New Album Reviews

Hannah Read & Michael Starkey Cross The Rolling Water Hudson 

Hannah Read started playing traditional fiddle as a child on the remote Scottish Isle of Eigg, when she divided her early years between there and Edinburgh. In love with traditional and folk music, and later classically trained, she was also heavily influenced by her father’s eclectic music collection that comprised everything from African music to Americana. She went on to study fiddle and guitar at Berklee, where she was a room mate of Sarah Jarosz. She now continues to be immersed in old time and stringband music in Brooklyn, NY but met Edinburgh based clawhammer banjo player, Michael Starkey, on a visit home in 2019. Although they had never played together before, the pair hit it off musically, culminating in the Scottish recording of this lovely old time fiddle and banjo duet album in 2020.

Sounding like they’ve been playing together for years, this is a collection of eleven old and new instrumentals and two songs. Starkey’s two original compositions, the jaunty banjo led Blue River and the guitar based Leonard’s Blues blend seamlessly with the older tunes. Read brings an original slow waltz, Waltz de la Funguy (there must be a good story behind that one) and they encourage spirited barn dancing on fiery numbers like Charleston, North Missouri Wagoner and Old Kentucky Whiskey. Their choice of tunes are not the obvious old timey standards, and they acknowledge their sources in the attractively designed digipak. Read switches to guitar for a beautiful rendition of Anais Mitchell’s Shenandoah, her sweet breathy vocal being the perfect instrument to express the pain of unrequited love. They reprieve the song again later as an instrumental. The sentiment of Allen Reynold’s (via Doc Watson) Ready For The Times To Get Better will not be lost on any listener in the current climate, again sung superbly by Read, with backing vocals from Starkey.

Recommended, both for existing devotees of old time music, but also as an introduction for the curious.

Review by Eilís Boland

Long Way Home A Few Favorites Self Release

Long Way Home are a transatlantic duo who have made County Cork their home, luckily for the roots music fraternity in Ireland. Kylie Kay Anderson was raised in Utah, USA where she was introduced to music at young age by her father. Eventually choosing the mandolin as her main instrument, she progressed to studying on the ETSU (East Tennessee State University) Bluegrass, Old-Time and Country Music Studies degree course. Meanwhile in Drenthe, The Netherlands, a young Owen Schinkel quickly became hooked on bluegrass after first hearing it as a teen, picked up a dobro and ‘hasn’t put it down since’. This led him to enrol at ETSU (having been awarded a scholarship there) on the same sought after course as Kylie Kay. After completing their studies, the two relocated to Cork where they are enjoying continuing to pursue their musical interests, promoting bluegrass and roots music and absorbing many other influences.

This 4 track EP is a calling card for their sound, with well chosen early country and bluegrass songs which clearly reflect their influences. Flatt & Scruggs recorded the first version of I’ll Go Steppin’ Too in 1953, and here it allows Owen to showcase his undoubted prowess on dobro (resonator guitar), while he harmonises with Kylie Kay’s lead vocals on the uptempo tale of ‘if you can go out on the town, then so can I’. Cry Cry Darlin’ was a staple slow waltz in Bill Monroe’s repertoire in the early days of bluegrass, and here Long Way Home perform it as a ‘call and response’ song, with some tender mandolin fills from Kylie Kay. A song recorded by Webb Pierce in 1953, Walkin’ The Dog gets the duo treatment, with Kylie Kay on guitar backing up Owen’s lead vocals and dobro breaks. Finally, the Carter Family’s Will You Miss Me? is sung by Owen, with Kylie Kay’s alto vocals perfectly complementing his. I hope this short EP is a harbinger of more recordings to come from this talented pair, who are really just at the start of their musical journey. Some new compositions would be very welcome next time!

Review by Eilís  Boland

The Lucky Ones Slow Dance, Square Dance, Barn Dance  Self Release

The Canadian band’s previous eponymous debut album set out their credentials for vibrant old-time/folk and bluegrass music that is built upon with this new release which, as the title predicts, is very much aimed at the barroom dance floor. To help further that sense of energy, the album was recorded in the Anglican Church Cathedral in the region of the Ta’an Kwach’an First Nation in Canada’s Yukon Territory. The songs on the album are largely original and feature the four band members, with some six additional musicians adding to the general ambience of the occasion.

