYOND THE SHINE is the husband and wife’s debut recording. Currently residing in Pender Island, just off Canada's West Coast, the album was recorded during the pandemic with various tracks cut at Pender Island, Nashville, Toronto and Vancouver. The final mixing was undertaken at Henhouse Studios in Nashville by multi-instrumentalist Steve Dawson (Birds of Chicago, Kelly Joe Phelps, Tim O’Brien, Del Rey), who also performs on the majority of the tracks.

Not to be confused with the Miami prog soul band Peace & Quiet, Read and Miller’s songs are tender, unfeigned and very much written to each other, a reflection of their romantic and spiritual relationship. Country duets such as For My Love and There’s A Very Good Chance, sit comfortably alongside the jangly Byrds like Empty To Fill.

They share vocals on the love song Lucky In Love and Read takes the lead vocal on the dreamy California Way and the soulful Shoreline After a Storm.

Given the origin of much of the material, the end product could have been overly personal and inward looking. Instead, the end product is a rewarding listen of unhurried and patient songs, with lyrics that perfectly capture the moment.

Review by Declan Culliton

Langhorne Slim Strawberry Mansion Dualtone

‘’I called a healthcare professional, wanna speak to someone confidentially, don’t know just how I’m feelin’, but I’m feelin’ feelings exponentially’ confesses Sean Scolnick aka Langhorne Slim on Panic Attack, the second single from STRAWBERRY MANSION, his tenth recording. Noted for his enthralling live shows which are laced with humour, eccentric lyrics and rootsy songs, the admission is a reflection of the Pennsylvanian born singer songwriter’ state of mind while he struggled with prescribed medication, having previously overcome alcohol and substance abuse issues.

The album is also his most soul-searching undertaking and presents the listener with no fewer than twenty-two tracks to investigate.  With touring and performing not an option in 2020, his East Nashville neighbourhood ripped apart by a tornado and a global pandemic, Slim used the downtime in the Spring to write the material for the album. Having not written a song for twelve months, his purple patch of creativity was born out of advice given to him by a mental healthcare professional, who suggested that, at the onset of panic attacks, Slim should reach for his guitar as a means of distraction. Accepting that guidance, he began penning a song each day, not necessarily intending them to form the material for a studio album. The end result is material forged by streams of consciousness rather than created with an actual studio recording in mind.

With the songs completed by May 2020, his record label Dualtone Records, to his surprise, supported the recording of the songs on a single album, rather than a second volume of songs to follow from his LOST AT LAST VOL.I, which was released in 2017. The recording took place at Daylight Sound Studio in Nashville in June, supported by his long-standing confidantes Paul DeFigilia (Avett Brothers) and Mat Davidson (Twain).

The upshot is a highly listenable suite of songs that suggests a lot of serious introspection. More laid back and fresher than its predecessor, Slim reflects on bygone wayward days on Summer Days while also expressing hopefulness going forward on Something Higher and Colors. Alright To Hide finds room for his trademark humour and self-deprecation and his insecurities and anxiety are laid bare on the aforementioned Panic Attack.

STRAWBERRY MANSION takes its title from a neighbourhood in Philadelphia where both of Slim’s grandfathers grew up. He describes the area as ‘‘dirty but sweet, tough but full of love’’, which probably best describes this immensely enjoyable and possibly Langhorne Slim’s finest recording.

Review by Declan Culliton

Geoffrey Miller All Night Honky Tonk Man Self-Release

The album cover and title leave you in no doubt as what to expect from Californian Geoffrey Miller’s debut release. Weaned on the music of Waylon Jennings, Hank Jnr., Willie Nelson and all things Bakersfield, Miller has digested all those influences and rebranded them on an album that zealously fuses rockabilly, country and swing. 

Miller has paid his dues over the years, playing Fender Telecaster guitar and singing in a number of bands. Playing and touring with the rockabilly trio Twilight Drifters, the high energy western swing band The Sactown Playboys and Buck Ford’s Pure Country Band all created the ammunition for ALL NIGHT HONKY TONK MAN, which plays out like a jukebox loaded with classic tunes from another era.

‘The first thing I wrote about you was a cheatin’ song’ is the opening line from the album and from the song of the same name.  It’s the first of twelve tracks, a toe tapping treat and a taster for what follows.  It’s Not The Fallin’ and The Stars Are Talkin’ are rich in Bakersfield musical lore but Miller is anything but one dimensional.  He’s equally happy crooning on the old timey laments Haunted Home, Neon Stars and the aptly titled If The World Ever Starts Again, or rocking out with the swaggering dancefloor jewels Honky Tonk Sin and All Night Honky Tonk Man.

With his deep-rooted musical DNA, the album plays out as one that Miller was destined to record, paying homage to the numerous styles of country music close to his heart.  Despite the pandemic, he completed the album in 2020, with a combination of socially distanced sessions and remote recordings. He called on a crew of like-minded and crack players to contribute. U.K. born boogie woogie and jazz pianist Carl Sonny Leyland is on top form, as is fiddler Scott Joss, whose previous employers include Dwight Yoakum, Merle Haggard and Kris Kristofferson. Lee Jeffries (Big Sandy and His Fly-Rite Boys) is one of two pedal steel players credited, the other being Nashville session player Travis Toy who is a regular player with Rascal Flatts and Lee Ann Womack.  Both Larry Carr and Jim Frink provide drums, and bass guitar is played by Zack Sapunor, who has toured with Wayne Hancock and Hot Club of Cowtown.

The recordings were overseen by another Country music stalwart and long-time guitarist with Merle Haggard, Jim Baughman. The final mixing was carried out by Deke Dickerson at his Ecco Fonic Studios in California.

Review by Declan Culliton

Mac Leaphart Music City Joke Self Release

Tarred with the same brush as his icons John Prine, Guy Clark and Hayes Carll, Mac Leaphart is a storyteller with a gift for transforming his tales of bad luck, poor life choices and broken dreams into song.

Currently based in Nashville, Leaphart spent a decade playing bars and honky tonks around South Carolina, honing his craft, playing his humour laced sets and supporting himself by also working as a bartender. His gravelly vocal, rich in emotion, is evidence of those smoke-filled rooms and honky tonks on MUSIC CITY JOKE.  It’s an eleven-track album and Leaphart, who won the prestigious Grassy Hill Kerrville New Folk Competition in 2018, surrounded himself with a team of crack Nashville players on the album. Produced and engineered by Brad Jones, who also plays bass guitar, the other contributors include Fats Kaplin on pedal steel and violin, Will Kimbrough on electric and acoustic guitar, Logan Todd on drums and Matt Menefee on banjo and mandolin.

It’s no surprise that the playing throughout is exemplary and Leaphart has the songs to match. The title track Music City Joke is a racy tongue in cheek recount of survival as a musician in Nashville (‘Big shoes we’re trying to fill, a beaten path up a worn-out hill’). Altogether more hard hitting is the acoustic Division Street which graphically paints a picture of those left behind, living on the streets of Music City with broken dreams and spirits (‘Dead grass and broken glass, nobody’s checking on a checkered past…you’ll find each night feels like the last’).

We hear of an underused acoustic guitar on the witty lament Ballad of Bob Yamaha or a Simple Plea in C Major. Every Day is a touching tribute to the dedicated stay at home wives and partners, who juggle endless balls in the air keeping relationships alive. The opening track El Paso Kid is an affecting tale of a character abandoned as a baby and his luckless existence thereafter. It’s very much from the John Prine style of songwriting and a standout track.

MUSIC CITY JOKE presents the listener with a number of snapshots that define the less glamorous aspects of survival in Nashville, while also tipping its hat to the numerous working musicians knocking out a living in an overcrowded market. It’s also a striking collection of plain-spoken songs, very much in the present, from an artist with an eagle eye for the minor detail.

Review by Declan Culliton

Pony Bradshaw Calico Jim Self Release

A latecomer to his art, Pony (James) Bradshaw’s performing career did not kick off until he was in his mid-twenties. CALICO JIM follows on from his 2019 recording SUDDEN OPERA. A gothic country debut album, the latter was laced with songs that visited isolation, passion and no shortage of regret. Similar but somewhat darker themes emerge on his latest album, which explores the society, environment and history of North Georgia, where he has resided for the past fifteen years. A self-confessed recluse and avid reader, Bradshaw creates seriously graphic impressions on the album with songs that demand the listener’s attention from start to finish.

His composed and controlled vocals are well supported by uncluttered instrumentation, which enhance the tracks without ever distracting from the narratives. It’s laden with simple yet catchy hooks. Lap and pedal steel, fiddle and banjo, percussion, guitar and bass lines all appear at the right time and in the right places. Brutal at times, there’s little to cheer about on the ten tracks or in the characters that feature on CALICO JIM. What it does achieve is a raw and faithful representation of life on the margins and survival against the odds.

A case in point is the evocative Dope Mountain, a song which reveals a once flourishing coal mining town, now offering its residents little by way of promise. It plays out like a composition by Jason Isbell at the top of his game, and this similarity recurs elsewhere on the album. Equally bleak is Jimmy The Cop, where the weather-beaten protagonist laments ‘‘I was born already dead’’ as he considers his aimless existence, alone, having been long since deserted by his wife. Hillbilly Possessed is a novel in itself, a raw and gripping tale of religious ambiguity, self-destruction and pent-up anger. Although there are no implied connections between the characters that appear in the songs, you’re left with a lasting impression on CALICO JIM that you’ve encountered the back bone of a community left behind to fend for themselves, with some barely surviving and others not even achieving that. 

There are no shortage of singer songwriters recording quality music these days and it takes something special to stand out from the crowd. Pony Bradshaw most certainly achieves that on this hugely powerful and compelling album of songs that is Americana with a Capital A.

Review by Declan Culliton

Cassandra Jenkins An Overview On Phenomenal Nature Ba Da Bing

 An album that evolved from observations and impressions formed while conducting self-guided tours of her native New York, AN OBSERVATION ON PHENOMENAL NATURE is the second album from artist and songwriter Cassandra Jenkins.

Her musical journey has travelled in a multiplicity of directions, from guesting on albums by Kevin Morby and art-rockers Muzz, and touring as a guest band member with Craig Finn, Lola Kirke and Eleanor Friedberger. She was also due to tour as a member of David Berman’s band Purple Mountain, prior to his death in 2019.

Produced by Josh Kaufman (Bonny Light Horseman, Muzz, Taylor swift, Josh Ritter), it was recorded in a week at his studio in New York. Kaufman also contributes guitar, harmonium, banjo, synthesizer, bass, piano and organ. It is somewhat more experimental than her 2017 alt-country tinged PLAY TILL YOU WIN. The ten tracks on the album read like chapters in a short story book, with each instalment presenting a range of characters. One of the songs The Ramble, features in three different formats, an instrumental and versions with both a long and short intro, both of which contain spoken word that reads like a cinema movie script.  Hard Drive plays out like a series of overheard conversations featuring a security guard, a driving instructor and a psychic, all delivered with spoken verses and choruses delivered in song.

Michelangelo, was written as a mark of her admiration of Lucinda Williams. ‘’I’m a three-legged dog looking for what I’ve lost’, she sings gently alongside strummed guitar, before being joined by a thumping bass line as the song comes alive with a nod in the direction of Aimee Mann. The metaphor mirrors the trauma Jenkins was enduring while writing the album, recognising the challenge of putting yourself back together while surrounded by life changing events. Escape and resurrection continue to be sought on the jazzy New Bikini, and Crosshairs is beautifully melodic and equally fragile.

Difficult to characterise, Jenkins’ captivating album will appeal equally to fans of chamber pop as it will to alt-country or indeed jazz enthusiasts.

Review by Declan Culliton

Justin Moses Fall Like Rain Mountain Fever

Time for “Mr Sierra Hull” to step out from the shadows of his equally talented wife, with the release of his first solo album. Justin Moses is still not a household name within bluegrass/country /americana circles, but he will be very soon if this album gets the justification it deserves.

A virtuoso player on banjo, mandolin, guitar, dobro and fiddle, here he shows that he can also write great tunes and songs and sing strikingly. He even produced this album - one that is already in my top ten for 2021!

He’s joined here by some of the top players in the business, including Bryan Sutton (guitar), Jerry Douglas (dobro), Barry Bales (bass), Stuart Duncan (fiddle) as well as, of course Sierra on mandolin. He wrote the four instrumentals, all of which are strong, catchy uptempo tunes, probably destined for incorporation into the cannon of bluegrass standards. On the frantic  Taxland, his and Sierra’s mandolins weave in and out of each other like butterflies on acid, Bryan Sutton manages to get a few words in on guitar and guest Michael Cleveland completes it by jumping in on his runaway soaring fiddle. Wise And Born takes the tempo down a little and is a tribute to Justin’s beloved Weissenborn lap steel guitar.

Peter Cooper and Thomm Jutz contribute as co-writers with Justin on two of the songs here, one of which, Walking to Lebanon, is a haunting anti-war plea.The effervescent elder statesman of bluegrass, Del McCoury, takes lead vocals on the Dennis Linde penned My Baby’s Gone and injects it with his trademark tongue-in-cheek sensibility, underpinned by Justin on banjo and Jason Carter’s fiddle interjections. Guest Dan Tyminski sings lead on another Thomm Jutz tune (this time written with Charley Stefl), the wonderfully dramatic Between The Lightning And The Thunder. A highlight among highlights is the title track, the cover of the Eric Clapton song is given a whole new life by Justin’s vocals and the uptempo instrumentation.

I must also mention the attractive graphic design by Wendi Blair - something that many of the other bluegrass labels could do with emulating. Did I mention that I love this record?

Review by Eilís Boland

Spencer Burton Coyote Still

 From the opening song Things I Can’t Do it is easy to be captivated by Burton’s music. There is a pleasing mix of steel guitar and keyboards, a strong hook, compelling lead and backing vocals, on a paean to being unable to do things without a partner’s input. This is followed by another heartfelt look at love in Memories We Won’t Soon Forget, which again features prominent steel and lead guitar. Throughout the album, the band musically deliver a sense of positivity that encompasses what directions these songs take him. It is closely aligned to Americana overall but brings in within that umbrella, a wealth of other influences which all give the album a warmth and clarity. The use of fiddle, guitar and steel help to align the music with some of the more interesting contemporaneous elements of country music’s past and future. The song Nothing’s Changed even features legendary steel player Lloyd Green.

Titles like Further, with its consideration of a perhaps different sense of spirit is reflected in the lines “the people all pray to go there, Lord I pray for rain just to wash it all away, go back to a better day”. These are the kind of thoughtful themes that Burton writes throughout the album. Other impressive songs are Memory Lane and Horseback, which uses a dobro and chorus vocals well to set its scene, while adding a sense of history - as he does at times throughout, Lonesome Dove, Hard Times and Human Touch.

Lyrically Burton has stated that he takes things as they come in life by “rolling with the punches.” The music is in itself filled with a sense of place, people and a nature based spirituality. He has readjusted his lifestyle after becoming a father, to further go with the flow and create his music around a desire to find growth and the need to evolve as a person and family man. Something that is perhaps universal and allows the interpretation of these songs to be very much up to the listener.

Burton is another fine example of the way the Canadian music scene continues to produce interesting and rewarding releases. Burton was previously a member of Attack In Black, a punk orientated band that also featured Daniel Romano. He was raised in Ontario and travelled the country playing music. He has released his first solo albums under the name of Grey Kingdom and has since a further five albums under his own name.

I can’t vouch for these earlier albums having not heard them, but COYOTE  is recommended and given the overall quality exhibited would be worthy of investigation. Meantime get to know Burton through his free-spirited nature that his coyote offers.

Review By Stephen Rapid.

Catherine Britt Home Truths Beverley Hillbilly

There is a solidly country feel to this new album from Australian award-winning singer/songwriter Catherine Britt. She opens the album with a sound that has a foot in the past but is striding forward into the future. The opening track sums up that ethos with I Am A Country Song - “it’s like they wrote those songs about my life … I am a country song”. On this outing Britt has either written or co-written all the material and sings it with a gusto and conviction that comes from believing in her material.

That theme is also echoed in Country Fan where Britt acknowledges the lasting support that country fans must give to an artist that they have faith in. This is a duet with another traditional Australian country stalwart Lee Kernaghan. Fav’rit Song addresses the music genre’s power again. Elsewhere she sings of the reality of her and others lives and loves in Home Truths, while in Gonna Be Mumma she relates that “Sorry world, I’m gonna be a mumma today.” That is soon emphasised again with the next selection Mother. Here the tables are reversed and she makes an apology for the way she sometimes behaved with her own mother, giving a perspective of womanhood from two different viewpoints. More closely focused is Me wherein Britt realises the sometimes perilous nature of seeking fame and fortune and instead wants to be true to herself.

The production was handled by Britt and Michel Muchow and the assembled band supports these songs bringing their A game to the music and features fiddle, pedal steel and keyboards. Muchow plays guitar, mandolin and banjo along with Duncan Toombs. There are also contributions from a bedrock rhythm section with on target keyboard and backing vocals to round out the sound.

Topping this is Britt’s vital vocal delivery, which moves from reflective to robust as the song requires. Along with Kernaghan there is a contribution from our old friend Jim Lauderdale. His very distinctive harmony vocal features on Hard To Love to great effect. The final trio of tracks includes a standout vocal and performance on the catchy Original Sin. New Dawn and Long Way Around close out an album that is the equal of many of the stronger female artists working Stateside. I imagine fans of Sunny Sweeney would also enjoy this album. That’s a home truth.

Review By Stephen Rapid.

Gordon Barry All The Live Long Year Self Release

Some sixteen minutes and four songs. A signpost on the road that points to a longer journey to be enjoyed and other days to be spent in good company.

 The opener, Old Fashioned Morphine, (Jolie Holland), is a slow tempo step into the swampy Blues of Wexford, via Louisiana, which name checks author William S. Burroughs and is a Faustian tale of earthly pleasures. My Name Is Never has a languid pedal steel melody running through the song with a subdued piano and guitar strum spinning out a tale of the restless drifter, always leaving town and never for settling down. 

Next along the path is Ghost Of a River and a plucked banjo sound that echoes the lonely atmosphere of the song, all early morning spectres in the mist on the fields and a singular look at isolation. Final song, Roll With the Punches, is an autobiographical look at going out on your own and learning from the hard lessons of life. Again, the slow tempo and atmospheric melody of pedal steel mixed with strummed guitar, subtle keyboards and a gentle cello, mirrors the quiet talent that this artist possesses. 

The arrangements were embellished at various locations by local Irish musicians, including Christian Best (Drums), Conor Brady (Guitar) & Cian Boylan (Piano, Keyboards). Gordon released his debut album, The Best Way To Kill a Monster, back in 2017 and was also a graduate with distinction at the Steve Earle school of song- writing in New York that same year.

This is another great example of the rich talent that exists within the Irish music extended family and brings a tantalising taste of what has yet to come. More please! 

Review by Paul McGee

Broke Fuse & Friends Why Should I Be Blue? Self Release

These eight songs are written by Jay Moonah, also known as Broke Fuse, a one-man blues/roots band from Toronto. He has many years’ experience in the music industry, playing in different bands and forming a duo with guitarist Mike McKenna (McKenna Moonah Blues Duo).  They later formed the rockabilly band, Mike McKenna's Rockin' Redcoats. 

Many of the musicians collaborated remotely on this album, with all songs written by Moonah, apart from the instrumental co-write, The Runner Duck. 

The sound is quite superb, despite the recording challenges, with Moonah’s home acting as the nerve centre for remote contributions from ten musician friends. Moonah handles vocals, harmonica, bass, rhythm guitar, programming, banjolele, piano, steel string uke and percussion across the tracks - so this is very much a self-produced affair from all aspects. 

There are strings on Night Before which mingle with bass and vocal and the sweet melody of cello and violin sits against the plucked rhythm of the banjolele with interesting effect. The duet with Sandra Bouza on You Know It’s True is a slice of fun with the back and forth in the lyrics over a cheating partner, while the dynamic between harmonica and lead guitar (Alex Matthew) on Blow the Blues Away is an exciting interchange. 

Whisky Bottles is a Blues masterclass with Mike McKenna excelling on slide guitar while the tension in the rhythm is slowly played out with harmonica, percussion and a hoarse vocal setting the scene. The acoustic title track finishes the album and sums up the mood with a jaunty arrangement built around ukulele, harmonica and guitar. An interesting mix of Roots based blues and folk tunes that are energising and engaging.

Review by Paul McGee

Nikki O’Neill World Is Waiting Blackbird 

This is a 7-track Ep that runs for some 25 minutes and delivers a bluesy rock sound. The album kicks off with That’s How You Lose Her, highlighting the soulful vocals of O’Neill and the Hammond organ swell of Jon Gold, along with Joshua Pessar on lead guitar. The following track, A Man For All Seasons, is a slower affair that displays some fine ensemble playing, highlighted by the slide guitar of Joshua Pessar.

A Place At the Table has an easy groove and a wish for an eternal life, filled with family and friends, the bass playing of Rob Fresco providing the melody line for the rest of the band. Doug Organ plays Wurlitzer, piano and Hammond organ on the tracks and is joined by Rich Lackowski on drums and percussion, anchoring the songs in an understated playing style that is both solid and effective. The title track has O’Neill taking lead guitar duties and turning in a nicely paced solo. She also plays acoustic and rhythm guitar in addition to vocal duties.

All I Wanna Be Is Yours and You’re the Only One Who Gets Me have a more commercial, radio-friendly sound, not a million miles away from a Sheryl Crow styled workout. Final track, Take Back What I Said, has an acoustic arrangement that again showcases the expressive vocals of O’Neill as she asks for forgiveness and a chance to win her man back again. As far as debut albums go, this is an enjoyable drive through the landscape with the windows down and some good music on the stereo.   

Review by Paul McGee

Various Artists The Next Waltz (Volume 3)  The Next Waltz

The Next Waltz initiative was started by Texan singer songwriter and producer Bruce Robison, to allow him to collaborate with various fellow Texan artists at The Bunker, his analog studio in Lockhart. The success of the project was borne out by the previous Volume 2 peaking at No.1 on the Americana Radio charts in 2020. That recording featured emerging Lone Star State artists such as Carson McHone, James Steinle and John Baumann alongside more established acts like Carrie Rodriguez and Robison’s wife, Kelly Willis.

The formula is similar this time around with Dan Dyer, Flatland Cavalry and Texas supergroup The Panhandlers included, together with the time-honoured Jack Ingram, well established David Ramirez and Charley Crockett, who is growing in stature with each subsequent album he releases. Crockett’s contribution is a cracking remake of the Billy Swan smash hit I Can Help. As was the case on the previous volumes, Robison and his wife Kelly Willis feature, on this occasion they harmonise divinely on Tennessee Blues. The swamp soulsters Shinyribs raise the roof with the funky Bitch Better Have My Money, which morphs mid song into The Doobie Brothers Without Love Where Would You Be Now. A touch of folky jazz comes courtesy of Robert Ellis with I Must Be In A Good Place and Jack Ingram dreams of bars, cold beer and muscle cars on Times Like These.

  The Panhandlers (William Clark Green, Josh Abbott, John Baumann, and Cleto Cordero) offer an upbeat Texan country gem titled This Flatland Life and Cody Canada contributes the thoughtful ballad Wonder If The World Can. Five piece Flatland Cavalry’s War With My Mind is classic Texas country and David Ramirez struts his stuff with the gently shuffling One Man Guy. Last, but certainly not least, is Dan Dyer, whose Maiden’s Prayer is a timeless throwback to the classic Texan country singers of yesteryear.

In a similar vein to the previous Vol. 1 & 2, this album gives due recognition to the unlimited talent that Texas continues to offer to lovers of Americana and country music. It’s also most likely to encourage the listener to explore the back catalogues of this stellar collective of artists. 

Review by Declan Culliton

Son Of The Velvet Rat Solitary Company Fluff & Gravy

By now a significant part of the Joshua Tree music community, folk noir act Son Of The Velvet Rat are husband and wife team Georg Altziebler and Heike Binder. Leaving behind their hometown of Graz in Austria, the couple emigrated to America, finally setting up home in Joshua Tree in California’s Mojave Desert in 2013.

They can boast ten previous albums prior to the release of SOLITARY COMPANY and have also released two compilation albums, MONKEY YEARS (2010) and MONKEY YEARS 2 (2020). This latest album was recorded locally at Red Barn studio, the home of co-producer Gar Robertson, with whom they had previously worked on their 2017 recording DORADO.

Unsurprisingly, much of the material is stimulated by the desert landscapes that surrounds them. Altziebler’s vocals (described by Lucinda Williams as ‘great sexy-gravelly voice’) vary from semi spoken on the both Alicia and When The Lights Go Down, to falsetto on the epic title track. The latter is strikingly evocative and embellished by layered vocals and soaring strings. The melodic The Only Child echoes Donovan’s Hurdy Gurdy Man. Beautiful Disarray is chunky no nonsense rock and roll. The delicate love song 11 & 9 reflects on devotion versus materialism, as a couple consider gambling all their money on a roulette table.

There has always been a cinematic aspect to the music of SOTVR and never more so than on SOLITARY COMPANY. With lyrical content that enhance the mystery behind the songs, this striking album will particularly appeal to fans of Howe Gelb and Bonnie Prince Billy.

Review by Declan Culliton

Fruit Bats The Pet Parade Merge

Front man of indie folk band Fruit Bats, Eric D. Johnson’s diary is seldom empty. Over the past decade he has enjoyed collaborations with The Shins, Vetiver and more recently as a member, alongside Anais Mitchell and Josh Kaufman, of Grammy nominated supergroup Bonnie Light Horseman.  

His involvement with Fruit Bats dates back to their foundation in 1997 and has resulted in eight previous albums, albeit with numerous personnel changes. Their ninth recording THE PET PARADE takes its title from an annual event witnessed by Johnson while growing up in La Grange, Illinois, whereby residents dressed up and showed off their various pets. It’s also the name of the album’s opening track which kicks in at a lengthy six and three-quarter minutes and is a fine introduction to the ten tracks that follow.

The album was produced by Josh Kaufman (The Hold Steady, The National, Bob Weir) who, together with all the contributing musicians, recorded their respective pieces in their homes at various locations across America. Those players include drummers Joe Rosso and Matt Barrick (Fleet Foxes), pianist Thomas Bartlett (Sufjan Stevens), fiddler Jim Becker (Iron & Wire, Califone), together with Johnson and Kaukman. Despite the recording obstacles due to Covid -19, the album offers a free and easy style that flows throughout.

Stand out tracks are the urgent Holy Rose, which is a commentary on the 2017 Tubbs Fire in Sonoma County, California and the poignant and addictively tuneful On The Avalon Stairs. Johnson leans sonically more towards power pop on The Balcony and presents a beautifully paced love ballad on Here For Now, For You.

Fruit Bats have consistently gifted the listener with instantly arresting music for over two decades and THE PET PARADE is a welcome addition to their catalogue.

Review by Declan Culliton

Bran Sanders This Old House Self Release

Bran Sanders originally moved from his Ontario roots to live the life of a travelling musician. Listening to the old traditional music and rural banjo tunes of those who went before, he hoped to make his own mark and follow a dream to acknowledge his teachers. 

Now based in Westbank, British Columbia, Bran has reworked a selection of timeless tunes and fashioned them in his own style. His prowess on guitar and harmonica is unquestioned and he sings with a clear and confident vocal. The album title is very appropriate and evokes images of where he has travelled from on a journey to appreciate the purity in simple Folk songs played, with a real resonance and reverence.

Red Rocking Chair opens the album with acoustic guitar, harmonica and piano, covering of the traditional song that appeared on Doc Watson’s album of the same name back in 1981, one he recorded with his son, Merle. This sets the atmosphere and mood of the rest of the project that includes covers of Hills Of Mexico (Trad/Roscoe Holcombe), Little Maggie (Trad/Ralph Stanley), Moonshiner (Trad/Clancy Bros), Roving Gambler (Trad/Various) and I’ve Been All Around This World (Trad/Various).

The interest in keeping these traditional songs alive in modern culture is something that is both enduring and important as they contain not only a link to the past but also a guiding hand to the way in which we shape our actions and lives into the future. Authenticity is the key word that runs through the arrangements and the playing is quietly superb. 

The three original tracks, Let It Go, Welcome Back, and Sparrow, knit very well into the spaces between these old-time Folk tunes that are dusted off and polished with a new sheen. The use of violin and harmonica on Sparrow is beautifully judged in a song about relationship honesty and the hope to ‘take me as I am.’ Another, Let It Go, is about being able to let go of situations that tie us up in knots, while Welcome Back, tells of an intermittent friendship and the off-on nature of its comings and goings.  

A very engaging and enjoyable listen. Songs played with a refreshing openness and delivered with an honest spirit and truth.  

Review by Paul McGee

Heather Anne Lomax All This Time Self Release

In 2014 this artist was recording under the name of Michael-Ann and her album Heavy Load was very well received by the music media, including a positive review on this very site. Well, she is back 6 years later with a different persona and a new album of eleven very engaging songs. The album arrived at the end of last year, when most reviewers are compiling their ‘best of’ lists. 

The liner notes reference November 2019 on the release so I cannot speak for the slow arrival, all this time later. However, it’s certainly been worth the wait and opening track, All This Time, has real Country swagger, with some nice guitar lines and piano, coupled with a driving rhythm and a message to get out of a toxic relationship. 

Relationship woes continue on the bluesy Prison Cell with thoughts of breaking free and moving on. The Gospel groove of Better Luck is coupled with a rocking beat underpinning the arrangement and Country fiddle riding the wave of the melody. On the song, My Dog, Heather Anne nails her true colours to the mast when it comes to relationships with the lines ‘He never wears me out from talkin’ - It isn’t always about him, And when I speak, he truly listens - I think I’ll give my love to him.’

Lomax has a very expressive vocal style, full of character and inflection. She can sing a slow Blues as well as anybody (Crumbs) and also handle the best of Country styled Honky Tonk (Six Foot Under) too. 

The Heart Don’t Lie is straight Country with all the charm of a Saturday night dancefloor waltz whereas Oh Mama is a tribute to her Mother who died too early and the influence that she still has, coupled with the everyday pain of missing her. Final track, Just Like Yours, is a fine Blues vocal that mixes attitude with defiant guitar runs as the melody builds around a soaring pedal steel and atmospheric rhythm section. This collection demands your attention and delivers a very entertaining eleven-song treat.

Review by Paul McGee

Mitch Dean Holding Back the Levee Self Release

Melbourne is home to this singer songwriter who has been active on the local music scene for many years. This is his debut solo album and his sound is rooted in the Americana genre with ten songs that are well produced and express a love of up-tempo rhythm and a vibrant band dynamic.  A Face In A Long Line is about mass employment in factory towns while His Fathers Gun is a story song about how one isolated act of madness can change a life forever. 

It's In the Stream has a rockabilly rhythm that bemoans the changing nature of life and the loss of innocence where games played in the streets have been replaced by online fixation. On a number of tracks, the guitar work of multi-instrumentalist Damien Cafarella and the harmonica of Dean are driving points in the song arrangements. 

The title track is a fine blues-based groove with great ensemble playing, Sam Lee on organ providing a great atmospheric swirl and guest Kevin Bennett (The Flood) providing the vocals. Dean sings on all the other tracks and the bass of James Gillard, along with the drumming of Damien Cafarella, is very creative and engaging throughout. Cafarella also plays mandolin and acoustic guitar, on top of his tasteful electric guitar runs.

Please Don’t Wake Me is another story song that reflects on a car smash and the loss of a daughter and girl-friend, the driver forever missing her and looking at the pain caused to the grieving parents left behind.  What Can Go Wrong looks at young love wanting to escape and live life, despite having no money or prospects, thoughts of saving for a rainy day is not part of this plan. Broken Wing speaks to the vulnerable and fragile in life and final track, Far Above My Head, shows the band in full flight with great melody and power. This collection is worthy of your time.

Review by Paul McGee

Ellis Delaney Ordinary Love Self Release

A Minneapolis-based singer who grew up in Texas and is well respected as a contemporary folk artist. This is Delaney’s tenth album and her Buddhist philosophy on life is strongly evident across the eleven songs that are included here. The release is attractively packaged and presented, with the array of studio players in perfect alignment with the gentle expression and sensibility of the artist. 

Delaney delivers an honest and open perspective when it comes to reflecting on life’s vicissitudes. It can be a cold world, populated with people in the habit of putting themselves first – no matter what the cost to others. However, in the vision of Delaney, we should grasp the pleasures of living in the moment and enjoy the simple things in life, perfectly captured on The Finest Adventure. Her views on sticking at a relationship and working through the hard times are addressed on the title track and our ability to smile and break some self-imposed rules is the message on Pie For Breakfast.

The instrumentation across the twelve songs includes violin and cello on three tracks (The Finest Adventure, Paper Wings, Now Is the Time), plus Ellis solo with acoustic guitar on another two tracks (Start Where You Are, Better Angels), which are all very engaging and melodic. Bird On a Wire addresses the plight of our planet and our need to act as a caring human race.  

Happy Life shows a deep contentment with her life soul mate and the easy way ‘we laugh out loud at the smallest things.’ You Got This is a love letter to her daughter, a parental wish to give her a moral code for life and to ensure a path is forged from the correct values.  Gun control and school shootings (Now Is the Time), exercising tolerance and understanding (Start Where You Are), missing someone close (I Think About You and Somebody Misses You), celebrating connection across the distance (Paper Wings), all leave a strong impression. 

It is her abiding message to let life in, be true to yourself and try to live in loving awareness that highlights the heartfelt view of this fine artist, fully captured in Better Angels, a song that appeals for our more enlightened selves to come forth and flourish. Impressive and insightful.

Review by Paul McGee

The Annulments Dead Preservations Self Release

This band was formed by student friends while at University College Dublin and they released a debut album in 2015, Everything I Lost.  The core group includes Claire Fitzgerald on vocals, Stephen Coyle on guitar and vocals, Richard Gill on bass, Shane Keeling on drums, Nick Cooper on violin and viola, Peter Moran on piano and keyboards. All songs are written by Stephen Coyle.

There are also featured performances from Cillian Murphy on saxophone and Ray Martin on trumpet, in addition to producer Tom Cosgrave providing electric guitar on the track Animal, along with recording engineer, Chris Barry, also adding his talents on electric guitar. The first two tracks were released separately as singles this year and feature lead vocal from Clare Fitzgerald and Stephen Coyle respectively. Each track, Reckoning and Difficult Things, highlight the violin of Nick Cooper to good effect and there is a sense of easy melody that populates all eleven songs included on this project.

The Calm Before and Pilot Light follow a similar route with both Clare and Stephen featuring on lead vocal while the band play around the melody with some fine lines. The light jazz feel of one song is balanced by the reflective acoustic sound of the other. And so it continues, with Clare singing the next two songs about perspective and reflection, To Get Me Through and Into the Dark, her warm vocal echoing the instrumentation and melody.

Stephen delivers What Did You Want To Say To Me before Clare returns with Another Vice, joining Stephen on a co-vocal about the complexities of relationships and true romance, harmonica featuring, along with viola, in a style and tempo that recalls Paul Heaton and Jacqui Abbott. Animal is a quirky tale about selling out to the dark side of our basic instincts, sharp suits and even sharper lifestyles, with a rhythmic, taut arrangement. 

Behind the Lines calms it all down again with a slow café-blues feel, all late-night piano and brushed drums. Final song, You and Me, brings it all home with an acoustic arrangement, Stephen ruminating on mistakes made and a lovely violin part to soothe the way towards the morning. This is a very enjoyable set of songs which impress more and more on repeated plays.

Review by Paul McGee

Araluen And There It Is Kaloo Kalay

Recorded at The Reservoir Studios in North London and self produced, AND THERE IT IS delivers a thirteen-track recording from songwriter and guitarist Paul Lush, under the byname Araluen. Lush has been a member of the celebrated U.K. roots band Danny and The Champions of The World for the past decade, alongside working with Trent Miller and The Lost Sons of Littlefield.

He uses the Araluen channel, rather than a rigid band formation, to record his own songs. This project found him knocking on the doors of a number of musicians he’s worked with over the years. Pride of place goes to Magic Numbers vocalist Angela Gannon, whose soulful vocals are impeccable on twelve of the thirteen songs, the other track being an instrumental titled Oh Yeah!

The majority are the songs are ‘lost in love’ laments, most suited to a female vocalist. In fact, given the confessional composition of the songs, you could be forgiven for assuming that the material was actually written by Gannon, as the tales of woe and regret unfold. The other seasoned players called on by Lusk include his Champs associates Steve Brooks (drums) and Henry Senior (pedal steel) and they are joined by Alan Greg from The Mutton Birds on bass and Dave Collison on keyboards.

The Girl Will Do is classic country soul with stinging guitar and swirling keyboard breaks and the broody title track is equally impressive. What Made You Change Your Mind marries Gannon’s sultry vocals with mournful pedal steel and the crunching Only For Tonight raises the tempo a few notches. The Only Hearts Alive Tonight recalls Dusty Springfield and the band rock out gloriously on the aforementioned instrumental Oh Yeah!

Make no mistake, this is country soul of the highest order and delivered to perfection both vocally and instrumentally. Imagine Tift Merritt backed by (Graham Parker’s) The Rumour and you’ve got it in one!

Review by Declan Culliton

James Ellis and The Jealous Guys Country Lion Self Release

Hailing from Melbourne, Australia, COUNTRY LION is the second release from honky tonker James Ellis and his band The Jealous Guys. His 2018 album IT AIN’T TEXAS (BUT IT AIN’T BAD) found Ellis wearing his heart on his sleeve and he confirms his devotion to traditional country on this eleven track and hugely impressive album.

In an attempt to get the perfect sound on the album, Ellis tracked down some heavy hitters to work with. An introduction to keyboard maestro and producer Micah Hulscher by fiddle virtuosa and country artist Lillie Mae, while she was touring Australia, proved to be an invaluable contact. Hulscher, who has been a touring keyboard player with Margo Price, Emmylou Harris and Wanda Jackson, was chosen as producer and he in turn recommended bringing multi-instrumentalist Alex Munoz (Nikki Lane, Margo Price, John Hiatt) on board to co-produce. Hulscher’s and Munoz’s influences are heavily stamped on the album, which blends classic country with twists of more contemporary Americana. Lillie Mae and her brother guest on the album alongside their East Nashville neighbour Erin Rae. Ellis wrote all the songs and they’re laced with heartache and regret, essential ingredients for a signature county collection of songs.

The pedal steel intro on the opening track Sixteen Hours leaves you in little doubt as to what’s to follow. Ellis’ vocal - fortunately making no attempt to mask his native accent - is pure country and the icing on the cake are the backing vocals from Lillie Mae. Support vocals are a feature that work to perfection throughout the album and in particular the contributions from the honey voiced Kelly Day. Kelly is also a member of Melbourne duo Broads and adds vocals on seven of the tracks.

A Little Soul gets the Gram and Emmylou treatment and A Tiny Grain Of Sand is an impressive tear in your beer duet with Erin Rae on acoustic guitar and backing vocals.  They ramp it up rockabilly style on Forever Close and find space for a Countrypolitan gem with Take Me Back In Time. The album closes in fine country funk style with Wandering Man.

Ellis returned from a month long stay in Austin back in 2016 with a vision to form a honky tonk band and he has certainly achieved that. It remains to be seen whether this venture, similar to ones undertaken by Daniel Romano, is a life journey or simply a moment in time. Either way, it is mission accomplished by Ellis and a cracking album.

Review by Declan Culliton

Natalie D-Napoleon You Wanted To Be The Shore But Instead You Were The Sea Self Release

A lot of water has passed under the bridge since the last recording of a full-length album from Australian born singer songwriter, poet and author Natalia D-Napoleon. LEAVING ME TO DRY, which she released in 2012, featured her long-time sidekick a Kenny Edwards (since deceased), alongside a host of big hitters which included Greg Leisz, Dan Phillips and Victoria Williams and was produced by David Piltch (Bonnie Raitt, Rosanne Cash, k.d Lang, Randy Newman).

The surroundings, environment and equipment were altogether sparser for this recording, which took place using a single microphone in an ancient wooden chapel in the hills behind Santa Barbara, California. The songs had been written by D-Napoleon on the front porch of her one-hundred-year-old cottage in California and are deeply personal, visiting intimate spaces both real and imagined. The production duties were overseen by James Connolly, who also plays bass guitar and Dan Phillips adds splashes of piano throughout. Doug Pettibone guests on guitar, pedal steel and mandolin.

Escaping an abusive relationship is detailed on Thunder Rumor and the piano led No Longer Mine rejoices in the new found freedom of leaving a doomed partnership. Second Time Around cautiously celebrates new found independence. Mother Of Exiles rejoices in an America that once welcomed immigrants with open arms. It’s a powerful song and a reminder of more compassionate times. The title track revisits childhood suffering and the after effects and painful memories that can be impossible to discard. The equally agonising Reasons confronts the emotional trauma of losing an unborn child.

YOU WANTED TO BE THE SHORE BUT INSTEAD YOU WERE THE SEA is anything but an easy listen. A melancholic mood prevails throughout, as D-Napoleon navigates her way across a variety of sensitivities. However, her tales are insightful, sympathetic, beautifully constructed and conveyed by a gifted storyteller.

Review by Declan Culliton

Aaron Lee Tasjan Tasjan! Tasjan! Tasjan! New West

Never one to sit on his hands for too long, Aaron Lee Tasjan is an artist that is seldom off the road or out of a studio. Hugely respected by his peers, he has worked alongside or collaborated with Jack White, B.P. Fallon, Clem Burke, Sean Lennon, Tim Easton and Lilly Hiatt. His musical skills earned him the role as lead guitarist in The New York Dolls early in his career and as a touring player in Kevn Kinney’s Drivin ‘N’ Cryin’.

He moved to Nashville in 2015 following spells spent in New York, California and his home state of Delaware. The move to Nashville found him swiftly integrated into the East Nashville music community and he released his debut full length album IN THE BLAZES in 2015 followed by SILVER TEARS the year after. KARMA FOR CHEAP and KARMA FOR CHEAP REINCARNATED followed in 2018 and 2019.

Though often pigeon holed as a folk/Americana artist, his template is far wider than that and crosses over seamlessly to traditional rock and more. This latest release is further confirmation of his skillset in delivering melodic power poppy gems and glorious glam influenced broadcasts, often laced with his trademark humour. As a self-confessed non-conformist, the album is dedicated to souls like himself, who were considered ‘unconventional’ growing up and the target for ridicule as a result.  

The self-deprecating Feminine Walk is a case in point. It’s a tongue in cheek essay of his musical journey from New York to Nashville, to follow in the musical footsteps of Todd Snider. Up All Night enters Tom Petty territory with an addictive melody and in contrast the gentler Another Lonely Day displays Tasjan’s knack for also knocking out killer ballads. The relentless outpouring of bland formula music is addressed on Cartoon Music.

TASJAN! TASJAN! TASJAN! was co-produced with Gregory Lattimer and recorded at Make Sound Good Studios without the knowledge of his record label. It’s possibly Tasjan’s easiest album to access, yet beneath the catchy melodies and waggish lyrics he also touches on a number of difficult personal issues. All in all, it’s another gem of an album from a raconteur of endless talents. 

Review by Declan Culliton

New Album Reviews

Flashback Blues Around My Cabin Pinecastle

This is the third album from bluegrass ‘supergroup’ who were formerly members of JD Crowe’s New South in the 90s. They reformed as Flashback in 2015 and are still playing together, in between other projects. Self produced, this is a collection of solid traditional bluegrass songs, six of which are newly written by some of the band members.

The legendary multi instrumentalist, songwriter and educator Don Rigsby contributes the patriotic Will You Fold My Flag For Me and the standout title song. When The Blues Come Around My Cabin Door is a welcome departure from the traditional style, heavily blues-tinged and with Rigsby’s powerful tenor voice interspersed by his electric mandolin playing, with additional percussion provided by that well known bluegrass instrument, the shaker egg. Richard Bennett (guitar) has three originals here, the strongest of which, John Henry Holliday, recounts the story of outlaw Doc Holliday.

Stuart Wyrick (banjo) wrote the only instrumental, Tater Valley Chimes, a catchy tune named for his native area in East Tennessee. There’s a gorgeous gospel number, God Sees Me, where Rigsby’s vocals would almost melt the coldest heart.  

A revival of a song from the little known Kentucky band from the 60s, The Sloas Brothers, provides another highlight. Queen of the Bar is a delicious slice of slow honky tonk, enhanced by guest Jim Heffernan on pedal steel.