All of the songs have the air of older, traditional storytelling songs. This allows various members to take the lead vocal, with others joining in on the harmony and choruses as required. If the inner sleeve collaged image of the players is anything to go by, the assembled players had a good time getting the music across to live audiences as well as for the recording. It’s acoustic music with guitars, upright bass, banjo, mandolin, accordion and fiddle to the fore in a group context that also allow the individuals to shine. The end results are as rewarding for the listener as for the band. 

The opening song Kate And Dan is a tale of two characters who take what they need in a trail of robbery and retribution, as their lifestyle ends without either life or any particular style. This is followed by a jaunty instrumental Broken Bow Stomp that is forceful in intent. The iron road gets a run out on Goodbye Train, a song about taking a consort away. Keno City Love Song recalls John Prine in its overall tone and lyrics, which are reminiscent of the great man’s work - but in a good way. A romance that relates to alcohol is set on a barstool in Fifth Of You. Another solid but melancholy tale is that of the now buried Jake - this one’s a slow dance. In a similar frame of mind but a different context is Bones. More positive is My Gal Is Good To Me which relates just that feeling to the album’s closing song. There’s a seemingly outlying connection to these isles, or perhaps its more universal, in Red The Skies which connects the sky colour and potential climate to the good fortune (or perhaps misfortune) of those who look that way before venturing out.

The band consist of Ian Smith, JD McCallen, Ryan James West and Kieran Poole but they are ably joined by the guests here who give added resonance to the tenor of the tracks. No matter which dance you want to take, The Lucky Ones sound like a good dancing partner here. 

Review by Stephen Rapid. 

Luther Black and the Cold Hard Facts Moment of Truth Wire & Wood

There is something of Bob Dylan’s early band recordings acting as a reference point in this new set of songs from the band fronted by Rick Wagner, who wrote all the songs bar the cover of the aforementioned Mr Dylan’s Most Of The Time. Wagner has a suitable soupçon of grit to his voice that feels appropriate for this set of songs’ search for meaning, love and life enforced wisdom. Many of these songs were written during lockdown and that, in some ways, allowed for an inward looking album of more personalised writing. Wagner also produced the album and played many of the instruments and then, within the protocol of lockdown, added a major contribution from band member Matt Wissler on guitar, mandolin and vocals. He also got others to add to the songs, including guests such as Will Rigby on drums and Andy Riedal on pedal steel for one particular song, among others providing percussion, backing vocals and violin.

There is a certain melancholy and air of restraint pervading the album overall. Very few of the tracks are uptempo and most are built around a bedrock of acoustic guitars and subtle rhythms. The final track Heartbreak Lullaby had its genesis when Wagner was playing his guitar contemplating the recent death of John Prine. Prine is one of many influences and touchstones to the writing that includes the likes of those iconic writes as Guy Clark, Townes Van Zandt as well as Ray Wylie Hubbard, acknowledged as a major inspiration and, doubtless, Blaze Foley should get a mention here too as Wagner has called his publishing company Drunken Angel Music. I also hear, to these ears, a comparison to the work of the much underrated Elliot Murphy.

The album opens with a short atmospheric instrumental America’s Moment (there is a second soundscape later with The Pilgrim’s Plight), which leads straight into Long Way To Go, a working man’s story of carrying on carrying on in a search for some truth in that existence. From there on there are many moments (of truth) to savour in the understated delivery of the assembled team which, as producer, Wagner in the recording situation was able to monitor and mix. There are many songs that have a strong likeability factor including Before I Stop Loving You, Take Me Back, and Alamo Way which has a nice use of the guitar and backing vocals of Brandi Thompson and Dina Regine. Others like Hold On To Your Dreams have a featured violin that adds to its sense of retrospection. 

These songs are pretty much Wagner’s reflection of a particular time and place and his use of The Cold Hard Facts brings out a sense of that, with implicit adherence to its vision of that truth. 

Review by Stephen Rapid

The Vandoliers Self-Titled Self Release

The pandemic was not the only catastrophe that landed on the doorstep of the Texan band The Vandoliers in 2020. Signed to Bloodshot Records in 2019, they released FOREVER, their third album and their first album on that label, and had recorded the material for this self-titled album in 2020, which was also to be supported by Bloodshot. Everything was looking rosy in the garden, supporting slots with Flogging Molly, The Turnpike Troubadours and Lucero and a scheduled tour of Europe all pointed towards a band very much in the ascendency. However, the pandemic and the demise of Bloodshot left them without a label, off the road, and with the material recorded for an album that was to see the light of day in 2020. Left with two choices, to either throw in the towel or regroup and create their own record label, they chose the latter.

Frontman and songwriter Joshua Fleming also became a father in late 2020, and, as he confessed to Lonesome Highway in a recent interview, he ‘grew up a bit more during that period.’ Returning to the studio with additional material, they put the finishing touches to an album that unequivocally defines The Vandoliers, blending soaring ‘in-your-face’ rockers with a few forays into less breakneck raucous numbers.

Describing themselves simply as a Texas band, they recall the cowpunk sound of the late 70s and early 80s, with nods in the direction of Meat Puppets and Jason & The Scorchers. With a history of playing in punk bands, Fleming and his bandmates, bassist Mark Moncrieff, drummer Trey Alfaro, fiddler Travis Curry, electric guitarist Dustin Fleming, and multi-instrumentalist Cory Graves, fully recreate the energy and verve of their live shows on the album.

They’re out of the blocks in fine style with opener The Lighthouse and Every Saturday Night, which follows, perfectly exemplifies their core sound and spark. Equally dramatic is the fiddle led and first single from the album, Howlin’, another example of the band’s capacity to create songs that are tailor-made for the live stage. Tingling piano introduces the swinging rockabilly vibe of I Hope Your Heartache’s A Big Hit, before they close out with the twanging country toned Wise Country Friday Night.

A giant leap forward from their previous recordings, the album entirely nails where The Vandoliers are coming from. It’s also a huge statement from a tight-fit and  fearlessly hard-working band that deserves all the success that they are inevitably going to achieve going forward. Check it out and make sure you get to see these guys on stage if they’re passing your way.

Review by Declan Culliton

Andrew Duhon Emerald Blue Self Release

The fourth album from Grammy-nominated singer songwriter Andrew Duhon combines his memoirs of travelling solo on the Pacific Northwest and his homelife in New Orleans. An artist that can boast a number of strings to his bow, Duhon performs solo, with his band The Andrew Duhon Trio, and is also the brainchild behind New Orleans’ BreakFest, the Sunday morning pre-jazz music and breakfast event of Jazz Fest.

Arriving nine years after his last recording THE MOORINGS, his latest project is an eleven-track group of very ‘easy on the ear’ songs. That’s not to suggest that Duhon’s songwriting is anywhere approaching lightweight. On the contrary, his songs deeply explore life’s continuing challenges and the search for a perfectly balanced lifestyle, while remaining true to oneself and one’s loved ones.

The opener Promised Land considers and questions these concerns, setting the theme for what’s to follow. Lost love and the sorrow of breaking up are articulated on the stripped back Southpaw and the soulful Diggin’ Deep Down recalls past and often unwise life choices and rehabilitation.

Other highlights include the title track, Slow Down, and the closer As Good As It Gets. Alongside Duhon, who plays electric and acoustic guitars, are Dan Walker on keys and accordion, and Jano Rix on drums and percussion.  They all contribute to an album that offers a comforting suite of soothing tracks from an artist who directs himself towards self-examination for inspiration.   

Review by Declan Culliton

Jordi Baizan The Love In You Berkalin

On this third album, Texan songwriter Jordi Baizan sticks closely to the formula that made his last outing, Free and Fine (2019), such a success. He again uses the production team of Walt Wilkins and Ron Flynt, recording at Jumping Dog studios in Austin. It’s a wise choice to also ask Chip Dolan to return to the same studios and his contributions on piano, wurlitzer and electric keyboards are a key ingredient in the relaxed melodies that permeate these eleven songs. Co-producer Ron Flynt also adds B3 organ, harmonium, and bass on two songs, plus piano on another. Bart De Win also returns on accordion for one song and both Tina and Walt Wilkins contribute harmony vocals.