Review by Eilís Boland

Silas J. Dirge The Poor Devil Self Release

Netherlands-based artist Jan Kooiker uses the pseudonym Silas J. Dirge, to release his Gothic Americana, Dark-Folk, Alt-Western based tales, that deal with death, religion and the vicissitudes of life and variations of love. In that light his work may well appeal to those who are familiar with the music of Sixteen Horsepower, Slim Cessna’s Auto Club (and its offshoots) or, to a degree, that of Danish singer/songwriter CS Neilson. It is a path that is more populated than one might imagine (see gothicwestern.com for further illumination on related historical topics and music).

This is the second album released under the Dirge moniker and is the continuation of the themes of that album TALES OF WOE, released at the end of 2018. It also features several players who are also involved here including Harald de Ruiter on electric guitars, Thomas van Voorst on double bass and Justin Zandbergen supplying backing vocals. Others accompanying Kooiker’s multi-instrumental contributions are Jan Paul de Bondt on pedal steel and Nicole Schouten’s backing vocals.

In an interview Kooiker mentions his liking of the paintings of Carel Willink. These often show a brooding dark overcast sky above a deserted city, often in ruins. In some ways these images are related to the somewhat dislocated, unsettling mood of Kooiker’s music. However, that is the second half of the story, the other lies in the aforementioned artists and in the age-old murder ballads, the Appalachian hand-me-down folk tales and the music of Hank Williams Sr, Johnny Cash. Many other artists could also be quoted (some of more recent times), as well as the influence of the spaghetti western themes (both musical and storylines). This can be considered as parody or paragon. 

In truth, the songs here are a little of both, but in the end, what counts is that the music is good, the production and delivery are strong and you are drawn into Kooiker’s musical vision. He has produced, recorded and mixed the album so it is through his perspective that we hear these songs. From the opening acoustic guitar and lines that introduce the first song Hang Me High where the narrator wishes to achieve the fate in the song’s title, in order to go where he belongs down below.  Over a further nine songs the detailed layers of sound enhance these tales. Flowers On Her Grave, Devil’s In Town, You Reap What You Sow and Wolf In Sheep’s Clothing offer a musical landscape that is in tune with his world view and orientation. A Land More Than A Home is perhaps the most Morricone-esque of the tracks on the album and is larger instrumentally but uses a female vocal and whistling to heighten the effect. 

Suffice it to say that the music here, over several listens, has been a rewarding experience that fits my musical tastes (or at least several of them), allowing the listener to engage. This is helped by Kooiker’s vocal which is well suited to these songs. It displays an amount of variety in the vocal department, which is then placed within, the often sparse, but highly atmospheric backings which might be interpreted as a long journey through a metaphysical Death Valley. There are interesting videos for the album singles Flowers On Her Grave and Devil’s In Town. They offer a perfect visual and musical introduction to the world of Silas J. Dirge. It is one worthy of exploration across the full album and serves as a reminder of the interesting Americana releases emanating from that region of Europe.

Review by Stephen Rapid

Margie Singleton Never Mind Aintquittin

With so many of the artists from the 50’s and 60’s passing away, it is good to celebrate one who, as in the name of her label, “ain’t quittin.” This singer worked in the 60’s as a duet partner which such names as George Jones (Did I Ever Tell You)

and Faron Young (Keeping Up With The Joneses) and also enjoyed a healthy solo career which included successful single releases and several top 50 Country albums as well as stints on the Louisiana Hayride and Jubilee USA. In 1949 she married producer Shelby Singleton and divorced in 1965. Her first son from that marriage Stephen, was instrumental in bringing his mother back to the recording studio.

This new EP includes five tracks, four of which are co-writes with her son and one she wrote solo. She is still in good voice and while one can detect her age in the songs, it has added a quality that enhances them. All are on the subject of relationship and are a continuation of her musical style from her heyday. Singleton was also renowned as a songwriter and her writing included Lie To Me, an R ’n’ B hit recorded by Brook Benton.

The second song Who’s Gonna Love You stands out and its timeless quality is in part due to the lively production and playing which includes Steve Hinson on pedal steel. Singleton’s vocals have been compared in the past to contemporaries Tammy Wynette and Loretta Lynn (who herself is poised to release a new album). This is a more reflective reading of the song which is understandable in that Missing You is figuratively both singular and plural. The final song is a new version of the aforementioned hit Lie To Me and it is given a bluesy and understated reading which suits Singleton's current vocal well, while allowing a sense of vulnerability to appear.

The front cover shows Singleton in her heyday with her guitar and on the back cover she is featured in a similar mode but looking happy to be back at 85. All the more credit to her for getting back in front of the microphone and while she is not going to upset the current crop of country singers, I’m sure they would all recognise a kindred spirit who still has something to say.

Review by Stephen Rapid

Rupert Wates Lamentations Self Release

Twelve songs, all recorded over a single evening, played on acoustic guitar and sung by Rupert Wates, an English singer-songwriter, now based in America. With such a project, there is always the risk that a certain amount of sameness will start to emerge and repeat, without the added layers that other players can bring to a recording project. However, the intimate vocal of Wates and his beautifully sounding Lowden guitar, deliver a hypnotic quality that reminds of quiet reverie, nights by a warm fire and absorbing these gentle songs of reflection and hope.

Wates has ten previous releases to his name and a reputation for being at the forefront of all that is good in acoustic, Folk music. His fluid, finger picking guitar style is very impressive and fills these songs of life, loss and love with plenty of nuance. It brings me back to the sound of the Folk artists of the 60’s when the likes of Richard Thompson and Nick Drake were shining their light.  

Eleven albums since his debut appeared in 2005 is quite an output over the last 15 years, so when Wates delivers on solo acoustic guitar, there is an air of expectancy. Themes such as birth and death, together with the everlasting struggle to make love stay are visited in songs like The Carnival Waltz, In Time Of Breaking, Don’t Leave Me Now and Farewell & Adieu. Final song, I’ll Never Tire Of Looking In Your Eyes sums up the excellent performance and the special atmosphere generated by an intimate solo outing, a dedication to Stacey and the message that whatever else grows old and tired, true love and inspiration will endure.

Review by Paul McGee

The Burnt Pines The Burnt Pines Adraela

This newly formed band release their debut album and deliver an impressive contemporary Folk sound across these 12 tracks and 45 minutes of music that glide along with pleasant melody and interesting harmony dynamics. 

Kris Skovmand is the songwriter and vocalist, now living in Lisbon and sharing studio space with Miguel Sá Pessoa, who contributes on piano, keyboards and melodica. They originally met after Skovmand married a Lisbon native and moved to the city from Denmark.

Aaron Flanders plays acoustic and electric guitars, guitar-banjo and tambourine. He had studied at Berklee College of Music, where he met Sá Pessoa, working with him on a number of different musical projects, before Sá Pessoa moved back to Europe.

All three musicians are friends and are joined by Fernando Huergo (5-string electric bass), Luis Barros (drums, percussion), with cameos from Dan Fox (double bass) on Only In the Soul and Outside of Us. Recorded at distant studios on different continents, Lisbon-Copenhagen-Boston, the beautiful melodies and harmonies create an overall feel of gentle days, floating along on the breeze. Light of touch, these magical song arrangements are a real joy and leave fond feelings of sharing in something special. 

From Seville To Manhattan is one such example with sweet melody and the likeliness of clear skies in the message ‘Will the years all be forgotten? Is it too late to go home?’ Equally on the tracks, Outside Of Us and Waiting For You is the sense that the world is out there just waiting to be explored and that there is a security in feeling loved.

On the Burning Bridge has a relationship challenge at its centre and the words ‘I need to talk while we can, I have become the invisible man, I wish I was a stranger, so we could start all over again’ summing up the frustration in misconnection. Only In the Soul looks at wanting to see beyond the veil of illusion ‘What spirit are you? What’s the shape you take? can you give me a clue?’

Make the Sign has the lines, ‘Don't let your tears be the story you tell, I believe in angels ringing broken bells, I believe that you and I will find ourselves, We will escape when you give me the sign.’

Final song, April Child, has such a lovely melody and a message for our times ‘We’ve had bad days, Waiting for the rain, Mostly it’ll pass us by, And leave us just the same again.’ With the fears that COVID-19 brings and a new, fragile grip on daily living to the fore, there can be no better message than to reach out, soothe the spirit with reassurances that all will repair itself and return to better days. This album comes highly recommended.

Review by Paul McGee

Scott Cook Tangle Of Souls Self Release

Either you buy into the notion of a world that can be bettered through loving awareness or you don’t have time for such a sentiment. Whatever your belief, the central theme of compassion and empathy that runs through these songs is quietly compelling and worthy of great praise.  This superbly packaged project is most enjoyable, entertaining and insightful, a complete artistic statement in music and words from a songsmith at the height of his powers. 

To quote Scott Cook from his website ‘I think we lose something if we lose the experience of listening to an album as a whole, and savouring the art and liner notes while we're at it.  You might say that my latest 240-page, cloth-bound, hardcover book is a bordering-on-the-absurd overreaction to that (streaming services) trend.  I wouldn't argue with that, though I prefer to think of it as just a vote for the kind of world I'd rather live in.’  Amen brother.

This mighty tome begins with the words, ‘Fellow Dreamer’ and 213 pages later, in the afterword, Scott ruminates that ‘there’s a feeling of innocence we’ll never get back. We’re already living in Eden. Earth’s our only home. We’re made of it. It doesn’t belong to us, we belong to it.’

To say that this is an immersive listening experience is to understate the scope and scale of what Scott Cook has achieved. Each track has the full lyric, explanations as to how the song was created, the chord structure and associated thoughts surrounding the topics in question. 

The album title is very appropriate when you consider what a tangled web we weave as beings upon this planet. If indeed, we are in paradise already, as Cook surmises, then the only thing that is screwing it up is humankind and our blinkered actions, both to the wonders of nature that surrounds us and indeed, to each other. 

Having adopted the travelling bug of his predecessors, such as Woody Guthrie, Cook embarked upon living a nomadic lifestyle, spent in travel around the globe over the last 15 years. His perspective gained over these journeys form the fabric of these songs and deliver on every front. 

These 12 tracks are contemporary Folk songs and each one is superbly crafted. They were recorded at various locations where the indigenous peoples in both Australia and Canada live. The credits include many names who all contributed in their own unique ways, whether as musicians, engineers, painters and printmakers, manufacturers of the book and CD, photographers, fans who pre-paid for the music, proof readers, parents, family and friends.  

Travel songs, Put Your Good Foot In the Road and Why Am I Leaving My Home Again? (Scotty Dunbar) speak of adventure, fellowship and the risks in taking chances and walking out on the wire. The political message of Say Can You See is also a humanist plea to recognise the injustice caused to the poor and the weak, with the lines ‘And it’s working people who made this country great, Not the greedy opportunists or the peddlers of hate,’ ringing especially true.

Tulsa is a personal song about addiction and Scott’s battle over earlier years with alcohol. Equally, Leave A Light On and What To Keep are reflections on both the past and the future, the latter tinged with the sadness of leaving the past behind and lessons learned; the former filled with optimism and hope for better days.

Passin’ Through (Richard Blakeslee) is another travel song but one that is rooted in spiritual awakening as much as a physical journey, ‘All creeds and colours, every one’s a father’s daughter, a mother’s son, We’re all on one road and we’re only passin’ through.’ A similar message informs Let Love Have Its Way and the words ‘Like we hate the infidel, ‘Cause he shows us our own doubt, You can point fingers, deny any part, Or you can let love have its way with your heart.’

The Bluegrass rhythm of Rollin’ To You is both bright and bouncy while the instrumental Right To Roam is tinged with a gentle Irish traditional air with banjo, dobro and fiddle lifting the arrangement. Story song, Just Enough Empties, is a tale of lost innocence and the turns that a life can take. It is one of the strongest in this collection and covers universal themes in the power of the imagery and message, ‘And on long summer evenings with dinner in the air, We’d fly our bikes down main street, wind running in our hair. ‘

Title track, Tangle Of Souls, sums it all up with some more excellent lyrics, ‘Some say this world’s an accident, Just a clockwork running down, Some talk like it’s a tournament where the cruellest gets the crown, Seems to me it’s a pilgrimage and every step is hallowed ground, A walk through fire in a holy tangle of souls.’ Right on the money.

I’m glad that this review album didn’t reach me until Christmas last, as by arriving late for inclusion in 2020 favourites, it automatically goes forward into the New Year and sets the bar extremely high for all that is to follow. Please support this wonderful production by visiting the artist directly on https://scottcook.net/get-the-new-album.

Review by Paul McGee

Alex Maas Luca Basin Rock

Texan Alex Maas is the vocalist and bass player with psychedelic rock band The Black Angels and LUCA is his solo debut recording. Recorded at Space Flight Studios in Austin, the album was co-produced by Mass and Brett Orrison (Jack White, The War On Drugs, The Black Angels). Becoming a father in 2018 was a prime motivator for the album and is reflected on a number of the tracks.  The themes also revisit joyful childhood memories of Maas’s upbringing at his father’s plant nursery in Seabrook, Texas, where his introduction to and love of music was fuelled by both the natural sounds from that environment and the music that flowed from the hidden speakers in the gardens. He also reflects on the social turmoil continuing to unfold in his home country, in an attempt to come to terms with the thin line dividing light and darkness.

That light and love sparkles on Shines Like The Sun (Madeline’s Melody), a touching ballad to his child and a vow to cherish and protect. The darkness and horror emerge on American Conquest, which is a harrowing exploration of mass mall shootings. Been Struggling takes a trip back to early 70’s folk and the semi spoken pronunciations on Slip Into enter Bill Callahan territory. The acoustic bookending track The City is a timely and prophetic reminder of the inherent dangers of history repeating itself. A striking body of work with a hypnotic and entrancing flow, LUCA will appeal to fans of The Velvet Underground as much as to lovers of the Americana genre.

Review by Declan Culliton

Steve Earle & The Dukes J.T. New West

‘’ I wish I could have held you when you left this world like I did then.’’ These heart-rending words from Steve Earle on the closing track of his latest album recall the day, thirty-nine years ago, when his son entered the world.  

Released on January 4th - which would have been Justin Townes Earle’s thirty ninth birthday - J.T. is a tribute to Steve Earle’s son, who left this world in August of last year. The proceeds from the album will be donated to a trust set up for Justin’s three-year-old daughter, Etta St. James Earle.

Steve Earle has survived difficult times himself, recovering from drug and alcohol addictions, to forge out a hugely successful career. J.T. is his twentieth studio recording and features ten of Justin’s songs and fittingly ends with his father’s touching finale Last Words. The tracks are selected from seven of JT’s nine albums, the omissions, unsurprisingly, being SINGLE MOTHERS and ABSENT FATHERS.

The album was produced by Ray Kennedy and Earle was joined in the studio by his stellar backing band The Dukes. Chris Masterson (guitar and keyboards), Eleanor Whitmore (fiddle, mandolin, piano), Ricky Ray Jackson (pedal steel), Jeff Hill (bass, cello) and Brad Pemberton (drums, percussion) create the musical chemistry to support Earle’s emotionally delivered vocals.

Earle senior is no stranger to tribute albums, having honoured both Townes Van Zandt and Guy Clark in the past. Given the tragic circumstances of his son’s passing, this must have been a harrowing project to undertake.  The song selections and treatment of them are a fitting memoir to an artist of extreme talent, who possessed the skills to effortlessly shift between country, folk, blues and rock.

The album’s opener I Don’t Care gets a bluegrass make over as does the poignant suicide song Harlem River Blues. The confessional title track from J.T. 's most recent album The Saint Of Lost Causes is a striking inclusion with Earle’s vocal near breaking point. Equally touching is Turn Out My Lights, one of four songs selected from J.T.’s 2008 album THE GOOD LIFE.

The autopsy into J. T’s death reported an overdose of fentanyl laced cocaine, which implies that his death was caused by the contaminated cocaine he procured, rather than by an intentional overdose. In a less cruel and empathetic world this collection of songs should be packaged as a ‘Best of Justin Earle’ album and he would continue to record and perform. Tragically that is not the case and Justin Townes Earle leaves behind a catalogue of nine fine albums that stand shoulder to shoulder with those of his father. 

This album is the senior Earle’s bravest effort to date, as he explains on the liner notes. “For better or worse, right or wrong, I loved Justin Townes Earle more than anything else on this earth. It was the only way I knew to say goodbye.’’

Review by Declan Culliton

Maria Shiel Fire In The Sea! KYO

Galway songwriter and artist Maria Shiel has released her debut full length album, following a musical career that spans over two decades. FIRE IN THE SEA is released on KYO Records, which she founded in 2011 by way of promoting international musical collaborations. Shiel was a founding member of the band Guava and also recorded electronic music under the byname MS44. Her musical Curriculum Vitae can boast appearances at both CBGB’s in New York and The Bluebird Café in Nashville.

You get the impression that FIRE IN THE SEA is a body of work that Shiel was destined to create. It’s a towering blend of Celtic and American folk/country music, which finds her commentating on American cultures and geography from her home in the West of Ireland. Together with the quality and fluency of the tracks on the album, the artwork and imagery on the packaging are charming. The design, paintings and graphics were all carried out by Shiel during the COVID-19 lockdown.

The album opens and closes with the sounds of the sea and fire and sandwiched in between are eleven tracks that explore the country, traditional and folk music of both Ireland and  America. Calling Me Back, with Steve Wickham on fiddle, is no nonsense toe tapping country. Gairm Na Gaoithe (Call Of The Wind) and Nahosdzaan (Song Of The Earth) explore native traditional overtones from bygone times in both countries. Ebb And The Wave and Call Home offer free and easy melodic styles and echoes of Mary Chapin Carpenter surface on Broken Road.

Given the talented music community in Ireland there is, surprisingly, a noticeable lack of music that slots comfortably into the Americana genre. FIRE IN THE SEA most certainly fits that bill. The vocals and musicianship perfectly convey the sentiments and messages in each song, in what appears to have been a labour of love for Shiel. Well worth your investigation.

Review by Declan Culliton

Darrell Scott Jaroso Full Light

Anyone who has attended a performance by Darrell Scott will know what to expect here. It was recorded in the village of the title in Colorado and is an insight into Scott delivering his songs in the purest form of guitar, banjo and vocal. It includes his customary rapport with his audience and their response to his mix of insight and humour throughout. It features a mix of Scott’s songs and covers with a bonus live track, not from this session, that features Patty Griffin, Buddy Miller and Robert Plant on a vocal rich version of the classic A Satisfied Mind.

This is a testament to the power of the song in its rawest state, allowing the listener to find their own reflection and meaning from songs that are given nuance by Scott dexterous playing and singing. Here the words are clear and draw from observation and understanding. Life Is Cheap - “life is cheap but it ain’t free.” (Have You Ever Been Down To) Colorado is a tribute to the state and environs. One Needs An Angel has a central character who is the drinker, the easy touch, the band member looking for something more. Its delivery a Capella underscores that situation and essential loneliness. Fiddler Jones again focuses on the power in his voice, which is accompanied by plaintiff banjo picking. Evangelina is a song learnt in his early days playing whatever venues he could. Written by Hoyt Akton, it lauds a woman he wants to be with and the place that she resides. Hummingbird mentions a guitar that was very special to the father who owned it, only to have it turned into a watercraft - much to the regret of all involved. Who Carried You sees the banjo coming to the fore once more but this time, as befits the songs sense of questioning, the banjo takes a more upfront place in the song. On Life’s Other Side feels very much like an age-old traditional song, a spiritual seeking that was in fact written by Scott and Tim O’Brien and is one that should be well known to the audience who join in on the chorus. Something they also do on Colorado (the second of two song bearing the State in the title - one by Scott and the other from Merle Haggard), which is the final song the set, it includes a fade up of them singing the chorus and emphasising the rapport between artist and audience. 

Jaroso is a further testament to Scott’s skill on all fronts and will be a must for those who are fans of his work through the years. It also can easily serve as a primer for those yet to be enthralled and offer them a large back catalogue to enjoy.

Review by Stephen Rapid

Scott Vestal Bluegrass 2020 Pinecastle 

Scott Vestal is one of the preeminent bluegrass banjo players alive, having played with everyone and won awards including the Steve Martin Prize for Excellence in Banjo & Bluegrass in 2017. From 1995 - 2001, he produced a series of instrumental bluegrass albums for Pinecastle Records that were very popular and influential. This latest record is to mark the 25th anniversary of the first in that series, and again it is produced, recorded, mixed and mastered by Vestal in his own Digital Underground studios in Nashville. This time he has called in a newer generation of all-star players to have fun with some old tunes and introduce some new ones written by both himself and Patrick McAvinue. The latter is currently the fiddle player with Dailey & Vincent and also plays in the Baltimore based Charm City Junction, who combine Old Time with Celtic influences.

The guitar playing is supplied by Cody Kilby, another young player currently wowing audiences in his work with the Travelling McCourys, having formerly played with Rick Skaggs. On bass is Vestal’s brother Curtis and on mandolin is another younger player, Dominick Leslie, who plays with Hawktail and was formerly with the Deadly Gentleman.

There are nods to tradition in covers of Flatt & Scruggs (Foggy Mountain Chimes) and Bill Monroe (Kentucky Mandolin) all of which are fairly true to the originals. Such is the talent and prolificacy of Vestal that he can have tunes like the wonderful Vanleer ‘lying around forgotten about’ since he wrote it in 2004! His catchy Sunday Drive meanders pleasantly until one is suddenly caught up in Big Mon’s manic Shenandoah Breakdown. Patrick MacAvinue is equally talented at composition - his killer tune Five & Dime is a tribute to a venue that hosts a long running bluegrass and Old Time session in his native Baltimore, MD, while the beautiful slow waltz Storm & Desire is a loving tribute to his mother who drove him to all those gigs and sessions in his youth. Moon Mullican’s  Pipeliner Blues is revived here, by request of Curtis Vestal, who gets to show off with a tasty bass solo on this swing number.

Overall highly recommended to all bluegrass fans, not just the nerds among us. More, please

Review by Eilís Boland

Wilderwater One Self Release

If you’re familiar with much of the quality Americana music coming out of East Nashville and the name Aaron Shafer-Haiss does not ring a bell, it’s likely that you’ve already listened to music produced by him or albums he has featured on. He’s played drums with artists both live and in the studio including Margo Price, Elizabeth Cook, Nicole Atkins, Mark Lanegan, Miss Tess, J.P. Harris and Michaela Anne. He has also composed music for Emmy Award winning programmes and Pulitzer Prize winning documentaries.