The new rhythm section of John Chipman (drums, percussion) and Harmoni Kelley (bass), sit quietly in the pocket and support the songs in an understated way throughout. Particularly striking is the track, Looking For A Heart, a poignant tale of a donor whose early death gives life to another in need; beautifully observed and gently delivered. The Way Of the World is a considered tribute to a child and the manner in which a life is formed and directed. The memory of being asked to help a homeless man on the street is honestly captured, as the parent chooses to not act on the humanity shown by the child in asking for a kindness to be shown. We all make our choices in the moment.

Fathers also feature in the song, A New World, along with a sense of hope for the future . A look towards the new generations and the legacy left behind by those who tried to find a better way, and a sense of passing the baton along the line.

Similarly, the closing song, Take Your Time, is sung to a baby in the womb and the message that the arrival of a new life in the world will be both a joy and a chance to bring more loving awareness to the world. Baizan has a sweetly alluring vocal and the sensitive ensemble playing make this album a very pleasant listening experience. Much to recommend and another step forward in this artist’s career.

Review by Paul McGee

Kaurna Cronin Harsh Beauties Self Release

This Australian artist has delivered album number seven and his music has been described as the sound of contemporary Australian folk music.  Cronin is a globally-recognised performer with a strong touring ethic, and in 2021 he was awarded Artist Of The Year at the Australian Folk Music Awards.

During the two years of Covid shutdowns, with live music no longer a possibility, Cronin has had time to recalibrate and assess where he finds himself in the current scheme of things. He has always been very environmentally and socially aware in his lyrics; something that he continues to highlight, but there has been a shift in the musical vista. There is a big production sound on this album, with bassist Kiah Gossner at the control desk.

Gone are the use of synthesizers that featured on ALOFT IN BLUE (2020), only to be replaced by both  electric violin, courtesy of Frank Giles, and rich organ melodies, with both Dave McEvoy and Matt Morison featuring. Recording took place at two different studios, and Cronin wrote all the eleven songs, ably supported by his regular core group of musicians - Tom Kneebone (electric guitars), Kiah Gossner (bass), Kyrie Anderson (drums, percussion), and Matt Morison (organ, piano). These accomplished players are joined, this time around, by Dave McEvoy (organ, piano), Frank Giles (violin), Stuart Patterson (saxophone), and backing vocals are provided by a mix of Lauren Henderson, Alana Jagt, Kaurna Cronin and Ryan Martin-John, across the various tracks.

The sonic sound is impressive and the musicianship is of a high standard, but the overall feeling is that of a more commercial sound, leaning almost in the direction of contemporary bands like, The Killers. There is no doubting the sincerity of Cronin as he examines some of the issues of our times, and the inclusion of a few relationship songs gives a balance to any fear of over-indulging in social analysis. One song that is suitably different, Why Do You Love Lizzie? questions the Australian leaning towards Queen Elizabeth and the British Empire. Australia is still a constitutional monarchy so there are lingering issues regarding the Queen of England and potentially her role as head of state.

Elsewhere, there are songs that examine relationships, such as Never Said, or One Day Away From You, where life on the road has the writer missing the comforts of home pleasures  including a very inventive use of both bottles and a cutlery drawer as percussive sounds by Kyrie Anderson on this track. Equally, I Write the Songs and If the First Time Was the Last Time, both channel personal feelings and the distance that can develop between us, both at an emotional and a physical level.

Our Way is a message that love endures and that we should capture the moment in what lies all around us. A similar message is imparted in the song, As It Comes, As It Goes, where Cronin reflects on holding no regrets, living these days we are given and enjoying the ride. There is frustration on songs like Unknown, where Government indifference seems to fuel a sense of anger. Global environmental concerns are tackled on Keep Me By the Rock, where the fragility of the planet hangs in the balance right now. The speed at which we live and the over-production and over-consumption in society are caught up in the song, Sideways, although the cryptic nature of Cronin’s words and use of language can, of course, lead to other interpretations of what is being said or, indeed, tackled in the song interpretations here.

Finishing on the song, The Hardest Part, is perhaps not the most upbeat way to close the album. Cronin sings of inevitable failure and the loss that will occur among our loved ones in witnessing an upheaval of global proportions, ‘Is it time to make a change? To concede to all the people it was easier to blame, All the indecision, among all the many fails - Forgive me now.’

Always an interesting artist and continually pushing his career into new directions, Kaurna Cronin holds as much in common with other Australian bands, such as Midnight Oil, as he does with the modern pressures of remaining relevant in an ever-demanding world of sonic vistas with hooks, soundbites and commercial considerations.

Review by Paul McGee

Andrew Tuttle Fleeting Adventure Basin Rock

When I reviewed Andrew Tuttle’s previous album, in 2020, I stated that “he produces music that is both hypnotic and soothing, mixing with elements of electronic sound and symbiotic instruments that weave into air and space.” On this, his fifth full album, Tuttle explores a very similar soundscape with the creative genius that is seldom bestowed upon us mere mortals and rarely illustrated with such unique vision.

Written during the constraints of the recent pandemic, Tuttle decided to channel all of the inner feelings that he was experiencing and turn them into musical lullabies to the soul. The beautiful sway of this music brings a soothing balm to our troubled times, while also providing a meditative calm in which we can all simply breathe out and relax our troubled minds.

Using a new set of musical contemporaries, Tuttle calls upon no fewer that fifteen different artists to contribute their parts to what is a completely satisfying whole. He does call upon both Chuck Johnson (pedal steel) and Tony Dupe (cello, viols, double bass) from the previous album, Alexandra. However, their essential inclusion is limited to just a single track in each case. No matter how many digital music files were flying across the world in random patterns, it is the overarching vision of Tuttle who pulls all these disparate strands together from his home studio in Brisbane, Australia.

There are seven tracks that run over forty minutes and their abstract titles belie the true beauty that is contained within. The opening, Overnight’s A Weekend, includes a wash of electronic soundscapes, banjo, violin, guitars and sax in an ethereal mix that conjures up a balmy night in all its quiet glory. The hint of a trip to new undiscovered lands is also in the air.

Elsewhere, the simple pedal steel, acoustic guitar and gentle pulses of New Breakfast Habit are  hypnotic while the fuller sound of Next Week, Pending adds banjo to the same mix of instruments and create an impression of a car journey, the movement implied in the momentum of the interplay and the sense of looking towards new horizons. And that is just what this uniquely radiant music asks that we do – look forward to new vistas where the music explored is borne of a creativity not easily explained in traditional terms.

Tuttle uses the found sounds of nature on the track, There’s Always A Crow, and his abilities to create brooding, haunting atmospherics on Freeway Flex, are as much down to his interest in signal processing; creating digital effects from audio waveform data; as they are from wanting to instil the sheer joy of pure sound in the listener.

On the track, Filtering, we are treated to a heady mix of many instruments coming together in an understated delivery of musical magic; with electronic promptings merging with banjo, harp, accordion, piano, violin, pump organ, dobro, double bass, cello, viola and saxophone. Blissful.

If we are to accept the genre fluidity of such an innovative artist, then there are no boundaries to music that simply excites and soothes in equal measure. The new frontier for contemporary folk music has been breached and  the fusion of electronic creations and gentle melodies has been delivered to take us into a new space where anything is possible.

Review by Paul McGee

New Album Reviews

Michelle Rivers Chasing Somewhere Self Release

It’s more customary for budding singer songwriters and artists to abandon their rural homelands and head to Nashville to follow their dreams rather than the route chosen by Michelle Rivers. Growing up in Leipers Fork, Tennessee, music surrounded her as a child, mainly because her singer songwriter and multi-instrumentalist father, David Piland, had a home studio that was regularly frequented by Nashville songwriters. Michelle studied music at Belmont University in Nashville but was somewhat overawed by the competitive edge in the industry there and transferred to Baylor University in Waco Texas. Having completed college and seeking a slower-paced lifestyle, Rivers relocated to a small town in northwest Montana. Inspired by the surrounding countryside and the calmer way of life, she recorded her debut album BREATHING ON EMBERS in 2016.