 The pseudonym he performs under is wilderwater and his five track EP titled ONE is his debut recording under that moniker. On the album Shafer-Haiss undertook all the musical and technical duties and invited a guest vocalist to join him on each track. Interestingly, and no doubt intentionally, each contributor is challenged to stray somewhat outside their comfort zones. The honey voiced Andrew Combs provides vocals on the techno poppy In And Out Of Love and the laid back and open-hearted ballad What I Had Before is sung by Krief. Kyshona Armstrong takes the honours on the full-scale and soulful Rewind and the gorgeous vocals of Erin Rea compliment the dreamy When I’m With You.

Shafer - Haiss produced Shelly Fairchild’s recent single Worry No More and she returns the compliment here with the power ballad Saviour. Delivered with a voice that is as rich in emotion as it is in intensity, it’s a song very much of its time. Had it been recorded twelve months ago it would have been the perfect rally song for Joe Biden’s presidential election campaign.

Rather than a cohesive album as such, ONE is a collection of individual pieces which showcase the composer’s skillset to create songs laden with simple yet catchy hooks. Don’t be surprised if one or two appear in TV advertisements or movie scores in the future.

Review by Declan Culliton

Wayne Graham 1% Juice Self Release

Named after their beloved grandfather, siblings Kenny and Hayden Miles formed the band Wayne Graham back in 2010 and 1% JUICE is their seventh album. Raised in Whitesburg, Kentucky, they wrote the album in their parents’ basement and recorded it at their own Fat Baby Studios in Whitesburg.

Alongside drawing influence from their Appalachian environment, the album shifts somewhere between alt-country and experimental folk modes. The song writing is shared by the brothers and they contribute the bulk of the instrumentation.

The sonically adventurous Tapestry Of Time and Never Die highlight the brothers’ atmospheric layered vocal styling and Bad News To Break reveals a hypnotic and trippy back beat. They crossover into power poppy territory on No Escape and Wilco territory on Pay Phone. Their country roots shine through on the Byrds sounding Passenger Train and bookending the album is the instrumental One Percent Juice.

The prayer like Infinitude finds them at their most daring. It’s a full on and most impressive song that includes horns and strings courtesy of German collaborator Ludwig Bauer. A spirited, spiced up and evocative album, 1% JUICE explores the Americana genre from varying angles. It’s also Wayne Graham’s most ambitious and accomplished work to date.

Review by Declan Culliton

George Shingleton Out All Nighter Rock Ridge

Nashville based George Shingleton’s music career started at a very young age, singing alongside his extended family at church in rural West Virginia. Despite having music all around him throughout his life, he is a relatively late starter as a professional songwriter. He knuckled down at the age of thirty and moved to Nashville to pursue his career. OUT ALL NIGHTER is his second full album and its eight tracks include a mixture of co-writes together with three covers.

Heavily bearded and clad in denim, Shingleton’s appearance is certainly in keeping with the rough textured and gritty material on the album. The content  does not stray too far from the standard country themes of revelling, redemption and righteousness. Country ballads Whiskey And Jesus and the John Robert Durrill & Snuff Garrett cover Misery And Gin fit snugly beside the racier Have A Good Time, A Stone’s Throw Away (From Heaven and Hell) and Guitars, Girls, Green Grass And Guns. The heartfelt I’m Gonna Be Your Man is delivered acoustically. 

The album was recorded at Panfish Studios in Nashville, the home of acclaimed producer and singer songwriter Dave Pahanish, who was at the controls. Pahanish co-wrote No.1 singles for both Toby Keith and Jimmy Wayne and is credited with a co-write on Have A Good Time and also has his own song included with the aforementioned Guitars, Girls, Green Grass And Guns. Shingleton also engaged some big hitters to play on the album. Shane Sanders and Tom Bukovac (Hank Williams Jnr., Willie Nelson) play guitar, Steve Mackey (Dolly Parton, Garth Brooks) adds bass and Cowboy Eddie Long (Jamey Johnson Band) is on pedal steel.

Shingleton does not attempt to reinvent the wheel with OUT ALL NIGHTER. Instead he draws on influences from artists such as Jamey Johnson and Cody Jinks with an album that is laid back, gloriously loose and likely to introduce him to a much wider audience.

Review by Declan Culliton

Rachel Angel Highway Songs Self Release

Conceived during a period when she was extremely unwell and battling an auto immune disease, HIGHWAY SONGS is a five track EP from the country folk singer songwriter Rachel Angel.

The recuperation from her illness included a trip to Mexico City, where her holiday was interrupted when she encountered a 7.1 earthquake a few days after arriving. She continued on her travels, touring the east coast of America and the U.K. The songs that feature on this album are a reflection of those testing and difficult times, which culminated in her relocating from New York to Miami. The album’s title is a reflection on that rollercoaster journey and the material is a reflection on the toughness of spirit, both physical and spiritual, that she endured and overcame.

Her vocal styling is impressive, quirky and falls somewhere between spoken word and song. The playing alongside her voice is perfectly balanced. Aching pedal steel guitar from Dan lead accompany her acoustic guitar to fine effect on Strapped and Mexico. The latter includes timely flashes of trumpet courtesy of Brooklyn’s Clyde Daley. Other noted New York players that contribute to the album are guitarist and keyboard player Sam Owens, bassist Brian Betancourt and drummer Noah Hecht. The album was recorded at Figure 8 Studios in Brooklyn and engineered and mixed by Sam Owens.

Angel gets down and dirty on the bluesy title track, which focuses on her travels and pit stops. Other tracks that impress are the harrowing Battles and the gentle and deeply melodic ballad Bring Me Down, which closes the album.

HIGHWAY SONGS is the work of an artist lifting the veil on some exacting personal issues and facing them head on. However bruised and tender the lyrics may be, the songs succeed in channelling Angel’s inner feelings and creating a most enjoyable and recommended listen.

Review by Declan Culliton

Su Andersson Train Stories Firma Su

Oh, to have the courage of our convictions, to follow through on younger dreams and to break free from social constraints and norms. A pipe dream for many, but in the hands of Su Andersson it becomes a reality and leads to a coast-to-coast American adventure in search of her own particular rainbow.

Her trip from New York to San Francisco, taking in 15 different states, is documented across these ten songs. Andersson writes all the lyrics and plays on all the tracks, supported by a group of eight musicians who bring the arrangements to life. She recorded in Gothenburg, in her native Sweden and also in Hansa studio, Berlin and song titles like On The Train, Parts One & Two, The City Of Dark And Bright Angels, A Bunch Of Flowers In San Francisco and Two Feathers From An Eagle give impressions, experiences, images and evidence of the different focus and memory that formed over this journey of stimulating highlights.

The more sombre tone of The Dark Blue Of Mine hints that not all the days were happiness and light and if the reflections gained on A Fisherman And His Son are to be considered, then “if you don’t catch the sunset, It’ll still be a sunrise.” The use of cello and piano on standout track, Early Morning Alleys, echo the lonely feeling that ‘the sounds of the morning wait just around the corner.’ A fantasy that turned into a reality is something to mark in time and these songs certainly do that and more. 

Review by Paul McGee

Tunng presents... Dead Club Full Time Hobby

When it comes to innovation and experimentation in music then look no further than avant-garde Folk band, Tunng. This is album number nine in a career that has spanned 15 years since their debut release. At the forefront of the Folktronica genre, with varying electronic experimentation and influences running through their work, Tunng are also admired for their openness to new instrumentation and inventing new paths of creativity.

Founding members Sam Genders and Mike Lindsay are the originators in their eclectic mix of traditional Folk and electronica exploration and were joined by intermittent band mates, Simon Glenister, Ashley Bates, Phil Winter, Becky Jacobs and Martin Smith; but they are equally open to inviting guest collaborators to add different influences and layers to their innovative sound. This new album also includes a podcast series and conversations on death and grief. The entire project is composed and produced by Tunng and the both the sweep and scale of the music is hugely impressive. 

In using narrative and commentary from a range of guests, these ruminations on life, death and grief are tackled from all angles, those who are facing the inevitable end, the close friends and family left behind and all attendant groups that are an inevitable part and also touched by the ending of life. Although the topic is mournful there is a regal quality to the melodies and the acceptance that life is a cycle – we come and we go. 

Contributors include philosophers Alain de Botton and AC Grayling, musician Speech Debelle and desert band Tinariwen, Derren Brown, Dame Sue Black (forensic anthropologist), Kathryn Mannix (author and palliative care physician), Kevin Young (poetry editor) and writer, Max Porter. The overall feeling is one of sharing in the eternal mystery of death and the struggle to comprehend what is deemed to be the natural law of things.

Opening with Eating The Dead and the thought that old memories can be erased, almost like consuming a meal to nullify a life lived, matters proceed to the idea behind SDC (Swedish death cleaning) - a practical approach to dying, almost like a spring-cleaning exercise. Scared To Death is a highlight with beautiful melody wrapping around the musings on the inevitable journey, “Seeking something that makes some sense, You’re a whisper in a spectre, in a drawn-out breath.”

A Million Colours grapples with the feelings of disbelief after someone close has gone. The realisation that they will no longer be a part of the physical world but will remain in memory. Woman is a muse on different generations of bodies discovered in archaeological digs and studied for their different stories. Fatally Human ponders on what may lie beyond in the universe and Carry You is a determination that memory will endure. The Last Day and Tsunami deal with the ending of one reality and the beginning of a new way to deal with collective loss. This is a fascinating, ground-breaking project that actually lifts the senses through the deeply resonant music and leaves a feeling of inner acceptance with the whole taboo (until now) subject of which no-one dares to speak. I’m off now to listen to the podcast.

Review by Paul McGee

Donny A I Could Be A Musician Self Release

These eight songs were recorded at Sleeper Cave Records, Northampton, Massachusetts and were written by Donald Anderson (Donny A). He is a young singer-songwriter and this is a debut album that is a very stripped-down affair with simple vocals, acoustic and electric guitar. There is additional piano on three of the tracks, played by Andy Cass, studio engineer and owner, giving added texture to the basic arrangements. 

The lead guitar on Take You Down is well played and the political message included has now come to pass with the recent election result in the USA.

Always On Time speaks of the frustrations of daily commitments and having to fit into a pre-described role. Breaking out of the straight jacket would be the ultimate dream. This theme is also explored in Glass Of Whiskey, dulling the pain of living a restricted life and wishing for more. Again, there is some nice guitar picking and the message of starting over and getting away to ‘find yourself’ runs through the acoustic work of On the Run. 

Better Man is a tribute to his father, who died when Donny was only fifteen years old and it asks about the relationship they could have shared. Like all teenagers growing up, Donny speaks of taking a parent for granted, something that we all could identify with as we mature from boy to man.

Title track, I Could Be A Musician, is about breaking with the 9 to 5 routine and having the courage to follow your dreams. Final song, On My Way, is a look at where Donny grew from in terms of gaining self confidence to put himself out there in front of an audience. 

These self-confessional songs come from the heart and there is no question that if you want something badly enough, then it will become a reality. Donny has worked hard to learn his craft and this is a promising debut. Hopefully he can develop more layers to his song-writing skills as he progresses and add some nuance to his vocal delivery, which can appear somewhat skinny in tone on a few of these tracks. It’s never easy to record in a stripped-down fashion and there is no room to hide without the added colour that a band can bring to both melody and song dynamic. Having the courage to debut these eight songs is a big first step and it can only lead to greater experience and opportunity into the future.

Review by Paul McGee

New Album Reviews

William Prince Gospel First Nation Six Shooter

First Nations are the predominant Indigenous peoples in Canada, south of the Arctic Circle. They were its first inhabitants and the provinces of Ontario and British Columbia are home to many of the First Nation bands of Government. It is the Interlake region of Manitoba that is home to William Prince and he has recorded this album of Country Gospel songs, as much in honour of his Father and the upbringing that shaped his adult years spent playing music, as it is dedicated to the old traditions that have been the solid rock of faith in the Prince Memorial Chapel - a one-room, wooden building that has stood in Peguis First Nation, Manitoba since 1929. 

Prince’s father was a preacher who released a few albums and who “was as much in service of Jesus as he was Johnny Cash and Charley Pride.” The ten tracks included here are a mixture of old traditional songs and new tunes that celebrate the spirit in each of us, whether manifest in a belief in Catholic dogma or whether rooted in a strong moral code. The title track is a fond memory of Prince and his father spending time at Fisher Bay, a place where “Jesus himself might have lived, along with all our sins.”

Higher Power is a song written by Bob Norman from Saskatchewan and deals with the power of faith and belief to overcome an addiction to alcohol. When He Cometh is a traditional Country sound with fiddle taking the melody and lifting the song into an up-tempo celebration. The Charly Pride song, All His Children, is a fine example of the excellent vocal ability of Prince, who sings with a pure tone, both clear and strong.

This One I Know was originally written by Prince’s father and When Jesus Needs An Angel is a slow arrangement that soothes the spirit.  In a similar vein is Just a Walk With Thee, with some fine pedal steel colouring the warm harmony vocals and keyboard sound. Send the Light has a pacier tempo with a celebratory message to practice tolerance. 

Prince himself speaks of “the divide between the inherent culture and Christian leanings of First Nations people. In actuality, the very singing of these songs and belief in a Lord and Saviour points at the success of a plan to extinguish Indian identity.” However, his message is one that crosses this divide and reaches out for inclusion of all spirituality and co-existence together in harmony. The title of the final track, Love Don’t Ever Say Goodbye, sums it up perfectly. At a time when trouble abounds, this simple but powerful message is something that can bring a healing balm to those who listen.

Review by Paul McGee

Jennifer Castle Monarch Season Paradise Of Bachelors

This is the sixth album released by Canadian artist Jennifer Castle who resides in Port Stanley, Ontario, just a few hours outside the city of Toronto. She has moved between collaborative projects in dance, documentary film, visual arts in her musical output and this new album sees Castle perform and write all the music on these nine songs.

Her decision to record the album, mainly at her home, is seemingly contradicted by the liner notes speaking of recording in the ancestral territories of native inhabitants. Whether First Nations, Métis, or Inuit populations, Castle clearly displays her interest in both national history and mother nature. The native people and tribes of Canada are culturally-related, ethnic groups who form part of the many indigenous territories that protect and recognise their culture, which spans thousands of years. 

She also makes reference to the city of her birth, Mississauga, which is situated on the shores of Lake Ontario. There are strong images of her natural environment running through these songs with references to the moon, lakes, water and waves present in the lyrics and painting pictures of her inner muse. Her current home is on Lake Eerie and her use of natural sounds like the wind blowing or crickets at night give the project a real D.I.Y. authenticity.

In addition, the album title gives a clue to the transient nature of all feelings, in that the ability to try and hold onto beauty or indeed, people, is at best a temporary harbour from the enduring reality of being alone within one’s own limitations. The monarch is a butterfly that is instantly recognisable from its bright colour pattern and butterflies are seen as a symbol of foretelling and spiritual transformation, a symbol of rebirth, with the image of a Monarch butterfly taken as a sign that you are on the right path to achieve your goals

Castle has a fragile vocal delivery, both meditative and whispered. She sings of everyday observations and the detail in small things like getting wet in the rain (NYC), the changing colours in nature (Moonbeam Or Ray), city alleyways and waterways and the glow of moonlight on a quiet night (Veins). 

She sings of sadness on Purple Highway and “the closest star and its living light, can’t make it right.” On another track, I’ll Never Walk Alone, she ponders the process of creating something and unfurling it to the world, “And I walked to the front of the stage, and I put out my new plays, I laboured all night for them, laboured all day.”

This feeling of being vulnerable and exposed is explored also in Veins, how memory is obstinate in the face of change and of wanting things to move beyond current emotions, “When I’m feeling through, When I’m feeling used up, and this city don’t change us, as fast as it should.”

The calm and reflective instrumental that opens the album, Theory Rest, is a healing balm that also ends with the final track, Broken Hearted, and the message that “All the time that passes in between us, will bring us nearer to finding peace within.” 

Castle produced the album with Jeff McMurrich and her use of plaintive harmonica, together with simple acoustic guitar or piano adds a wistful quality to everything. Stripped bare, contemplative songs, just shy of 29 minutes, beautifully lean and leaving a vapour trail of passing time, transient insight and enduring memory. 

Review by Paul McGee

Scott McClatchy Six Of One Self Release

This fifth release from Philadelphia veteran Scott McClatchy has picked up on a career that started as a key member of local act, The Stand, continued as a solo artist with four releases since 2000 and successfully beat a battle with cancer.

This album contains six songs written by Scott, including the superb opener, Rock and Roll Romeo, a great slice of old fashioned, driving Rock with brass section and keyboards to the fore and a strong statement of things to come.  He sings with a confident vocal style and his studio band of six musicians support his songs with excellent playing and energetic performance. 

Covers of Midnight In Memphis (Tony Johnson) and Heat Treatment (Graham Parker) have a soulful urgency that is reminiscent of Southside Johnny and the Asbury Dukes. Wedding Day Dance is a personal statement that references his cancer scare and talks about surviving to see his son’s wedding day; it’s a country tinged arrangement with fiddle and guitar creating a nice melody on top of the easy rhythm. Break Even is another self-penned song that looks at past experiences along the road and counts his blessings in light of the turns and twists that life takes. 

Suite: Laura Blue Eyes is written by Scott and dedicated to his wife perhaps, reflecting upon their long-term relationship. It’s written along the theme of the Stephen Stills classic, Suite: Judy Blue Eyes and has an interesting change in tempo, mid-song, with a blues motif highlighted by some fine guitar and fiddle, before the upbeat rhythm kicks back in.

While covers of the Steve Forbert song, Grand Central Station and another, Summer Of ’89, (Butch Walker) don’t work as well as others included here, there is no doubting Scott’s playing prowess and the invited guests to the project include Eric Ambel, Scott Kemper and Tommy Womack, among others. The High School horns add warmly to the overall sound and the great workout on Roving Eye is a good example of this. 

Another cover, The Band’s Ophelia, is the highlight of the project, which was recorded in six different studios. Credit to all involved as this is an enjoyable listen but next time, perhaps cut back on so many cover versions as Scott’s original songs are strong enough to stand on their own.

Review by Paul McGee

CS Nielsen Pilgrims Kørfirs 

A Danish born and based singer who has been exploring his own path in roots music through previous albums, Nielsen has made what is arguably the best album of his career with PILGRIMS. It is not one for the casual listener though, as the topics here are laced with metaphorical and literal references to some deep and dark subject matter. Often with biblical or historical themes, these songs are given an equally atmospheric and appropriate production. That task was handled by Johnny Stage, a guitarist and artist in his own right, One track Silent Hour was produced by long-time associate Michael Lund. Both Stage and Lund are multi-instrumentalists who add their talents to the album. As do others in the team including Jesper Folke Olsen on accordion - another player who has joined Nielsen in the past. These collected players use many different instruments and soundscapes to deliver an effective but often minimal and haunting layers of sound to enhance the vocals effectively.

However, it is the lyrics and cavern deep voice of Nielsen that are the focal piece of this album. The music swirls around this forceful yet human centre. Though Danish, Nielsen’s diction is clear and forceful and as he sings and writes in English there is a universality to his delivery. One of the songs Sinner Man is the sole co-write and that is with the singer/songwriter Kaia Kater. It is a distinctive take on a song which is based on a traditional American spiritual.

The opening lyrics of the first track will give you a little glimpse into the nature of the writing. “We made it out of Sodom and Gomorrah / We stayed afloat all through the mighty Flood / But we still lie and cheat we beg steal and borrow / At times we even shed holy blood.” There is something of an elemental power in the way these songs unfold, with the music adding much to the feel of the songs. While it is an album that should be played through from start to finish, there are songs that immediately resonate, such as Holy Ghost Building. It’s a song that details the everyday “Gotta get them kids to school in time / Your coffee cup clinks as you’re leavin’ / But you stop and turn when your eyes meet mine / And a last-minute kiss you’re stealin’.” But also, in other verses there is the doubt and discontent of strained relationship “On the TV another old film noir / Full of lust and greed killing and lying / The door’s closed to the next room where you are / So I can’t hear if you’re asleep or still crying.” 

It would be easy to highlight some notable writing on many of the other songs or the way the instrumentation is used to underline the overall path these songs travel on. There is something that inherently offers the listener the glimpse of redemption and hopefulness, that is the constant undercurrent in these parables of life. The song Every Day I Aim (But Most Days I Miss) perhaps sums up that fact that we all strive for but don’t always make things turn out the way we hope.

In many ways the tones here are ancient and the themes run through the ages. The execution takes that into account but does so in a way that is contemporary and current. Nielsen is as much a pilgrim as those he writes about, he is seeking a truth that is often impossible to catch but as he does so he opens the door to debate and discussion.

There are eleven songs here with a 50 minute plus playing time, which will have those who have embraced this journey looking for more. Those that love the light-hearted three-minute ditty would do well to look elsewhere. For others this is a shining light of roots-based music from a region (sometimes lumped together as Nordicana) that is indeed graced by many fine artists, who are producing albums that fully deserve a wider audience for their skill and merit. CS Neilsen is one of those to watch.

Review by Stephen Rapid

Rick Shea Love & Desperation Tres Pescadores

Like a great many artists whose movements have been restricted by the coronavirus pandemic, Rick Shea recorded a new album with a group of musicians who could each use a home studio to add their parts. The end result belies the method of its recording and is a welcome addition to Shea’s canon of fine albums, which have established his standing as both a songwriter and singer. When you add to that his undoubted instrumental skills, it is all the more puzzling as to why he is not held in higher esteem. He is up there with Dave Alvin, in whose band The Guilty Men he has played. Alvin has called him “an incredible and intelligent musician … with a voice I’d kill for.”

A sentiment easily echoed for this, his 12th album, given the songs presented here. His fellow musicians here include Jeff Turmes and Dave Hall on bass, drummer Shawn Nourse, Phil Parlapiano on accordion, with a small number of additional players also involved outside these core players. Each is credited with their own studio location and it is another pointer to how music can cross over from different locations with technology, in way it couldn’t in the past. However, Shea notes that though the results speak for themselves, he still misses having the musicians together in a single studio at the same time.

Ostensibly Shea’s theme here is ‘blues’ but true to form, it is filtered through his distinctive personality and therefore sounds more of an individual take than anything more generic. The use of accordion on many of the cuts for instance, gives it a somewhat different feel than might be expected in the blues in general.

Add that to Shea’s distinctive vocal and his ability to put a story across and you have something that is for his fans but also a perfect place for any newcomer to start getting acquainted with this Californian stalwart.