There’s a lot on offer, both in quantity and quality, on her latest album CHASING SOMEWHERE. Kicking in at three minutes short of an hour and with fifteen tracks, it suggests an artist very happy in her own skin. The album also leaves an impression of an artist that served her musical apprenticeship in the company of some stellar writers and players.

The modern bluegrass album opener Going West is awash with fiddle, banjo and mandolin, all placed effectively behind River’s vocals. The standout tracks are Last Cowboy, with its nod in the direction of Nanci Griffith, and the border ballad Gone, which features Al Perkins on aching pedal steel. Buy Myself A Job is an honest reflection on the indeterminate life of so many artists (‘This kind of life, you gotta love it or leave it. If you’ve got a gift from above, you better use it’). Set In My Ways was locked in my memory bank after two spins. Beautifully melodic, it mirrors Mary Chapin Carpenter at her best.

As well as Rivers’ honeyed country voice and clever writing, there’s so much else to savour on this album. She’s backed by a bunch of killer players including Grammy winner Barry Bales on upright bass, CMA musician of the year Jenee Fleenor on fiddle and the previously noted Al Perkins on pedal steel, all of whom inject life into a bunch of highly listenable songs.

A new artist to me, Michelle Rivers is one that I’ll be keeping a watchful eye out for going forward. 

Review by Declan Culliton

Kelsey Waldon No Regular Dog Oh Boy

Born and raised in the small town of Monkey’s Eyebrow, Kentucky, country singer songwriter Kelsey Waldon currently resides in East Nashville, where she is very much central to that burgeoning community of like-minded and hugely gifted female artists.  A pointer towards Waldon’s mastery was evident in 2019 when she was signed to the late John Prine’s Oh Boy Records label, the first signing to the label in eighteen years.  NO REGULAR DOG is her second recording for the label, following on from the release of WHITE NOISE/WHITE LINES in 2019.

Possessing a vocal that is as country and natural as it gets, Waldon’s writing has traditionally been from the heart, detailing personal struggle and adversity, rather than formulaic Music Row conveyor belt ditties. Her albums have been like diary entries, giving consideration to what she was dealing with at that given time, both mentally and financially, and in essence, surviving in an industry and city that takes no prisoners. I’VE GOT A WAY, released on her independent label Monkey’s Eyebrows in 2016, reflected on many of those obstacles. Tracks like Dirty Old Town, False King and the Gosdin Brothers’ There Must Be Someone, spoke of isolation, shady industry types, and the constant stereotyping that female artists have to endure.

Fast forward six years and NO REGULAR DOG finds her in an altogether more chilled and untroubled frame of mind. She’s even written a love song - a first if I’m not mistaken - titled Simple As Love, a further pointer to her present well-being. She calls to mind the passing of her close friend John Prine on Season’s Ending, the first song she wrote following his death, and the fiddle-driven waltz You Can’t Ever Tell earned its title from an often-used expression by her father. The semi-autobiographical and hugely melodic Sweet Little Girl tells of the struggles of seeking out the proper life choices and she reiterates her present mind space on the perky Peace Alone. Truthfully, there isn’t a weak track or moment across the eleven tracks that feature on the album and, in a year that continues to gift us with excellent albums, it’s up there with the best that I’ve heard this year.

Recorded at Dave’s Room Studio in Los Angeles, Waldon called on Shooter Jennings to oversee the production duties. In a similar vein to his work on Jaime Wyatt’s NEON CROSS (2020) and Brandi Carlisle’s IN THESE SILENT DAYS, he affects an exquisite balance between Waldon’s delightful drawl and the supporting musicians. Those players included her regular touring band members Brett Resnick (pedal steel), Alec Newman (bass) and Nate Felty (drums). Jennings played piano, organ and synths, and Doug Pettibone and Aubrey Richmond guested on guitar and fiddle.