The opening Al Ferrier written song Blues Stop Knockin’ At My Door was recorded by Lazy Lester and is given an up-tempo treatment here, with a hint of rockabilly in its delivery. The final song Texas Lawyer is a song that is a favourite of Shea’s in that he has recorded it on two previous albums. Shea felt that, aside from the late Chris Gaffney’s contribution on the original, it never quite worked out as he would have liked. So, this may be considered the definite version. Like a number of his songs, it has a nice border feel that is enhanced by accordion and trumpet. Something that is equally apparent in Juanita (Why Are You So Mean?). Big Rain Is Coming’ Mama features Shea on steel guitar, another instrument on which he is noted for. There is a heartfelt expression in A Tenderhearted Love - a song that he wrote for his wife, whom he notes has had to deal with the vicissitudes of being married to a musician all these years. There is a personal angle to a number of the other songs also with the title track being a reflection on his parents and he draws on that close observation (often seen from close to home) for some of the other material. Nashville Blues offers his take on not moving to Music City and what might have been - for good or bad.

The World’s Gone Crazy is both a warning as well as an exhortation to hang on to what you have in these strange times. Good advice and given in the context of some rewarding music. All in all, this is an album that has been made with care, attention and love, in a time that has been testing on many levels but Shea has given it hits best shot and it’s a hit.

Review by Stephen Rapid

Jeffrey Halford & The Healers Beware of Worthless Imitations CSC

This album does what it says on the cover by giving you 20 songs from 20 years from the roots rocker and soul/blues inflected country journeyman. This album appears to be a European release with a fine collection of songs that cover his songwriting prowess and a variety of moods that showcase his and the band’s affinity for big sounding rock ’n’ roll.  Fellow San Francisco resident Chuck Prophet joins him for two tracks, Radio Flyer and Lost And Found. Another guest is Augie Meyers of Doug Sahm fame who appears on two tracks also and brings his distinctive Vox Continental sound to In A Dream. While Louisiana Man is a bluesy harmonica enhanced lament for that state in post flood despair.

Other songs are defined by some vivid storytelling of the hard sides of life, love and lunacy. Mexico recalls the need to remain in that country and what it has to offer. Rainmaker and some of the later material sees the maturity in Halford vocals and is taken in a more assured groove that allows space within the structure. Another song of place is North Beach which leans more to his blues side. Two Jacksons by way of contrast, favours his country soul approach to good effect with a potent vocal over the fluid backing.  

A standout here in terms of sound, vocal and story with its menacing slide guitar, is Elvis Shot The Television, which details the King’s aversion to a certain image on the RCA set, which was on the receiving end of his displeasure. However, all was then smoothed by Col. Parker. The final 3 selections are from Halfords most recent and career best album WEST TOWARD SOUTH. These include the title track, Deeper Than Hell and Sea Of Cortez. They have a diffused film noir soundtrack quality that is enhanced by Halford’s live-lived vocal. That album is a series of songs that build up a scenario around the relationship and trials of two brothers Ambrose and Cyrus.

There are, of course, allusions to others (some better known artists as well as some not so) in Halford’s writing and sound but that doesn’t detract from what he has to offer here. The result is an entertaining overview of Jeffrey Halford and The Healers through the years. They may not be known on a wide mainstream media level but that are equally not worthless imitations but rather solid gems to discover.

Review by Stephen Rapid

Molly Parden Rosemary Self Release 

Nashville based artist Molly Pardon has been much sought after as a backing vocalist and harmony singer since relocating to the Music City from east Atlanta in 2013. Born and raised in Jonesboro, Georgia, her initial exposure to music was solely from singing hymns in church. A gifted vocalist, her voice has featured on over fifty albums since moving to Nashville. 

Despite her well-earned reputation, her own solo recordings include only two full albums, TIME IS MEDICINE from 2011 and WHY WORRY: A COLLECTION OF COVERS from 2019. She also released several singles between the recording of both albums.

Like many other artists deprived of the opportunities to tour and perform live in recent times, Pardon has opted to release two mini albums, rather than one long player. ROSEMARY is the first of the two and reflects on both the heartache of lost love and the challenges of new beginnings. There’s nothing hurried about the material which offers a calming, sometimes sad, but always enchanting listening experience. Her vocals are more composed and relaxed than on previous recordings, giving the impression of sharing her inner thoughts directly with the listener.

Given that the songs contain such personal inner feelings Pardon explains their origins, :”I didn’t want to write these lyrics, they forced their way onto my paper. I hated the reality of them at the time, but now I don’t know what I would do in their absence.” I Know You Can and Who Are We Kiddin’ consider a failed relationship with a vocal style that borders on tearful. On Kitchen Table Parden acknowledges her predicament and prepares to move on.

 The album is a departure for Parden, entering lo-fi alt. country rather than Americana. It may prove to be a one-off venture or an indication as to where she intends to travel artistically in the future. Either way, deeply personal as it may be and putting closure on a relationship, it showcases a gifted songwriter and exquisite vocalist. 

Review by Declan Culliton

Matt Owens Scorched Earth Self Release

Co-founder of U.K. Indie Folk band Noah & The Whale, Matt Owens has kept his shoulder to the wheel since the band disbanded in 2015. He was part of Thea Gilmore’s touring band on her hugely successful tour in support of her album SMALL WORLD TURNING. More recently has collaborated with fellow U.K. artists Robert Vincent and Elles Bailey, both of whom appear on his latest release.

SCORCHED EARTH, self-produced by Owens, was recorded at Airtight Studios in Manchester and Mizpah Studio in Bath and follows his well received 2019 debut album, WHISKEY AND ORCHIDS. Rather than repeating the more acoustic and piano steered sound of its predecessor, Owens has experimented with and included bass organ pedals, synthesisers and synthetic percussion this time around.  The outcome is a sound that was predominantly marketed in the 80’s and 90’s as Heartland Rock, instead of slotting into that overflowing genre Americana.

The standout tracks Radio King and Heal Up Alright both tip their hat firmly in the direction of Tom Petty. There is more than a fleeting nod to Springsteen on the catchy When the Stars Align and MacCurtain Street is a tender reflection on the homeless unfortunates encountered by Owens on the streets of Cork.

Hungover In New York reads like the aftermath to Fairytale In New York and the closer Last Day Of The Festival echoes the after effects of a euphoric few days. The album is packed with impressive streamlined riffs and Owens brooding basslines and despite a slight variation in musical direction, continues where his last album left off.

Review by Declan Culliton

Bella White Just Like Leaving Self Release

Hailing from Calgary, Canada, JUST LIKE LEAVING is the debut album from Bella White. What is particularly impressive about the album, notwithstanding White’s glorious voice, is the stripped back instrumentation that accompanies her vocals. Barely out of her teens, she has ignored market trends and recorded an album that combines all the key elements of bluegrass and traditional country. White’s family were originally from the Blue Ridge Mountains of Virginia and on the strength of this recording, the music from that region must be flowing through her veins.

The album was produced by master fiddler Patrick M'Gonigle, who holds a B.A. from Berklee College and is vocalist and fiddler with The Lonely Heartstring Band. The musicians are regular players with White and that familiarity shines through on both their technical ability and M’Gonigle’s stellar arrangements. Those players are Julian Pinnelli (fiddle, backing vocals), Reed Stutz (mandolin, backing vocals) and Alan Mackie (bass). The album was mixed at Gilford Sound Studio in Vermont by Grammy award winner Dave Sinko (Punch Brothers, Bela Fleck, Molly Tuttle, Mary Gauthier). Credit is due to all involved, as the vocals and instrumentation are all impeccably fused throughout.

Rather than visit fictional events of the past, the writing examines more intimate issues close to home. Growing pains, failed relationships and misguided decisions all feature. Relocating to Boston from Calgary and leaving the comfort of the family nest behind appears to be the stimulant that sparked White’s thought process and formation of much of her writing.

Crystal clear vocals, both lead and backing, coupled with crisp mandolin kick off the album on the opener Gutted. It tells of loss and the need for escape and rebirth from the perspective of a young woman dealing with real life issues. Similar coming of age issues are addressed on Broke (When I Realized) and Do You Think About Me At All. White is equally at home with a country ballad as she is with the more bluegrass tinted songs. Closing track Now She Knows What It Feels Like and Just Unwanted are prime examples of an artist mature beyond her years.

There may be a degree of repetition on a number of tracks. However, what can’t be denied is a hugely talented young artist with the potential to establish herself as a leading light in bluegrass and traditional country. ‘I want people my age to hear my music, and think, actually bluegrass is kind of cool’ says White. Hopefully, with the promotion she deserves, she’ll bring a young audience of supporters with her on that journey. She certainly deserves to on the basis of this most impressive debut recording.

Review by Declan Culliton

New Album Reviews

The Whiskey Charmers Lost On The Range Sweet Apple Pie

Detroit alt-country roots rockers The Whiskey Charmers bring us on a thoroughly enjoyable road trip across the gamut of americana on their third self-produced release. The core of the band is made up of Carrie Shepard (vocals and acoustic guitar) and her partner Lawrence Daversa (electric guitar and harmony vocals). Shepard, as well as being the possessor of a powerful rich voice, writes all the material. Daversa’s twangy and incisive electric guitar, at times rockabilly, at times classic country, plays like a second voice and punctuates her vocals to great effect. The third weapon in the band is drummer Brian Ferriby, whose powerhouse playing contributes effectively to the overall atmosphere, whether that be gothic country, blues or rockabilly. Bass duties fall to either David Roof or Wolf.

Galaxy finds us in outer space, exploring loneliness and solitude, while the very funny Super 8 is an advert for cheap motel living, with the immortal line ‘And if I wake up feelin’ awful, I might just make myself a waffle’. The cliched storyline of the outlaw running out on his woman is turned on its head in the outstanding Crossfire, where she eventually rides off into the sunset without him, to the sounds of a memorable searing guitar solo from Daversa. Shepard has her ‘boots on the dash’ in Tumbleweed and similarly doesn’t leave any doubt as to her intentions in Dirty Pictures.

This third album should expose The Whiskey Charmers to the wider audience that they deserve. Long may they ride the range.

Review by Eilís Boland

James Steinle Cold German Mornings Self Release

 Although six of the songs were written in an eight-hour period one day in September of this year, COLD GERMAN MORNINGS is a body of work and concept album that Steinle has been living with since childhood. Steinle’s ancestors immigrated to Texas from Germany in the 19th Century and in the process of researching his heritage, his father travelled to Germany and tracked down some of his distant relatives. As a result, childhood holidays were spent with relatives in Germany and Steinle was also schooled there for eighteen months as a teenager. Fluent in the language, he was also drawn to the creative German Expressionism, which also inspired this album.

2020 has been a busy year for the Texan born singer songwriter and this is his third recording of the year. February saw the release of WHAT I CAME HERE FOR, produced by Bruce Robison and was followed in March by Steinle’s self-produced THE MAN FROM THE MOUNTAIN. The bones of twelve tracks on COLD GERMAN MORNINGS were recorded acoustically in sequence by Steinle at Signal Hill Recording in Austin, with background vocals added by singer songwriter Juliet McConkey. 

Former Band of Heathens member Scott Davis, who had previously collaborated with Steinle, took these recordings and from his own home added the majority of the instrumentation on the album. Davis also engaged Band Of Heathens drummer Richie Millsap, who added percussion from his own home studio in Los Angeles and both Sam Kossler (pedal steel) and Jordan Kiener (clarinet) also contributed remotely.

Given its beginnings it comes as no surprise that the album is more experimental than Steinle’s previous work. It delves into episodes, events and players, both present and bygone from his ancestors’ homeland and from his home state of Texas.

The album opening track Die Erste, begins with echoed vocals and gently plucked acoustic guitar, erupting atmospherically mid song. The jaunty title track offers a slow rolling groove, with backing vocals and hand claps from Juliet McConkey.

 Moving on both physically and metaphorically, the calming In Another Town dreams of a new beginning. The more upbeat drinking song Ein Schnapps, Ein Bier dances along with catchy T-Rex sounding rhythm before things go all jazzy on Zugspitze Boogie 16. Drunken Moon is a piano-led ballad that details the fading memories of a loved one lost at war. The standout track is The Lusitania. Beautifully adorned by strings, it features a survivor, telling the tale of the British Ocean liner which was sunk off the coast of Ireland in 1915 by a German U-boat, killing over one thousand passengers and crew. A somewhat melancholic mood prevails on Christmas At The Brothel, which touches on loss, regret and guilt.

Appropriately bookending the album is Steinle Jamboree, which recalls festivities and merrymaking in the mountains of southwestern Germany. Delivered in both German and English, it raises a glass to ancestors long since gone but not forgotten.

A true Texan troubadour COLD GERMAN MOUNTAINS is a body of work actualised by Steinle for personal reasons, rather than for any market. Each track is a jigsaw piece of his memories, both actual and imagined, as he interconnects times long since past with the present day.  It marries the ancient and the modern, travels from Texas to Germany and back again, forging both contemporary and traditional country roots. It’s a wholly heartfelt album, well worth your attention and, most importantly, needs to be absorbed in one sitting.  

Review by Declan Culliton

Kacy & Clayton and Marlon Williams Plastic Bouquet New West 

Despite witnessing Marlon Williams join Kacy & Clayton on stage at The High Watt at AmericanaFest in Nashville last year, I really did not see this collaboration coming. Both have gifted us with memorable recordings in recent years. New Zealander Williams’ MAKE WAY FOR LOVE from 2018 and 2017’s THE SIREN’S SONG from the Saskatoon cousins Kacy Lee Anderson and Clayton Linthicum, particularly come to mind. When we spoke with Kacy a couple of years back, she described her ambitions as simply ‘’ to keep making an album every couple of years and touring to support it’’. Notwithstanding the lack of opportunities to perform live, they have maintained that dedication to recording, having released CARRYING ON in 2019.

The hook up with Marlon Williams was birthed via social media and built around a mutual admiration of each other's work. There has always been a charming innocence and simplicity to the music of Kacy & Clayton, as they recreate a sound that marries their devotion to both traditional American folk music and the late 60’s U.K. folk scene. Such was the impression made on Jeff Tweedy when they supported Wilco on tour that he invited them to The Loft Studios in Chicago, where he recorded and produced both THE SIRENS SONG and CARRYING ON. Marlon Williams strayed from the more traditional folk/country sound of his debut self-titled album with MAKE WAY FOR LOVE, veering more in the direction of classic singer songwriter.  

The distanced contact between New Zealand and Canada resulted in songs being shared between the continents via email. It eventually culminated in the album being recorded at The Ghetto Box Studio in Saskatoon and Creative Workshop in Nashville. The production duties were shared by Kacy and Williams. The marriage of their vocals is both subtle and soothing, with Kacy’s youthful and beautifully pitched voice contrasting with the more mature baritone style of Williams.

The album does not deviate greatly from the template used on previous Kacy & Clayton recordings. However, it is enhanced by the vocal input by Williams and includes a Porter and Dolly style country duet on Old Fashioned Man, complete with obligatory pedal steel and violin. Although it’s Kacy’s vocals that dominate, Williams does take the lead on I Wonder Why and contributes a previously recorded song by him named Arahura. The latter takes its name from a river on the South Island in New Zealand, renowned for its greenstone content. The grizzly title track is derived from a roadside memorial, following a fatal car crash that took the lives of three young girls.  Last Burning Ember further emphasises the quality of their shared vocals alongside some punchy guitar from Clayton and equally impressive is the Byrds sounding Your Mind’s Walking Out.

Notwithstanding her sweet vocal and youthful guise, you get the impression that Kacy is calling the shots and very much in control on the album. She is also blossoming as a songwriter, which is much in evidence throughout.  Williams’ input and the customary excellent musicianship of Clayton add the finishing touches to what is a glittering listening experience by two maturing acts with endless potential.

A highly recommended album indeed.

Review by Declan Culliton

Malojian Humm Rollercoaster

 Stevie Scullion (aka Malojian) has always had the knack of composing clever songs, loaded with melody, clever lyrics and his latest creation HUMM once again scores on all those fronts. He also cherry picks the personnel he works with, and behind his often self-effacing and shy exterior is a strong-willed artist committed to challenging himself to deliver music of the highest standard.

He sought out Steve Albini to produce his 2016 album THIS IS NOWHERE and carried out the production duties himself a year later on LET YOUR WEIRDNESS CARRY YOU HOME. On this occasion he has called on the services of Jason Lytle to co-produce, Lytle being an artist much loved by Stevie for many years. 

Malojian performed at a standout double bill show with Jason Lytle at The Set in Kilkenny during The Roots festival in 2019. The afternoon’s event was in memory of Willie Meighan, who was a staunch supporter of Malojian, spreading the word far and wide and releasing his debut album on the Rollercoaster Record label. Willie had passed away the previous November and the gig was, understandably, quite an emotional experience with moving solo sets performed by both artists.

After the show Stevie revealed that the two of them would be working together on his next recording. The album was subsequently recorded both at a distance between Ireland and America, coupled with a week in the studio. Alongside Lytle, other notaries that contribute to the album are Gerry Love (Teenage Fanclub), Joey Waronker (REM) and Jon Thorne (Yorkson/Thorne/ Khan). A reflection of the capacity in these times to seamlessly create music with inputs from both sides of the Atlantic is evident in the album’s title. Foilhummerum Bay on Valentia Island, off the coast of Kerry, is the entry point where over two thousand meters of transatlantic cable was laid in 1912, and which terminates off Newfoundland Island in America.

The album is a package of songs loaded with trippy melodies that bring to mind the classic experimental pop of Syd Barrett led Pink Floyd and The Beatles in their LSD influenced period. Each song tumbles seamlessly into the next, from the dreamy opener And The Thief Came In - apparently inspired by a less than conscientious builder contractor - to the Bowie sounding closer Trampolining. The beautifully constructed Golden Age and Tsundoku(the art of buying books and never reading them) are immersed in synthesizers, tipping their hats in the direction of The Electric Light Orchestra.

The gentle Burns offers comfort and reassurance, as if direct to a child from a loving parent. The equally hushed Someone K New also reveals the composer’s wherewithal to shift between musical modes.

The marriage of Malojian and Lytle works spectacularly well on HUMM. It’s also further evidence of an artist growing in confidence and maturity with each subsequent album.

Review by Declan Culliton

Sunny Sweeny Live At The Machine Shop Studio Self Release

Playing this sixty-minute album had me head scratching and wondering how East Texan Sunny Sweeney isn’t a household name. Over the past fifteen years and prior to this recording, she has released four standout albums and over a dozen singles. Bob Seger invited her to open for him on his farewell stadium based tour and if there’s any justice that mass exposure should help to bring her music into the lives of a lot more punters.

Sweeney boasts a striking vocal ability that works every bit as well belting out raucous outlaw country or traditional cry in your beer ballads. She’s both sassy and classy and this album features her in both modes across the seventeen tracks and three intros on offer. The icing on the cake is the full-blooded band that adds ripping guitar, fiddle and pedal steel in all the right places. 

Brimming with positive energy, Sweeney’s dips into her back catalogue and also serves up some well selected covers. Top of the pile is a steaming version of the Don Williams classic Tulsa Time. She also breathes new life into Stevie Nicks’ After The Glitter Fades. Tim Carroll’s If I Could, which featured on Sweeney’s debut album HEARTBREAKER’S HALL OF FAME, also features.  Her own spiced up country songs Bad Girl Phase (a co-write with Brandy Clark), Tie Me Up and Body In a Boxcar never sounded better and she also includes the truly touching ballads Grow Old With Me and Pass The Pain.

Fortunately, and unlike many of her peers, Sweeney has never attempted to reinvent herself and has stuck to the template that works so well for her. She’s currently working on her next studio album due for release in 2021. In the meantime, this splendid recording should be on the radar of any lover of outlaw country music.

Review by Declan Culliton

Will Johnson El Capitan Self Release

Yet another fine example of the quality recordings that this artist has been creating since his debut solo release in 2002. Johnson enlisted musical buddy, Britton Beisenherz, to assist with the production on these twelve songs and the album was recorded at Ramble Creek studio in Austin, Texas. Beisenherz also played organ, Casio SK-1 keyboard, piano and samples. He was joined by Thor Harris on vibraphone and bass clarinet, plus Lindsey Verrill on cello and vocals. 

Will Johnson plays acoustic guitar and his gentle, whispered vocals resonate throughout these songs with a sense of lonely contemplation, existing in their own space and time. Johnson is not a well-known artist in the general music media but has always worked prolifically and quietly in his understated way of creating intimate and sparse music. Over the years, he has been associated with a number of other acts, such as Centro-Matic, South San Gabriel and the Undertow Orchestra, together with many collaborations, including Jason Molina, Monsters of Folk, New Multitudes and Overseas.

This new solo album was recorded over recent months and includes both old and new songs that reflect Johnson’s state of mind during the pandemic. Starting with a short instrumental, Teruel, (a high-altitude town in the mountainous Aragon region of eastern Spain), the simple guitar melody sets the tone for the rest of the album with an intimate sense of contemplation, reflection and musical range. Los Cuervos follows and a song that references deceit in a relationship and love gone wrong, all wrapped in the gentle sounds of acoustic guitar and keyboard.

Ocean Sea follows this theme, with minimal instrument sounds and feelings of being lonely in a strained relationship, closing with a plea to return home. Bloody Boxer looks at insecurities and feelings of anxiety with a fragile, hushed air to sooth any sleepless, tired feelings.

The title track references El Cap, a rock formation in Yosemite National Park and the permanence of nature against our human foibles and whims. It echoes the recent November elections in America and the price to be paid for all that divides people from their dignity. Bricks To Block the Raid tackles the fires of change, fears for the consequences to our actions and our blindness. 

Dear To the Assassin references separation, leaving and unresolved feelings, “And it took a while to know you, And even still it sometimes moves, To something not quite settled, To something less than true.” 

Trouble is about an old friend, out living her life and it also references today’s need for endless distraction “So I wake up in this parking lot and raise up all these blinds, To a World that just ain’t talking much at all, Just consumed by anything that has a password or a screen and the place has lost its sympathetic core.”

Goodbye Absecon (a city in Atlantic County, New Jersey) sings of a midweek gig, pre-lockdown, being on the road and thinking of home while Inclined is a track about living in uncertain times and wanting to shut out the noise.

I Am Back At the Window Again is about acceptance and living a simple life, the quiet calm in nature, memory and time passing. Final track, St. Anthony’s is another instrumental - a gentle, reflective acoustic piece and an appropriate ending to this journey that bears insight into the deep well of Johnson’s artistry. There is a sweet melancholy running through these songs, never the sound of depression, but rather a case of a knowing subtlety in all its reflective reverie. One to treasure. 

Review by Paul McGee

The Mountain Goats Getting Into Knives Merge

It’s fair to say that the Mountain Goats have treaded a steady, if at times, meandering path since their formation back in 1991. Original founding member, John Darnielle, is still at the helm and has endured over the years, always retaining a singular vision for the sound that he wanted to create across some 19 album releases to date. 

It was 1994 before the debut album surfaced but that hides the fact that Darnielle employed a lo-fi approach to recording and had created many cassette-only releases in the years leading up to their ‘official’ full length debut. Over time, past band-members (approx. 20 in total) have occasionally circled back around to collaborate with Darnielle on various offerings and his influence among music contemporaries cannot be overstated. The band employed an Inde/Folk-Rock sound that often veered into other areas as Darnielle used his fertile imagination to experiment with different ideas and topics, such as professional wrestlers, Goth music devotees, media game players and much more. 

For this release, he has returned to producer Matt Ross-Spang, who worked on the last album, In League With Dragons (2019). This latest project runs just short of an hour in listening time and includes core band members, Peter Hughes (bass, backing vocals), Jon Wurster (drums) and Matt Douglas (flute, saxophone, clarinet, guitar, keyboard, backing vocals).

The 13 tracks are a mixed bag of sounds with the poppy opener, Corsican Mastiff Stride, setting the pace with a nice drum shuffle and upbeat arrangement. Get Famous follows with a bright commercial sound augmented by horns and an almost Bowie feel to the delivery;” You were born for these flashing lights; You were born for these endless nights.” 

Picture Of My Dress is an image that paints a truck stop scene and a salutary warning, while the intriguingly titled As Many Candles As Possible has a heavy beat, led by full-on keyboard, guitar and rhythm attack. Tidal Wave slows everything down, takes a breath and rests on a very attractive melody.

The Last Place I Saw You Alive has a poignant vocal delivery and a slow, late night jazz feel to the arrangement, “It’s only now and then you come to mind, There’s a trillion things you left behind.” 

Both The Great Gold Sheep and Rat Queen deal with aspects of success and revelling in the notoriety that it brings. The band play very creatively and bring the arrangements to life with a strong interplay and tight-yet-loose dynamic. A number of the songs are somewhat obscure in the lyrical meaning but what cannot be open to interpretation is the superb playing and musicianship of the band, plus invited guests.

Other players on the album are Bram Gielen (piano, guitars, keyboards), Chris Boerner (guitars), Charles Hodges (Hammond B-3), Sam Shoup (Mellotron), Tom Clary(horns), Reba Russell and Susan Marshall (backing vocals). The music was recorded in Memphis at the Sam Phillips Recording studios.

Final song, the title of the album, sums up the unique personal search of John Darnielle, the artist, “I hit the cul-de-sac on the spiritual path, Retraced my steps back home.” There is one thing for sure, listening to a Mountain Goats record does leave you somewhat changed and richer for the journey. Having walked in the world of this creative songsmith you want to return and pick apples in the orchard again.

Review by Paul McGee

The Furious Seasons La Fonda Stone Garden 

This is a very engaging album and one that comes highly recommended. The Furious Seasons is a trio of musicians that have been playing together for many years now and their understanding of harmony and melody is so finely crafted that the ten tracks included here play out on a very enjoyable wave of creative interplay.

David Steinhart is the main source of these songs and he is also a virtuoso guitar player, along with his musical compadre, Paul Nelson, who compliments him so beautifully on guitar, dobro and Weissenborn. They are joined by Jeff Steinhart on upright bass and keyboards - his playing is so superbly understated in support of both guitarists. 

A number of additional musicians appear on various tracks to help colour the sound with Aubrey Richmond on violin, Edoardo Tancredi on drums and percussion, Arlan Oscar on accordion contributing superbly. The album was produced, recorded, mixed and mastered by Alfonso Rodenas in Malibu Canyon, CA.

This is the third album that the Furious Seasons has recorded as a trio and the understanding they have developed is the key element in their expressive playing. The additional players bring a more nuanced range to the sound but it is the intricate guitar playing of Steinhart and Nelson that gives flight to everything. Anchored by the bass and keyboard fills of older brother Jeff Steinhart, the overall impression is that of intimate evenings spent by the embers of a glowing fire. 

Sadly, the songs represent a cycle that tell the story of a close friend who died from alcoholism and also touch on the related emotions and feelings in trying to help him off his path of self-destruction. So many problems with so few answers unless the person wants to help themselves in the first place.

From leaving his relationship for a life on the road (As a Matter Of Fact), to creating a new life in Arizona (Burn Clean), the inevitable ghosts remain and Steinhart questions what else he could have done to influence the outcomes (Figure It Out).

From early friendship, through these issues of panic and tears, to the eventual death, we are not given the name of the individual involved – not that we need such detail. These personal songs and memories are a type of therapy for Steinhart to work out and the imagined funeral (Your Irish Funeral) is in celebration of a life lived on the edge.

The harmony vocals and intricate musicianship is completely at odds with this subject matter, not that it lies heavily on these arrangements, or takes away from the lovely melodies. The reflection of younger days is captured on I Was An Actor, Statistically Speaking and Slide Into Sadness, where the honesty in actions and deeds of his friend was something that carried lessons for Steinhart.

Gentle acoustic Folk music to bring a quiet calm and a vocal delivery full of heartfelt emotion. 

Review by Paul McGee

Jim Stanard Colour Outside the Lines Manatee

A second album from this Florida/Colorado-based musician that follows on from debut, Bucket List. The album was recorded in Nashville and was produced, engineered and mixed by Kip Winger, who also played bass on the eleven tracks.

Stanard plays acoustic guitar and sings lead vocals on all tracks, with Jon Skibic on electric guitars, Danny Parks on acoustic guitar and dobro, Mike Rojas on keyboards, Wanda Vick on dobro, fiddle, mandolin and dobro, Scott Trammell on drums, Jeff Taylor on accordion and Russell Terrell on background vocals.

There are guest vocals from folk legend Peter Yarrow (Peter, Paul and Mary) and daughter, Bethany Stanard, who appear on the songs, Home and Arkansas. The latter is a song that references the Elaine massacre in 1919 at Phillips County where the authorities killed many black men who were protesting about their sharecropper status in the state.

Fake News is a tongue-in-cheek song about falling for a channel three newsgirl and When My Truck is another song that tells of a relationship challenge ‘When the truck learns how to drive, It’ll probably leave me too, To follow after you.’

There is plenty to enjoy with a nice balance to these self-penned songs, easy guitar sounds and clever lyrics with Same River, Each Other’s Minds and Soft and Gentle Smile standing out. The first two songs revolve around the theme of failed relationships with reflections on the reasons why communication disappears; ‘Though some memories never die, We can’t go back to change our lives, Can’t step in the same river twice.’ And ‘He’s nervous and angry, She’s hurt and she cries, It’s one of love’s most common crimes, They think they can read each other’s minds.’ 

That final song sums it all up with the words, ‘Your soft and gentle smile, Said that I should stay awhile.’ True love indeed, can endure! 

Review by Paul McGee

New Album Reviews

This Frontier Needs Heroes Go with The Flow Self Release 

When Brad Lauretti (who performs under the name ‘This Frontier Needs Heroes’) was picking a producer for his fifth album, he made the inspired choice of turning to his friend Johnny Irion. The project was recorded in Irion’s Massachusetts studio on an analogue Studer Tape Machine which had originally belonged to Jackson Browne. The result is a captivating work of country/folk magic, sonically very reminiscent of the new Laurel Canyon sound associated with Jonathan Wilson and friends. 

As the strange moniker might suggest, Brad Lauretti was influenced to take up songwriting when he first heard Woody Guthrie. The band name recalls the slogan Guthrie famously had stuck onto his acoustic guitar. Lauretti formed a duo with his sister when they were both NYC based, ten years ago. Over the intervening years he has also lived in Florida, and now Nashville, and he has toured extensively in Europe and Scandinavia (though he hasn’t made it to Ireland yet!). His band has evolved to just comprising himself, and he calls on other musicians when he’s recording.

The title track reflects Lauretti’s laissez faire life philosophy - we each should make the most of our circumstances - and was inspired by tubing in the sea off the Florida coast. Starting with a gentle pace and Lauretti’s echoey vocals over an acoustic guitar, it moves into a full sound with Irion’s electric guitar and piano, Brian Kantor (Fruit Bats, Vetiver) on drums, Wes Buckley’s bass and Rory Verbrugge’s pedal steel. Lush backing vocals are used often, contributing to the ‘retro’ sound all over this record. The lead single and strongest song here (among many highlights) is the dreamy psychedelic South Dakota, the sad tale of being kissed by a woman from said state one night when he arrived in Nashville, only to be ‘ghosted’ by her subsequently! 

Although not as overtly political as his hero Woody Guthrie, Lauretti doesn’t shy away when it comes to making his feelings known about current events and trends in his native USA. Fossil Fuel Fascists needs no explanation, and Dumb It Down (done in a rockabilly style with Hammond organ thrown in) takes a potshot at the commercial songwriters in Music Row (or what’s left of it) and also satirises the current democratic crisis in the age of disinformation.

There’s much more to discover here in a collection of well-crafted and accessible songs and I encourage you to explore it for yourself. It’s already in my Top 10 of 2020 releases.

Review by Eilís Boland

Kristen Grainger & True North Ghost Tattoo Self Release

Folk meets bluegrass meets singer-songwriter on Kristen Grainger’s latest recording, produced by herself and her band True North, in their native Oregon. Accompanied predominantly by acoustic guitar and mandolin, the songs are lyric driven and easy on the ear, mostly sung by Kristen in her warm rich tones. She is also the principal songwriter of these story songs and songs of encouragement and hope.

All of the band pitch in on backing vocals, Josh Adkins plays bass, Martin Stevens plays fiddle and mandolins and Dan Wetzel plays guitar and mandolin. 

Wishes and Dreams stands out - it’s very much a collaboration between Grainger (lyrics) and her husband Dan Wetzel (music). The fast paced driving guitar and incisive mandolin lines and breaks deliver the perfect vehicle for this tale of lost love. 

As well as the eight originals, there are four well chosen cover songs, including the Secret Sisters’ Mississippi and When No One’s Around from the pens of Tim O’Brien & Darrell Scott.

Worth checking out.

Review by Eilís Boland

Cina Samuelson Sing With Your Heart and Soul CCM

This artist started singing Country music songs at a very young age and for many years was part of the band, Freetown Highway, along with her brother Berra Karlsson (one of the most in-demand pedal steel players in Sweden). Having released a number of albums, Cina decided to leave and commence a solo career in 2000, a move that has brought her many accolades both at home and abroad.

As a country music artist, she is more than the equal to her peers across the water in America and she sings with a confidence borne of years spent developing her craft and building a loyal following. This is her fifth solo record and follows on from her 2014 retro album ROOTS & MEMORIES. 

What a very enjoyable album it is too, filled with stellar playing from all involved; a cast that includes her brother on pedal steel, together with thirteen studio players and a number of backing vocalists. All songs are written by Cina and she is a natural at capturing an authentic Country sound across these songs, which includes a tribute to her Grandmother on the title track. 

Cina also produced the album with the assistance of Peter Dahl and her brother, Berra.  The ten songs were also recorded live, in two different Swedish studios and titles such as Connie and Loretta, All I Wanna Do On A Saturday Night and Give A Big Hand To the Band are straight down the line Country with some great Honky Tonk grooves included.

Opening track, How Long Is Forever and Why Can’t We Talk Anymore are two songs about broken relationships, the former has a real up-tempo rhythm, while the latter is a slow, sad lament that highlights Cina’s ability to produce a torch song delivery. 

I Miss You is a song for her Mother, who sadly died after battling cancer, with a heartfelt vocal and sensitive pedal steel and piano accompaniment. You and Me is a song to a school friend who stood by her when bullying was causing real problems and the slow Country waltz frames the hand of friendship perfectly.

The final track, Sweet Mama, Elvis and Me is a fine way to wrap things up with another Honky Tonk workout, piano keys tinkling above the driving beat and Cina singing out with a real passion and zeal. A really excellent album and one that contains many enjoyable moments.

Review by Paul McGee

Meadow Creek Pieces Of Driftwood Parlaply

This second album from Swedish husband/wife duo Peter and Linda Dahl is another fine example of what has been termed ‘Swedicana’ in some music circles. It is telling that Country music has such a strong support in a part of the world more renowned for ABBA and IKEA. However, when you consider that Sweden has a very healthy Folk music tradition, it’s not a great leap to understand the interest in authentic Country sounds.  

Peter plays acoustic and electric guitars, bass, Hammond organ and sings, with Linda starring on both lead and harmony vocals across the ten tracks. The production is very clean and the studio musicians that played include Jimmy Glava (electric guitar), Berra Karlsson (pedal steel) and Petra Wahlgren (fiddle), with two separate drummers, Erik Lindstedt (2 songs) and Marcus Nowak (7 tracks), Tommy Hentila (bass on 2 tracks), Lazze Lovgren (bass on 1 track) and Johan Gullbo (Hammond B3 on 1 track).

Set the World On Fire and Loaded Gun are two fast tunes that display plenty of attitude and advice about taking chances in life, knowing when to change direction and grasping the moment. Love Like Yours and Mine and We Are the Best Part Of Me are two slow love songs that celebrate the bond between two people, forgiving mistakes made and knowing when the pieces fit. 

There is a great Country Blues feel to When Old Daddy Is Gone and Vampire’s Kiss is a tale of broken trust and seeking revenge. Overall, this is a very solid second outing and highlights the experience that both artists have gained over the 20-plus years they have been making music together. 

Review by Paul McGee

A.K.& the Brotherhood Oh Sedona! Paraply

Alo Karlsson formed his band, A.K. & the Brotherhood in 2015. Their debut album was The Outlaw Americana Sessions and this new release follows in a very similar vein to the image that is conjured up by that title. They are a really excellent Alt. Country band with a very polished sound, both melodic and rootsy in equal measure. Despite some changes in personnel, the creative core of the band remains Alo himself, on lead & background vocals, plus acoustic guitars. He is supported by drummer Daniel Uhlas and a group of studio musicians who join the duo for some incisive interplay and harmonious riffing on these twelve tracks. The running time of the project is just over the 55-minute mark but quite honestly, I was left wanting more; a rare feeling in the normal course of listening to any similar, lengthy album. 

The producer is Johan Glössner, a multi-instrumentalist, who delivers on a wide range of guitars, banjo, keyboards, melodica and background vocals. The overall sound is very much alive in the speakers and this is a big factor in not having the length of the album become a negative; the separation on instruments is very good and the mix allows everything to be clearly heard.

Since forming the band, Alo has followed his vision to make authentic music and the feeling that he brings to these songs proves this to be his strength. Kicking off with California Free Bird, an important start to give direction to the project, with an assured, classic Americana sound and an autobiographical look at where life has shaped the journey taken. For the Long Run is a slower love song to his partner and full of hope for the future together, given the time that has strengthened them as a couple. 

Sweet Miranda is an upbeat song with a bar-room bluesy groove, reminiscent of The Band and an infectious melody; ‘Neither wine or John Prine can soothe me the way that you do.’. The duet on Big City Sidewalks with Sofia Loell bears slow witness to trying to make it in the city, while love pays the price. The nostalgia of Where All the Dreams Go is wrapped with pedal steel and up-tempo groove, while Man Up has both attitude and strut, as it tells a friend to grow up, snap into reality and the song has a great guitar break. Halfway to Anywhere is a great workout with sage advice that life ain’t fair and the words, ‘I’m Already Half Way To Nowhere.’

The sweet crooning delivery on Guiding Light is reminiscent of a Willie Nelson arrangement with piano, gypsy violin and brushes nudging the slow groove. Broken Rainbows finishes everything with great style and the ensemble really knitting into the dynamic and playing out a tale of learning lessons from daily living. 

A very impressive album, full of colour and craft. I find myself hitting repeat play and looking forward to more in the future from this exciting artist.

Review by Paul McGee

Seamus Fogarty A Bag Of Eyes Domino

Co. Mayo born and currently residing in London, A BAG OF EYES is Seamus Fogarty’s third album and follows on the success of his 2017 release THE CURIOUS HAND.

The songwriting may be standard Fogarty, with reminisces of his past and present lives in Ireland, London and farther afield. However, the sonic experience is an altogether, if not entirely unexpected, departure from his previous work. On this album Fogarty has all but abandoned his characteristic guitar led sound for a more experimental and edgy sonic venture and the results are highly impressive.

Impossible to categorise, Fogarty’s musings are delivered both spoken and semi spoken, bedecked by banjo and occasional guitar and embellished by all manner of electronic bleeps, drum loops and field recordings.

It’s a combination that really should only appeal to the ear of the creator, but actually works spectacularly well. The whole project was created and produced in its entirety by Fogarty as he gathers his thoughts and offers them wrapped up in diverse instrumentation.

Plucked banjo introduces the hilarious Nuns (‘nuns in the school, a nun driving a car, nuns down the chipper, a nun behind the bar’) as Fogarty considers the unexpected disappearance of those blessed ladies, so prominent in his childhood days in Co. Mayo.  Horse, a standout track for me, tells of the immigrant returning home after a life spent in the U.K., followed by a stint in Spain teaching English (‘Now he’s home, what a man, see how well he wears that tan’). It’s a glorious combination of layered vocals, integrated synths and bleeps.

Two short instrumentals are included, Interlude and the haunting Wake Up Felix. Ghosts kicks off as dreamy alt-folk before spiralling off in an entirely different direction mid-song and descending into hallucinogenic mayhem.  Jimmy Stewart finds Fogarty in self-deprecating form, making comparisons with himself and the character played by that actor in the movie Rear Window, looking out his window and concocting stories about his neighbours. My Boy Willie is traditional folk, banjo lead and telling the tale of a loved one lost at sea.

Contributors on the album include Fogarty’s partner and violin virtuoso Emma Smith, former Race Horses member Meilyr Jones, composer/producer Leo Abrahams (Brian Eno, Jarvis Cocker, Paul Simon) and musical all-rounder Euan Hinshelwood.

Channelling folk down an altogether different path, Fogarty has raised the bar a number of notches with A BAG OF EYES. Pick up a copy, get the headphones on, crank it up and treat yourself to a quite unique musical experience. 

Review by Declan Culliton

Kelsey Waldon They’ll Never Keep Us Down Oh Boy

‘’One of the most authentic country voices I’ve heard in a long time’’ said John Prine, when signing Kentuckian singer songwriter Kelsey Waldon to his Oh Boy Record Label, their first signing to the label in eighteen years. Kelsey is no stranger to Lonesome Highway and an artist that has been very much on our radar having seen her perform a number of times at Americana Fest in Nashville. We also had the good fortune of meeting and interviewing her earlier this year when she played Whelan’s in Dublin, before the world was turned upside down.

Kelsey’s 2019 album WHITE NOISE /WHITE LINES gained universally positive reviews, resulting in invitations to open for both John Prine and Drive By Truckers on their respective tours, scheduled for earlier this year. Then COVID-19 struck, resulting in the untimely passing of John Prine and the cancellation of The Truckers’ tour.

They’ll Never Keep Us Down, a seven-track mini album, is a fund-raising project. The proceeds will benefit both Hood To The Holler, a non-profit organisation aiming to end racial injustice in Kentucky and farther afield, and Appalachian Citizens’ Law Centre. The latter represents coal miners and their families on issues of mine safety and black lung disease.

Sam Stone, the classic song written by Kelsey’s good friend John Prine, gets a slow burning honky tonk makeover. The title track and signature protest song was written by Hazel Dickens in 1976 for the Oscar winning documentary Harlan County, USA. Recalling her early bluegrass years, Kelsey sticks close to the original.

She’s joined by singer songwriter and poet Adia Victoria and noted vocalist and musical therapist Kyshona Armstrong on a rousing version of the Nina Simone famed song Mississippi Goddam. I Wish I Knew How It Would Feel To Be Free, also recorded by Nina Simone, is given a country soul refashion with Nashville neighbour Devon Gilfillian on support vocals. A funky rendition of the Kris Kristofferson composition The Law Is For The Protection Of The People and a spacey interpretation of Neil Young’s anthem Ohio also feature.

Cover albums can be hit and miss affairs, but these selections, in their intended context, are outstanding. They each contain bruised and tender lyrics, Kelsey’s striking vocal deliveries and suitable arrangements.  It’s an altogether noble project and a plea from Kelsey to her fellow southerners, for empathy and understanding, at a time when it’s most needed.

Review by Declan Culliton

My Darling Clementine Country Darkness Fretsore

Twelve of the thirteen tracks that feature on COUNTRY DARKNESS were previously released on three limited edition twelve-inch vinyl EP’s titled COUNTRY DARKNESS Vol. 1,2 and 3. An additional self-written bonus track Powerless is also included. The three mini albums were reviewed at length by ourselves at Lonesome Highway and the volumes are now released here in all their glory as a full album.

The recordings are a collaboration between husband and wife team Michael Weston King and Lou Dalgleish and Grammy Award winner Steve Nieve. The project, with the support and input of long time Costello sideman Nieve, found Michael and Lou trawling through Costello’s vast back catalogue, to select material that they deemed ripe for a country makeover. More often than not the choices were far from obvious, the common denominator being that in all cases their combined vocals and well-constructed arrangements add another dimension to a collection of killer songs.

The tracks selected are chosen from Costello’s work with both The Attractions and The Imposters and also include his more recent solo recordings. Interestingly, a number of the tracks chosen were collaborations Costello wrote including I Lost You (with Jim Lauderdale), I Felt The Chill Before The Winter Came (with Loretta Lynn) and That Day Is Done (with Paul McCartney).

A number of the covers remain close to the originals, others are given a new lease of life. Different Finger, Heart Shaped Bruise, Indoor Fireworks and Stranger In The House all particularly benefit from the ‘call and response’ duet makeovers.

The production duties were carried out by Michael Weston King, Steve Nieve and Colin Elliot (Richard Hawley). Also featured on the album are Shez Sheridan (bass) and Dean Beresford (drums) from Richard Hawley’s band. Matt Holland and Martin Winning also contribute.

The optimum fusion of superb songs, sympathetic arrangements and flawless vocals, COUNTRY DARKNESS is a must buy for lovers of both My Darling Clementine and Elvis Costello. 

Review by Declan Culliton

Gillian Welch Boots No. 2: The Lost Songs Acorn

 Recorded in arguably Gillian Welch’s most prolific period, BOOTS NO.2: THE LOST SONGS, is the final volume in a collection of forty-eight songs, recorded in the period between her 2001 release TIME (THE REVELATOR) and SOUL JOURNEY, which appeared two years later. Featuring little else but vocals, two guitars and occasional harmonica, the songs find Welch and her partner Dave Rawlings at their most stripped back and uninhibited. 