Waldon, very much to her credit, has steadfastly remained unapologetically country, unlike other artists that switch genres, either by way of experimentation or external pressures. Using her art as a mechanism to make sense of her personal predicaments and the modern world, lyrically she treads a similar path to her idol and fellow Kentuckian, Loretta Lynn. As the music market seems to be slowly but surely opening its doors once more to real country music, Waldon is up there at the head of the queue.  
‘A prisoner of my mental cages, my own worst enemy…… Nothin’ worth doing don’t come without a price, better hold on tight, it’s gonna be a long ride,’ Waldon muses on the title track. She’s most certainly riding tall in the saddle on NO REGULAR DOG, confirming her status as a pedigree country artist and joining her fellow Kentuckian’s Sturgill Simpson and Tyler Childers, as one of the most vital artists to emerge from that southeastern State in decades.

Review by Declan Culliton

The Sadies Colder Streams Yep Roc

With sixteen releases since their debut album PRECIOUS MOMENTS in 1998, Canadian band The Sadies have created a sound very much of their own. Landing somewhere between country twang, surf pop, and 60s garage and psychedelia, their reputation as one of the consistently exciting live acts in roots music is universal.

COLDER STREAMS is the final recording with founding member Dallas Good, who passed away tragically at the age of forty-eight, from heart failure in February of this year. Dallas was vocalist and guitarist with the band alongside his multi-instrumentalist brother Travis, who adds vocals together with fiddle, banjo, mandolin, and guitars. The other band members are Sean Dean on bass and drummer Mike Belitsky.

Always willing to collaborate and invite others on board, their albums and live shows have found them working alongside a host of like-minded artists, from Blue Rodeo to John Doe, and Neko Case to Kelly Hogan. For the recording of COLDER STREAMS, they invited Richard Reed Parry of Arcade Fire fame, Jon Spencer (Jon Spencer Blues Explosion), and Michael Dubue (Socalled, Mika Posen, The Acorn) along to the party while also recruiting the Good parents, Margaret and Bruce, on backing vocals and autoharp respectively.  The production duties were handled by Reed Parry and he flawlessly recreates the band’s trademark live sound in the studio.

They’re in particularly fine form on Message To Belial and More Alone, complete with trademark harmonies and twangy guitars. The former recalls The Byrds, the latter a slice of 60s psychedelic power pop. By contrast, they slip down the gears on the more mellow All The Good and You Should Be Worried, before turning the heat full on again with the hook-filled Better Yet and Ginger Moon. They sign off with the ‘spaghetti western meets acid trip’ instrumental End Credits. It’s a fitting finale to an album loaded with killer tracks that match, if not surpass, their best work.

Prior to his passing Dallas Good, somewhat tongue in cheek, proclaimed ‘COLDER STREAMS is by, far, the best record that has ever been made by anyone, ever.’ It’s such a tragedy that Dallas isn’t around to savour and tour the album.

COLDER STREAMS is a musical journey that you really need to hop on to. Simply exquisite.

Review by Declan Culliton

Greensky Bluegrass Stress Dreams Big Blue Zoo

If you’re new to Idaho’s Greensky Bluegrass, think of them as a rock ‘n’ roll band, using bluegrass instruments in a non-traditional way. Together for over 20 years, touring relentlessly throughout the US, the abrupt onset of the pandemic allowed them ample relaxation time to individually prepare their eighth studio album, until they got the chance to meet up in person in the studio. The result is a double album of thirteen original songs, each averaging over 5 minutes long, as befits a jam band whose stock-in-trade is taking their material on the road and improvising. No strangers to darkness in their material, this album finds them, like everyone of us, searching for meaning in the current upheaval, and they ultimately find consolation through resilience.

Paul Hoffman (mandolin) expresses his frustration at being forced to stay off the road in his song Until I Sing, with the refrain ‘And I feel worthless, without a purpose, until I can sing for you’. Equally in Screams, he ‘needs your screams in my ears, something real I can feel’, expressing the frustrations of lockdown and the absence of their relentless touring schedule. Worry For You is closer to bluegrass in its sound and expresses Hoffman’s socially driven concerns for the violent protests in his country.