When a tornado ripped through East Nashville last March, the roof of their home studio Woodland Studios was practically torn off. Fortunately, the couple were able to salvage their recording equipment, instruments and master recordings. The ten hours spent with no power, no cell phone coverage and no assistance, hastily removing the equipment to the safety of their nearby house, must have been daunting. Having managed to save what Welch has described as ‘every piece of our world’, she asked herself what she had actually intended to do with all these vintage archive recordings.  
A self-confused perfectionist, these unfinished recordings would have been deemed unfit for public airing had the near disastrous event not occurred. The whole traumatic experience gave Welch cause for reconsideration and the net result has been the release of more of her material in the past six months than in the previous twenty years. Alongside the BOOTS VOLUMES, Welch and Rawlings also released ALL THE GOOD TIMES ARE PAST AND GONE in July. That project was recorded at their home during quarantine and presented cover versions of songs written by Bob Dylan and John Prine and others, together with their take on some traditional folk songs.

BOOTS NO.2: THE LOST SONGS is a pure delight, akin to gate crashing a performance by the couple in their front room. It’s unclear when the material was actually written but If I Ain’t Going to Heaven would have fitted comfortably on Welch’s debut album.

Make Me Down A Pallet On Your Floor and the albums closer One Little Song both featured on SOUL JOURNEY and the versions included here are true to those recordings. How About You featured on Dave Rawling Machine’s excellent 2009 album FRIEND OF A FRIEND. Other tracks have been aired in Welch’s live performances over the years, including the album opener Sin City. What oozes out of the speakers is a couple at ease and equally enjoying ripping out acoustic rockabilly on Turn It Up, smoky jazz on What Can I Do and lonesome country on Cowboy Rides Away.  

An album release by Gillian Welch is always a much anticipated affair. To have three releases in 2020 would have been unthinkable at the beginning of the year. The scars of that tornado still remain in East Nashville as the community gradually rebuilds that musically fertile townland.  Thankfully Woodland Studios still stands proudly and hopefully will be the source of further gems from Welch and Rawlings in the future.

Review by Declan Culliton

New Album Reviews

Mark Mandeville & Raianne Richards Road May Rise Nobody’s Favorite 

Followers of Gillian Welch & David Rawlings or Jason & Pharis Romero would do well to check out this Massachusetts duo, if they are still haven’t come to your attention. Loosely filed under ‘acoustic folky country’, their third studio album is a delightful collection of mainly original songs, recorded in Signature Sounds Studio by owner/producer Mark Thayer. 

It’s a tonic for the times that are in it, although it was written and recorded pre-pandemic. Songs like There Will Come A Day and Road May Rise are imbued with hope for better times ahead. 

Steeped in references to nature, the environment and dilemmas of modern life, their beautifully harmonised singing is soothing to the soul, despite the sometimes troubling subject matter. Mark plays guitars, harmonica and mandolin and takes most of the lead vocals, while Raianne plays ukulele, bass, whistle and clarinet and backing vocals. She sings lead on her love song Honey Bee, with uncluttered accompaniment of mandolin, guitar and bass. Mark returns the compliment on Hand I’ll Hold. Creating and performing music together for over ten years, their harmonies are intuitive and exquisite. 

On this album they are joined by Peter Hart on pedal steel and dobro. His sensitive playing adds to the country feel of songs like Little By Little and Don’t Let Me Come Home A Stranger (the one cover song here, written by Robin Williams and previously recorded by Mary Black). The other guest is Doug Williamson, who contributes on various stringed instruments and most notably on piano on the title track. “When we are lost sometimes, often a road may rise ... along we follow.”

Review by Eilís Boland

Justin Farren Pretty Free Self Release

If you’re gonna do it, then you may as well do it right. This could be the mantra that was repeated throughout the creation and birth of this DIY project.   Justin Farren is a new age free spirit who built his own home, works as a handyman and has released three prior albums since his debut surfaced back in 2004. It’s been seven years since the last release and these eleven tracks have been fermenting over this time, coming to full realisation this year. 

The album was written, performed, recorded, produced and mixed at Farren’s home, with the artwork created by his wife, Kerry, from construction debris. She also contributes backing vocals on two tracks and also making an appearance is their daughter, Amelia, who brings her energy to the track, There’s No Such Thing As a Bad Day, a clever song that highlights the lyrical dexterity that Farren delivers. He is a very insightful writer and his ability to capture everyday small events, while turning them into life perspectives, is the sign of a talented and wise observer on the human condition. Whether writing from personal experience or penning character songs, his ability to turn a phrase brings these songs to life with a warmth that resonates upon repeated listening.

Opening song, A Little Less Time, is a look back at his relationship with wife Kerry and the progress they have made since meeting and becoming parents, the links that forge their future and that stretch back through family now gone; the insight to their loving relationship summed up in the lines, “always a little more love and always a little less time.”

Eyes Be Healed is a great story about prescription glasses and the hypocrisy of defining a set code for living to others. To believe in a self-made God that bends to the whims of a preacher-father, is no way to raise a child - “he started thinking maybe faith is a measure of how well you know something’s wrong and keep it inside.”  

Two Wheel Drive And Japanese looks back at a youthful incident that saw Farren learn an important life lesson at the hands of a local cop, “some songs you sing to remind yourself of the people that you’ve been; this one goes out to a guy I never want to be again.”

My Uncle Bill is a family tribute to a man who was larger than life, an atheist who insisted on being buried in the local Church graveyard to an unabridged rendition of Free Bird.  The song, Fixer Upper, is a look at what ages a relationship and sees it running out of road “ all the new is wearing off this place the same way it wore off of me,” while Last Year Was The Best Year is a reflective musing on time passing and the realisation that so much of memory is fleeting, “if everything I’ve known for certain was just passing by my window, Then I don’t mind that it’s leaving - I just hope you saw it too.”

There really is not a weak track here and the co-production by Farren, Brian Chris Rodgers (drums, bass, vocals) and Aaron Smith (guitar, vocals) is very engaging and spacious. Farren plays acoustic & electric guitars, electric & upright bass, organ, piano, percussion and sings all the lead vocals.  Guests on certain tracks include André Fylling (keys/organ), Sam Phelps (organ), Anna Tivel (violin, vocals).

One More Night is about the inherent dangers in a long-distance relationship and being away from home, while How’s Your Garden Grow is a meditation on generosity of spirit and the friendships that we develop “it’s not the blood in your veins, it's the way that it moves - it’s the kindness you choose.”

The song, Worthy Of the Sea is a lovely ballad written for his daughter about steering your own course in life and believing in yourself, “and you can pay for some illusion of safe harbour, and you can stow  away on someone else’s dreams, it’s best to chart your course and buy a load of lumber, and build a boat you know is worthy of the sea - You are worthy of the sea.”

This is a superbly crafted album, elegant in its messages and writing, enhanced by some excellent musicianship. Highly recommended.

Review by Paul McGee

Beki Hemingway Earth & Asphalt Self Release

This new release marks the seventh foray into the musical marketplace for an artist that has always followed her creative muse. Never one to pander to commercial constraints, Beki is one of those artists who very occasionally come along and find their way into your memory, with her compelling vocal delivery and a passion that shapes her rich tone and stokes the fires that burn at her creative core. 

On her early records, all pumped up with a new wave energy and a rock sensibility, Beki laid down plenty of markers that she was not one for leaving quietly. You find yourself humming her song lyrics or melodies in the strangest moments, unguarded and spontaneous. Such are the joys of life, the little pleasures that keep you smiling and breathing in the sweet air. 

Kicking off with the high tempo rocker, Birmingham, sees Beki and the band firing on all engines and delivering on full throttle as a statement of real intent - all sass and stirring vocal attack. This is celebratory music, having a good time, dancing across the floor and whippin’ up one hell of a party. 

Following with, Lay Your Burdens Down, we are given an authentic slice of Americana with a message to reach out to one another and banish feelings of doubt and uncertainty. Shape Of My Face has a slow rhythm and looks at ageing gracefully, having the perspective to focus on real things that last. Hurricane is a blues number about a storm that previously visited Beki when she lived in Wexford, but is as much a metaphor for memories of a stormy relationship. The blues influenced vocal delivery convinces totally that the internal storms are strong, while the musicians deliver with appropriately atmospheric playing.

Cinderella Twin is about youthful memories, exploring fledgling love and a Denver drive-in that took on the pulse of all life was offering and growing up, sticking together through it all. Equally, California, brings up reflections and dreams of the past, an old car rekindling past journeys and the innocence of wishing on the next rainbow. The pedal steel of Ben Waligoske frames the sweetly sad melody and laid-back arrangement.

We’re Not Going Anywhere is a statement of true love between Beki and husband Randy, a commitment to stay the course and stand together against whatever cards that life deals, “Fasten your seatbelt, throw out the spare, cause we’re not going anywhere.”

Down the Line is pure Americana, a rocker that sparkles and fires out energy in all directions, a big, bold sound that asks to share the journey to better times and being strong to ‘be the difference between a real friend and a contact; walk me through it, don’t be afraid to fight.’ 

Cost Me Everything is a real tour de force with simple acoustic guitar and pedal steel introducing a wonderful vocal performance that channels painful angst and interprets that emotion of risking it all for someone else. Beki delivers a killer performance and once the full band kick into the mood, she takes it all up a notch to really pull out all the stops. A country blues sound that delivers such a powerful punch. 

Death And Taxes has a fine, slow tempo and a message not to focus on what has passed, to learn from insight and look to the light in living these days with purpose. Some nice guitar and keyboards swell the melody and lift the arrangement to engaging heights. Final song, Comfort, is pure Country Gospel and sounds like an old traditional tune, such is the authentic delivery and song arrangement – ‘may we be mindful of wonderful truth, that our deeds are not our true worth.’ Tim Cotterell excelling on fiddle.

The album was produced by Randy Kirkman and Conor Brady in Dublin and Dundalk studios. Randy creates much of the music and assists on lyrics, harmony vocals, tambourine and all guitar parts, both acoustic and electric, apart from Shape Of My Face, which features Conor Brady on lead guitar and separately, Sammy Horner who plays some superb baritone guitar on Lay Your Burdens Down.

Drums are played by Dennis Holt on all eleven tracks and bass duties are shared by Mark Robertson (4 songs), Chris ‘Scooter’ Bland (4 songs) and Mike Bradburn (3 songs). Ben Waligoske plays beautifully on dobro/pedal steel (3 songs) and Cian Boylan adds impressive keyboards (5 songs). while Jana Holland and Scott Smith add harmony vocals on separate tracks.

Special mention also for the album design, which evokes the spirit of the title and compliments the songs so perfectly, with the dual image of open highway and desert, stretching to the horizon; looking back through the rear-view mirror as much as looking forward towards the future. 

This is a very compelling album, packed with great tunes and terrific vocal delivery. A highly recommended purchase.

Review by Paul McGee

Rodney Rice Same Shirt, Different Day Self Release

Coming from a coal mining town in West Virginia is a start in life that’s going to inform your personal perspectives and channel some strong opinions when it comes to the working man and his given lot in life. 

Rodney Rice grew up in this environment and the same sense of community and honest toil to be found in this blue-collar ethic and mind-set, is directly transferrable into a music community of like-minded souls. It informs a songwriter and offers encouragement and support in carving out a career, expressing his emotions and airing his feelings on a whole range of different issues and topics. 

On this 12-track album, one song that sums up those early beginnings and the arrival of Rice into music media circles is Company Town, which speaks of “Mister Massey what have you done, you took fathers, brothers and sons, Wives are crying forever alone, waiting on husbands who'll never be home.” It echoes a young John Prine and his song, Paradise from 1971, which called out the Peabody Coal Company. Here, Rice is shooting his arrow at Massey Energy, the coal company entwined in the 2010 mine disaster in Raleigh County, West Virginia, in which 29 miners died.

Armed with songs of conscience, Rice displays a witty writing style with more than a hint of irony in his words. Opening track, Ain’t Got a Dollar, is an attack on a country that sends its poorer classes off to war only to disown them upon their return. Next track, Hard Life, has the lines, “Come sit with me by the river, Time is just like water passing by, Some will say you’re a fool to take the fight, But it’s a fool who doesn't even try.” Empathy for the struggle is very much present and an important part of the writing. 

Free At Last is a tale of marriage and divorce with the lines “We stood up and said our vows of always and forever, Now all I got is a long divorce and some ugly Christmas sweaters.” With fiddle, mandolin and dobro stirring up a good ole’ Country rhythm, this track follows a similar road to Walk Across Texas and Right To Be Wrong, with lost relationships and women that have packed up and left the relationship. 

Pillage And Plunder deals with the pollution generated on our planet by humankind and Middle Management Blues addresses the life-sucking reality of working in the corporate world for Rice. Once again, he’s missing the girl in Can’t Get Over Her, with the wry comment in the superb country arrangement and excellent pedal steel playing, “So make it a double gin, The futures looking so damn dim, And I can't get over her, While she’s lying next to him.”

However, he can always rely on the sage advice of his Mother to fall back upon - in Memoirs Of Our Youth, he reflects “Remember those your passing going up; you gonna pass them coming down - always do what’s right, because what you do comes back around.” 

The abiding message on last track, Don’t Look Back, is that of embracing the future and learning from mistakes made.

The core musicians are Rice on acoustic guitar, harmonica and lead vocals, Rick Richards (drums), Andre Moran (acoustic, electric, baritone, resonator, hi-strung, slide guitar, organ, piano, wood drum and percussion) and Mark Hallman (Hammond b3, octave mandolin, upright piano, backing vocals, bass, tambourine, mandola). 

That’s a lot of firepower in the studio before you introduce the additional players who contributed as follows - Tom Crail (upright bass, 2 tracks), Woody Woodruff (electric guitar, 2 tracks), Austin De Lone (Wurlitzer, 1 track), Erik Telford (trumpet, 1 track), Marcus Cardwell (tenor sax, 1 track), David Carroll Eddie Dickerson (fiddle, 1 track), Jeff Plankenhorn (dobro, 1 track), Mike Hardwick (pedal steel, 1 track) and Bonnie Whitmore (backing vocals, 2 tracks).

The entire project was produced, recorded and mixed by Andre Moran at the Congress House Studio Austin, TX with assistant engineer Craig Delony. It was mastered by Mark Hallman. 

So, a fine cast of players, all supporting a strong talent in Rodney Rice and this album is worth all the hard work, planning and writing. It’s his second release, following on from 2014’s playfully titled, EMPTY POCKETS AND A TROUBLED MIND. The musicianship is of the highest quality and the loose, country roots sound marries very well with the focus and intent of Rodney Rice – inspiring in many ways. 

Review by Paul McGee

Bob Hillman Inside & Terrified Self Release

I had not heard of this artist until he contacted Lonesome Highway to submit this EP of five songs for review. I’m very glad that he decided to share his music and back story. Between 1999 and 2003, Bob Hillman released three albums and enjoyed a degree of success, touring his music and supporting a variety of headline artists. However, the momentum stalled and this led to Bob taking a step away from the music to experience the world of “real jobs.” As a San Francisco singer/songwriter, the urge to get back on the horse again and see what lies over the hill is a feeling that never fully leaves, and he returned to his music in 2016. 

The titles of his last two releases, LOST SOUL(2016) and SOME OF UsS ARE FREE, SOME OF US ARE LOST (2019), give the impression of, well, being lost – but nothing could be further from the truth. There is both a fertile mind and bright imagination at play here and the song-writing is quite superb. Bathing the tracks in soft melodies, Hillman sings in a gentle, soothing voice that creates an atmosphere of quiet calm, transporting the listener back to memories of younger days. His guitar skills are also very evident and the years spent on the live circuit have certainly honed his performing talents.

A ‘can-do’ attitude will get you far and Hillman basically taught himself the ins-and-outs of home recording, mastering all technical aspects and, over a few months during the Covid-19 lockdown, he brought these songs to fruition. Although the influence of the current pandemic is present in the songs, they also have a life of their own in the message and the superb interaction between musicians. This Is Wild Land reflects on the now deserted highways and roads since the pandemic lockdown and the return of nature to claim the vacated spaces, while In Terms Of Lunar Cycles (It’s A Lonely Phase), sings of the need to re-assess, take stock and view the present in the greater scheme of things. 

I Often Dream Of Candlelight (Maria) is written to a loved one, recognising a growing anxiety, manifest during restless sleep, that the virus brings into all of our emotions and feelings; “The fear that you will have to face the future, fully awake.”  Inside and Terrified is on similar ground with the suspicions of others impacting upon even the most innocent activities, in this case a drive with his children, turning into “Strangers advise we are now jeopardizing, the safety of their neighbourhood.”

Now I’m In Favour Of A Wall is a song title that is open to misinterpretation, but then again, this could be intentional. The use of irony can pass us by like a fast train and the metaphor of a wall, in terms of self-isolation, is a strong one - something that has occupied the thoughts of many during the Government advice to stay at home. Self-preservation is a primal urge and the “ill-advised celebration” that is still happening in our cities and communities is no succour to those who strive to feel safe from the risk of infection with their daily routines. 

Aided by the talents of producer (and bass player) Jonny Flaugher, Hillman reached out to a number of musicians who were very willing to lend their time to recording themselves remotely and leaving their stamp upon the project. In addition to Jonny Flaugher on bass, there is Jay Bellerose on drums, David Levita on nylon-string guitar and Maria Taylor on harmony vocals. All contribute beautifully understated parts to the melodies and song arrangements. Perhaps the future is indeed here in terms of this recording process, with remote input and never getting the opportunity to play together in the same room, defining the way forward. 

In addition to this core group, Paul Cartwright contributes on violin, Oliver Kraus on cello, Christof Knoche on clarinet, Jordan Katz on trumpet and Jon Gilutin on piano. 

It’s a real tribute to the overall mixing and mastering, that the ensemble interplay sounds as if it was recorded in a central space. A very interesting artist and a release that is worthy of a wide audience.

Review by Paul McGee

Chamomile and Whiskey Red Clay Heart Self Release

Founding members of Chamomile and Whiskey Marie Borgman and Koda Kerl, both natives of Nelson County, Virginia, christened the roots band after mixing chamomile tea and bourbon whiskey for an evening tipple. They reached agreement that the label was the definite description of where their music was coming from.

RED CLAY HEART is their third album and is very much in the present and a critique on both personal and wider social issues presently working themselves out. Karl takes the lead vocal and plays guitar with backing vocals and killer fiddle playing from Borgman. The album combines rowdy and muscular outpourings songs, with more laid back but equally considered slow burning ballads.

The rollicking opener Way Back dwells on Kerl’s controlled small-town upbringing and its frustrations. Hard Time Honey ebbs and flows with heavy strummed guitar, sweeping violins and snappy support vocals. Another Wake is the most powerful statement on the album.  Kerl recalls the tragic loss of life following a shocking incident in Charlottesville, Virginia, in August 2017, when white supremacists drove a car through a crowd of peaceful protesters, resulting in the death of Heather Heyer and injury to many others. Dead Bird, the first single from the album, was written by Robert St. Ours from Hackensaw Boys, a close friend of the both Kerl and Borgman.

RED CLAY HEART delivers nine well-constructed songs, written from the heart and featuring lyrics that capture the moment perfectly. 

Review by Declan Culliton

Strays Don’t Sleep A Short Film for a Long Story Self Release

Neilson Hubbard’s name appears quite regularly on albums landing at Lonesome Highway HQ and, without exception, it is quality guaranteed. His production credits include albums by Mary Gauthier, Sam Baker, Caroline Spence and Amy Speace. He has seven solo albums in his own back catalogue and is a member of side projects Buffalo Blood and The Orphan Brigade. His latest recording is from another band that he fronts with Matthew Ryan. Strays Don’t Sleep recorded two previous albums, LOVE DON’T OWE YOU ANYTHING and their self-titled album, both of which landed in 2006. His partner in crime Matthew Ryan can also boast no fewer than eighteen solo albums.

 A SHORT FILM FOR A LONG STORY is a four-track mini EP of songs co-written by the two in October of 2019. The pandemic and the Presidential election were the motivators to record and release the album. The fifteen-year gap between these songs and the band’s previous release is unexplained, but appears to be due to a falling out between Ryan and Hubbard. Fortunately, time does heal and these songs are both reflective and optimistic.

 The opening song I Walked Away considers that parting, fifteen years later. Ryan’s gravely vocals introduce the song before being joined by Hubbard’s vocal in the background.” I got so fucking close to the edge that I thought I’d never see myself again” Ryan admits in reflecting on their breakup. A Woman Running, the instrumental that follows, reflects on that period between parting and reuniting. Couldn’t Be Happier is upbeat and hopeful (“I want to party like it’s 1999”) with a rhythm recalling early career U2. The closer Hope Is A Love Song is an uncompleted song they were working on in 2005. It’s a fitting and heartening ending to the album.

 Artists often find songwriting a more painless means of communication than the spoken word. The suitably titled A SHORT FILM FOR A LONG STORY is very much a reconciliation project, suggesting two previously very close friends testing the waters in an attempt to rekindle that companionship. The signals suggest a successful venture with these intimate and minimalist tracks and the prospect of future recordings from Strays Don’t Sleep. In the meantime, just savour these most enjoyable and image provoking songs.

Review by Declan Culliton

E.Z. Shakes The Spirit Pow Pow Sound

Raised by hippie Christian parents in small town Illinois, Zach Siebert’s spiritual upbringing exposed him to gospel and old-time country music throughout the course of his childhood. Those influences, both musically and culturally, are present in both the lyrics and sound of his band E.Z.Shakes. Originally formed as an acoustic duo act with pedal steel and banjo player Todd T.Hicks in 2017, Seibert recruited three other players to flesh out and add swagger and electrify his dark and brooding songs. Those additional musicians are John Furr (electric guitar), Stanford Gardner (percussion) and Jim Taylor (bass). THE SPIRIT is their second full album following on from THE WOLF from 2018, having previously released two mini albums.

You’re left in little doubt where Seibert’s coming from on the open track The Spirit. His raspy torn vocals deliver a sermon that grabs your attention from the get go. ‘What you do in darkness, will be shown in light’, he warns, ably supported by stinging guitars and guarded percussion. It’s the type of song that has you reaching for the repeat button. The sentiment expressed on that first track surfaces regularly across the eleven tracks on the album. Recollections of a strong, well-intentioned parental upbringing and the loss of his father are recalled on Thirteen, as are wayward times on Grove St. The challenge of clinging to his faith are addressed on the thundering Making Mistakes, as are self-abuse and bad choices on the reflective and broody Killing Time.

The album was self-produced by John Furr and mixed by Mitch Easter (R.E.M, Pavement) at his Fidelitorium Studios in Kernersville, North Carolina. The result is a skilled balance between crystal clear vocals and the playing that supports them. THE SPIRIT is an autobiographical arsenal of impressive and convincing Bible Belt tales brought to song. Well worth investigating, satisfaction guaranteed.

Review by Declan Culliton

Strung Like A Horse Whoa! Transoceanic 

A four-piece band that defy categorisation, Strung Like A Horse have released their debut album WHOA! On first spin, the variation of music on the twelve tracks could leave the listener with the impression that they had just played a compilation album.

Strung Like a Horse are fronted by Chattanooga resident Clayton Maselle, who is lead vocalist and guitarist. Eric ‘Crispy’ Crisp plays drums and percussion. Tyler Martelli is on keyboards and lead guitar; Dan Pinson plays bass and Paddy King adds fiddle. They tour extensively and have performed with Old Crow Medicine Show, Shooter Jennings, Charlie Daniels and Travis Tritt.

The catchy and funky power poppy Till The Wheels Fall Off and Crazy Like Me are contrasted by the gloriously trashy Glowin’ And Gold In Their Souls. They also find room for tender ballads with both I Was Born Here and Without You. Nikki Bluhm came on board to share her splendid vocals with Maselle on the soulful Cold & Lonesome. Lookin’ For Love is unadulterated bluegrass, showcasing their instrumental skills.  

The album kicks off with the defiant Fuck What They Think and closes with a radio edit of the same song retitled Forget What They Think. With such a mismatch of influences thrown into the mix, the end result could have been disastrous. On the contrary, the album works spectacularly well. The energy and cohesive playing, well honed by protracted touring, shines brightly throughout. The CD includes a twenty page plus booklet with hand written lyrics and stunning artwork and is well worth tracking down. Matt Ross - Spang (Margo Price, Jason Isbell, John Prine, Drive By Truckers) oversaw the production duties at Sound Emporium Studio A in Nashville and the mixing at Sam Phillips Recording in Memphis.

WHOA! is an intoxicating genre-hopping delight that will appeal equally to lovers of The Carter Family as it will to fans of The New York Dolls.

Review by Declan Culliton

New Album Reviews

JB & Jamie Dailey Step Back In Time  Pinecastle 

Jamie Dailey is one of the most popular and awarded artists in the bluegrass world, currently as a lead member of Dailey and Vincent, and previously as singer and guitar player with Doyle Lawson. As a child, Jamie was trailed to picking sessions and bluegrass festivals all over Tennessee and Kentucky by his father, JB, and they played together in family and regional bands. 

Now it’s payback time, and Jamie has enabled JB to finally record an album. Unable to play guitar and dobro like he used to, due to a recent diagnosis of Parkinson’s disease, JB sure can still sing. His favourite bluegrass and gospel songs are featured here in a wonderful collection of eleven songs and two instrumentals. All of the choices are well known standards but they are given a new lease of life by Jamie’s production skills and the host of bluegrass musicians he called in to Colemine Studios. The aim was for ‘no bells and whistles’ but with the likes of Darrin Vincent, Tristan Scroggins, Charlie Cushman and Patrick McAvinue involved, along with Jamie himself, no further fillips were needed. 

While many of the songs such as Ashes of Love (Tennessee Mountain Boys), Praying (The Louvin Brothers) and Will The Angels Play Their Harps For Me (Doyle Lawson)  are better known as bluegrass songs, here they are given a more traditional/early country feel - with their gentler pace and the addition of snare drum (Bob Mummert) on most of the tracks. JB takes lead vocals throughout, with perfect harmonies from Jamie and Darrin. Their version of It Was Only the Wind (written by Tom T Hall and Louise Scruggs, and recorded by Flatt & Scruggs) is truly poignant, but it is only one of many highlights. They close the album fittingly with the gospel standard Gloryland, a moving a capella 5-part rendition by JB, Jamie, Darrin and guests Jimmy Fortune and Aaron Lee McCune. A labour of love in every sense, and recommended

Review by Eilís Boland

Steve Thomas and The Time Machine  All Of These Years  Bonfire 

‘Where have I been all of these years?’ Steve Thomas ponders in the apt title song from his very first album. In reality he has spent all of his adult life to date as a member of some of the top country bands (The Whites, Barbara Mandrell, Brooks & Dunn) and bluegrass bands (Del McCoury, The Osborne Brothers) playing guitar, mandolin and fiddle. Never a household name but highly rated by insiders, Thomas has finally got the chance to show what he can do and has produced a powerhouse of an album that should appeal widely to fans of Americana. Over a collection of four original songs and a well judged selection of classic bluegrass and country songs, Thomas leads his outstanding band through their own eclectic renditions. The arrangements and instrumentation are always tight but never showy for the sake of it, while Thomas’s warm, rich, and soulful voice is the icing on the cake. 

He calls on Del McCoury (another ‘openminded’ bluegrasser) to share the vocals on the aforementioned title track, which he got from The Steel Woods, a Nashville-based Southern Rock outfit. Another former employer, Bobby Osborne, helps out on vocals and mandolin on the Flatt & Scruggs classic We’ll Meet Again Sweetheart and Bill Monroe’s Rocky Road Blues is indeed very rocky here, helped by the addition of snare drum. There’s more than a nod to Thomas’s lifelong love of country in his self-penned ballad Since Love Came Around and in Ronnie Bowman’s My Heart Is Always Headed Back To You. Sentimentality never becomes maudlin in the songwriting here, something that many contemporary country and bluegrass bands could do well to note. 

Ironically, a song about an American classic car Daddy’s Twin I-Beam was written (and sung here) by the band’s Australian guitarist, Jason Owen. By the way, I had to look it up - for those non-American readers among us, it’a Ford pickup! Special mention must be made of Josh Matheny who impresses hugely on dobro. Another contender for my end-of-year list.

Review by Eilis Boland

RB Morris Going Back To The Sky Self Release

The new album from the ever interesting RB Morris is right up there with previous albums. His first album was released by Oh Boy in 1997 and TAKE THE RIDE justified his placement on John Prine’s record label. It didn’t quite make the sales it deserved so his next album ZEKE & THE WHEEL was released on the Koch label two years later. The followed up with a third album in 2001. Since then there have been 3 albums prior to this new release. All garnered positive reviews. Morris has an affinity with words and stories and also put them to good use as both a playwright (The Man Who Lives Here Is Loony - a one man play about James Agee which he also acted in) and as a poet (Early Fires and Keeping The Bees Employed are published books of his work).

GOING BACK TO THE SKY is the work of a writer who understands that lyrics are not always poetry in this case they’re evocative pieces of observational storytelling. Songs that fit with the musical accompaniment provided by the assembled players that include such notables as David Mansfield (mandolin, guitar), Bo Ramsey (guitars), Greg Horne (fiddle, guitar and pedal steel), the rhythm section of Daniel Kimbo and Hunter Deacon with a guest appearance from Mickey Raphael (Willie Nelson’s renowned harmonica player). The album was co-produced by Morris and Ramsey (an artist and producer in his own right) and mixed by Nielson Hubbard. What they all accomplished feels exactly right and is an album I have returned to on many occasions. It offers the combination of vocals and musical settings totally in sympathy with the story being told. The trumpet (by Warren Byron) in Under The Cigar Trees sets the tone for the border location. Strangely at times it remained me vocally of Ray Davies! Whilst elsewhere there was a hint of vintage Dylan in the vocal tone (That’s The Way I Do). All of which highlights the flexibility of Morris’ vocal delivery, something that is never forced and always convincing.

The opening track Prelude 1 is an instrumental that sets the mood so that from then on the songs unfold as chapters grin a book and the individual songs draw you in to the degree that it is hard to pick out individual highlights from such titles as Red Sky, Old Copper Penny, Missouri River Hat Blowing Incident, Somewhere West, Six Black Horses And A 72 Oz Steak and the title song are imbued with a certain relaxed and laconic humour. However there is no denying that the writer (or co-writers in a couple of instances) has an uncommon affinity with words and common language. “Talk about rambling, talk about gambling / we talked about it all by now / hustled our way from the L&N yards / and we made it this far somehow”. A few lines that say a lot about travel and companionship - from the song Montana Moon.

Morris has not been a prolific provider of albums but when he does it is always worth checking them out and they may seem easy enough to pass over in these overtly media inclined days but if you do you will miss something that is worth getting to know, something that may take you back to a place that Morris encapsulates by noting “Every move that got me by / I took the road that turns into the sky.”

Review by Stephen Rapid

John Lewis His Other Side Atomic Cowboy

The title refers to the Welsh roots music maestro’s first acoustically-based outing that seems perfectly in tune with lockdown days but in fact was originally released in 2015 but has now been rereleased on vinyl. It is his 20th album and is indicative of his talents as vocalist and guitarist. In some ways it puts me in mind of what could be possibly considered as his Scottish counterpart and that is Daniel Meade, especially in this acoustic mode. Lewis’ voice here is strong and purposeful especially when detailing what could be assumed to be insightful details of his life and times on songs like Money Troubles and the less fiscally focused but the equally personally problematic situations out in What Kind Of Love Is This. This theme is also prevalent in It Hurts as evidenced by the opening stanza of “I wish I had an umbrella / to stop the pain life throws at me” a universal enough thought that is followed by the very specific locality of “But like the rain in Wales / it comes horizontally.” Equally tinged with heartbreak and reality is Cardboard Carpeted Doorways. The title sums up the desperation it spells out as it deals unsentimentally with child care and the break-up of a family. It reeks of truth and deep-rooted pain and should not be ignored because of its difficult subject matter. Or the fact that this kind of experience is integral to the person that he became.

That sense of hard times continues, for the most part, on through the remaining eleven songs but the infectious nature of the songs and performance negates a surfeit of negativity. Equally it is something of a testament to Lewis’ skills as he delivers the music, lyrics song arrangements and instrumentation without compromise. The relative positivity of the opening track Waltz Around The Kitchen is bolstered by the harmonies of Imelda May. There are additional contributions apart from Lewis on backing vocals and some drums, bass and keyboards. It was recorded, according to the credits, at Front Room Recording Studios which, I would imagine, underscores the d.i.y. nature and somewhat restricted recording budget. All of which makes the results all the more worthy of praise.

From his days in The Rimshots John Lewis has developed as a noteworthy guitarist who can turn his hand (and fingers) to rock ’n’ roll, jazz and country picking. Lewis has always maintain a heartfelt passion for the music that originated in the ‘50s and before and he manages to do so with conviction and realism that belies has Welsh upbringing without every deny it or pretending otherwise. Long may he waltz around the stage, the studio and even the kitchen.
Review by Stephen Rapid

Surrender Hill A Whole Lot Of Freedom Blue Betty

A partnership in music and in life Robin Dean Salmon and Afton Seekins are Surrender Hill. Both had solo careers before starting this duo who are now releasing their fourth album. Perhaps best summed up as country soulfullness and roots rock though there is more in the mix here. Born in South Africa Salmon moved to Texas and there it is noted he listened to an interesting mix of Bob Wills, Marty Robbins, Johnny Cash and a the emerging counter culture of The Sex Pistols and The Clash. He was in a respected band See No Evil and another which he fronted before launching a solo career. Seekins had grown up in Alaska and Arizona two equally contrasting locations. She, initially, worked in the area of dance successfully before making the decision to move back to Arizona where she began putting her journals to music as songs. So while the name is taken from a location in South Africa the musical ethos is rooted a lot closer to home.

So on from the background to this new album. It was produced, recorded and mixed by Robin Salmon who is also a multi-instrumentalist playing guitars, keyboards, harmonica, mandolin and dobro. Afton adds lead vocals, harmony vocals and percussion and they are joined by some guests to produce what is from the get go a positive and pleasing set of songs that uses up, it seems, all the songs that had built up from the last album as there are 18 songs and a playing time of well over an hour. However the standard is kept up pretty well with a lot of memorable songs here from the opening title track and its next cut Turn This Train Around. They can obviously ring the changes over that time as with the slower sultry Winter’s End where Afron takes the lead vocal. Carry On is a ballad again which they take at a mid pace and featuring some dobro with close harmonies. Other songs, like Broken Down Car, veer towards a more obviously twang sound which is equally as effective. There have been some mentions to Afton’s voice having an affinity to Stevie Nicks’. Indeed there is a touch of Nicks and Tom Petty at times in overall feel which is no bad thing (and also echoes of many contemporary husband/wife duos). Lucky Star has some effective fiddle and talks of a father passing onto a son some wisdom.

There are moments of reflection about life and how songs helped to come a person grounded (Healing Song) as well restlessness and the life of a traveling troubadour (Wanderer). I’m Gonna Get It Right becomes a soulful message of intent. There is a link back to earlier times and musical influences with Badge Of A Punk Rock Band. Wearing that badge was a point of honour and identification in a world of jocks and uncertainty although the song is less raucous that one might expect. Live For Today deals with changing times and hanging onto what one has at that particular time. The album closes with The Ballad Of Rebel Wingfield which is a family history story and about growing up through an expectation that was then squandered with bad choices that ends tragically. On this album Surrender Hill have most certainly giving themselves a lot of freedom with this set of songs and they acquit themselves well and this is an album that has a wide range of appeal to a specific audience - which while it may not be massive will find songs to admire among those on offer here.

Review by Stephen Rapid

The Jensen Sisters Yellow Frames Self-Release

 Born and raised in Goodridge, Minnesota (population 132), sisters Kendra and Kansas Jensen have covered a lot of ground in recent years, given that they only began singing together at a high school talent contest in 2015. The intervening years have found them touring the Midwest of America, performing original material alongside country standards. They also recorded a mini album HIGHWAY HIPPIE, which charted at the top end of the iTunes charts - no mean achievement for siblings who were still in their teens at the time. Their debut full album follows on from their award of  "New Artist of The Year” at the 2020 Mid-West CMA’s. In parallel the sisters have also been hosting a weekly Gypsy Country Show on FM Radio and they have teamed up with a Minnesota based fashion store Simply Boutique to launch their own clothing line.

Both sisters are gifted with glorious voices, Kansas taking the lead vocal, joined by Kendra on harmony vocals and guitar. YELLOW FRAMES contains material that will appeal to followers of award-winning acts such as Lady A, Maren Morris, and Little Big Town. They cover a variety of sonic bases, fusing country with blue collar rock and splashes of bluegrass. On The Fringe and Lightning Rods are straight forward rock songs and both River Song and Beat of a Bad Habit are insightful and polished country songs. Good For You (written by Zac Norton) and Matches are immediately catchy songs, with melodies that sit comfortably between country and pop.

The Jensen Sisters are an act that would be well suited to the C2C touring festival. They describe their sound as ‘new wave retro country’ but in simpler terms they are a well-polished and impressive duo on the margins of crossover pop/country. Their core sound is well suited to commercial radio and they possess the skillset and work ethic to make a breakthrough to the next industry level.

Review by Declan Culliton

Jaunita Stein Snapshot Nude

Singer and guitarist with the Howling Bells, SNAPSHOT is the third solo recording by Australian Juanita Stein. She released her debut solo album AMERICA in 2017 and followed it with UNTIL THE LIGHT FADES a year later.

The material for her latest recording was written shortly after the unexpected death of her father Peter Stein. Stein explains the album’s title as ‘’me clinging to what I have left of him in my mind’’. A founding member of alt-country band The Cahoots, Peter also had his music recorded by numerous other artists, including The Blind Boys of Alabama. Although the album was born from a time of extreme grief and reflection, it is anything but a difficult listen. The material considers loss and the passage of time and is as much a celebration of life, while trying to make sense and come to terms with its passing.

At the core of the album is Stein’s exquisite vocals, often layered and seldom sounding better than on the dream like From Peace or the equally bewitching title track. The powerful Reckoning evokes images of rolling and crashing waves. Stein recalls her carefree childhood on the driving L.O.T.F and bookends the album on the delicate, countryfied and suitably titled In The End.

Ben Hillier is credited with the production duties and Stein’s brother and Howling Bells member Joel adds guitar. Jazz drummer Evan Jenkins from the Neil Cowley Trio and bass player Jimi Wheelwright from Brighton based band Tigercub also contribute. They combine to add exemplary sonic support without ever interfering with Stein’s assured vocal delivery.  

The spirit and theme of SNAPSHOT are never far from the surface on what undoubtedly must have been a challenging project for Stein. A melancholy mood prevails throughout but seldom distracts the listener from what is a quite stunning body of work.

Review by Declan Culliton

Mike Ross The Clovis Limit Pt. 2 Taller 

The Clovis, like other prehistoric cultures, were hunter-gatherers and the popular theory is that they were the first to settle in the Americas, having journeyed from Siberia across the Bering land bridge, which connects Alaska to Siberia and is now the Bering Strait. They first appeared in America around 9,200 B.C. and vanished 500 years later. Ross also references the author, William Gibson in speaking about history, it’s random course and the veracity of what gets recorded as fact. 

Following on from 2019’s Pt. 1 release, the Clovis Limit connection returns with a much-changed focus and a lot harder edge. Gone are the use of dobro, fiddle and pedal steel from the last outing and in their place is a sonic assault that includes some serious rock guitar and synthesizer dynamics against the impassioned vocal delivery of Ross, which borders on angry frustration and outrage at the current frustrations of Brexit, Covid-19, Global warming and everything in between.  The only constant is the superb guitar playing that separates Ross apart from so many contemporaries; such a fluent and melodic player who can also cut loose with swathes of distorted, fuzz-guitar when the mood dictates.

This time, Ross uses fewer musicians in the recording process and takes on full production duties in addition to excelling on acoustic & electric guitars, Wurlitzer and Moog synthesizer, fender bass, organ, percussion and vocals. The results are very impressive and the big sound is reminiscent in parts of Lenny Kravitz in full flow, Don’t Say A Word and None Of Your Business being to the fore with soul/funk arrangements. Most of the tracks run into each other, which creates a momentum to drive the music forward and the pace is very brisk. The Only Place You Take Me Is Down is another great example of the blues-based rhythms that populate a number of these songs and the message, just like the aforementioned tracks, could be taken as a broadside against political failings and/or relationship woes. Hammer is the one track not penned by Ross, with Paul Dent given writing credits on a song that references feelings of suffocation in a relationship and at over 7 minutes, a really strong melodic opus that soars and satisfies.

The Americana groove of The Loser is infectious, with a light acoustic arrangement and percussion delivering a message to never quit. It echoes the Black Crowes in both the arrangement and overall vibe. There are two instrumentals, Tell Jerry, all deep groove and hard edge, plus the superb guitar and keyboard flights on Unforgiven, a strong influence rooted in the Allman Brothers sound.  The other musicians credited are Ricky Kinrade on fender bass and both Rob Millis and Stevie Watts on organ, with drums provided by Darren Lee. 

Some of the songs, like opener Thanks A Lot, have time signature changes, synth doodlings and playful ‘found’ sounds. Leviathan is a perfect example, with the foreboding darkness of the depths conjured into nightmares.  Shoot You If You Run is the longest track here, clocking in over 9 minutes and the anger at global damage perpetrated by mankind is augmented by a radio broadcast in the background, on some distant station on the dial, with singular guitar lines echoing the discord of a distorted utopia.  There is the bonus of a hidden track, Unforgiven (reprise), with a more up-tempo arrangement on keys/synths leaving fond memories of early Camel and the Pete Bardens/Andy Latimer axis. All in all, a very polished release that excites and engages. Worthy of your time.

Review by Paul McGee

Hat Check Girl Kiss Me Quick Gallway Bay

An eight release by husband and wife team, Peter Gallway and Annie Gallup, who create the most hypnotic, beautifully formed song vignettes, either as solo artists or as a very potent pair. This is soothing, timeless music that gently seduces and invites you into a world that reflects the hopes, fears and quiet acceptance of our fragilities and strengths. 

This collection of twelve songs was performed, recorded and given wings in their home   studio on the coast of Maine. Annie sings in her haunting, sad tones and plays electric guitar, lap steel, dobro, in addition to her percussion skills of flatfooting. Peter also sings and plays both acoustic and electric guitars, accordion, keyboards, acoustic bass, drums and percussion. They write all the songs and their back catalogue is filled with special music that is worthy of a place in every collection.

How Far Will You Go is a song that ruminates on the secrets we keep and the urge within to follow our own vision; “His stories are gold but they don’t add up, He tells them well but they can’t all be true.”

Second Monday Of The Week looks at the routine in farming life and the need to endure in order to survive; “All we get is what we got, Fix yourself a good strong shot, Give all the loving a good man got.”

The Best Kept Secret in Blue Hill and Everybody Dance and Spin are both snapshots of lives lived in search of something other; the former about a local musician who makes good and the latter, a memory of a tour romance between band members that led to nothing more than just that, a memory.

He Loved Horses is a song about a solitary life that embraces both the great wide open and horses, in preference to a human relationship. Earl Had the Night Shift looks at someone who represents the faceless jobs that real people do without any recognition – “He had a way of moving cool and slow, The softest face, white as a ghost.”

The slow blues of New Old Life echoes the story of a widower talking to his deceased wife and lamenting the twister that killed her and her mother while he was away from the house. One And The Same is a life on repeat where one partner is blind to the reality of the other’s faults; “She closes her eyes. Nobody to blame, What he is and he isn’t are one and the same.”

My Dream Last Night is a moment in time and a feeling when observing a loved one; “The way she is, the way I am, In a summer dress she says kiss me quick.”  Memory is a highlight with a wistful spoken vocal from Annie and the tale of youthful romance lost to time; “In the end, I chose you, in the end you couldn’t choose, which, in the end, is choosing, so we cut each other loose.” Such a fragile piece of poetry that hangs in the air.

Moving West is a heart-breaking tale of a family leaving the old home in search of new beginnings, with the sense of the moment captured in the lyric; “It’s been me and you since high school, now we got little girls ourselves, It’s a good old house, hope it’s good for someone else.”

Final track, Kiss Me Quick, and the album title, is a love song of sorts; ships in the night meeting to dull the ache of loneliness. Whether it’s just looking for a smile of recognition in another or just being given the strength to carry on, these songs are laced with both melancholy and unwavering spirit that elevates everything to a place of shared beauty. Another terrific album. 

Review by Paul McGee

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