Because there are no drums, Mike Devol on bass keeps the rhythm faithful, along with mandolin chops from Hoffman. Devol, who up until now had never written any songs, to the bands’ surprise brought four impressive songs to the project. His eight minute epic, the title track Stress Dreams, emerged from bad dreams he was having at the time, partly due to touring stress but also because he was a new father, and the sleep disruption that can cause. From interesting mandolin chord progressions and harmonising dobro, the music ebbs and flows dramatically, backed up with some fine piano playing from regular collaborator Holly Bowling.

Anders Beck, whose dobro and reso-guitar playing takes the place of a rock band’s lead guitar solos, contributes Monument, where he explores the shock of the pandemic (‘you can build a castle but it crumbles to a cave’) but ultimately he reckons we’ll be okay (‘and look at all we’ve learned, from lessons never wanted’). Guitarist Dave Bruzza brings the interesting, languid Streetlight, where he mourns the dissolution of his marriage, ‘love ain’t a diamond you find in the rough, love is just love, barely enough’. And he gets to play the only drums on the record!

The album finishes with two upbeat and hopeful tracks: Hoffman’s Grow Together is a love song to his wife, renewing their love after the recent birth of their daughter; and Mike Devol’s Reasons To Stay is also a touching love song. The heavy duty vinyl double album has a gatefold sleeve and  ample photos, information and a lyric sheet, just like in the old days. Recommended.

Review by Eilís Boland

Julie Jurgens Appointed Tasks Butterbean

This album was created during the constraints of Covid lockdown which limited any real opportunity for musicians to meet and gather in a live setting. Instead, Jurgens retreated to her basement studio in Chicago and worked on the twelve tracks that make up this release. She grew up in rural Illinois and her challenging childhood experiences have found their way into the fabric of these songs. The confessional nature of her song-writing is a worthy attempt to put to rest a lot of the lingering ghosts of those times and her songs  touch upon issues such as  loss, trauma, neglect, and abuse. However, there is also love, perseverance and the strength of will to survive and rise above all the challenges faced.

Produced by her partner, Charlie Crane, the album is a mixture of light and shade as different musical influences colour the songs. There are the horn sounds on opening track, Once Was Mine, and the up-tempo arrangement of Thief , with nice harmonica and a pulsing drum beat behind the jangling guitars. Similarly, the bright sound of Bottle In the Way is very catchy with some warm organ and sax sounds. The understated pedal steel on the title track, Appointed Tasks, is very nicely interwoven into the gentle melody and sweet vocal tone of Jurgens.

A Whole has a nice acoustic swing and a love letter to the uncertainty of relationships and the urge to just keep working at the messy parts.  Left Behind looks at childhood keepsakes and the price paid for unhappy memories, again highlighted by some sweetly sad pedal steel parts.

A highlight is the intensely personal song, Object. It speaks of a trauma suffered and the lyrics capture a stark reminder, ‘You said you loved me in the cold light of dawn, But I am not a person -- just an object to be acted upon.’    The following song, Hero, is equally powerful – a tribute to her mother and a fine arrangement with accordion, harmonica and pedal steel intertwined in the melody -  ‘ She was my mother, And she was a girl, She was a poet, Lost to the world.’

Open Door is about rekindling a relationship where poor communication has been the victim of circumstance, with muted trumpet playing behind the acoustic guitar of Jurgens. Final track, No Constellation, is a love song to the future and wrapped in gentle woodwind sounds, ‘So let’s go, there’s a hell of a universe next door, And I’m sure that you are the one, That I’ve been waiting for.’ These twelve songs are very engaging and Julie Jurgens is an interesting talent that is certainly worth your attention.

Review by Paul McGee

Brock Davis A Song Waiting To Be Sung Raintown

This singer-songwriter grew up near Vancouver and now lives in Santa Cruz, California. Having stepped away from the music industry for a number of years, Davis raised a family and was CEO in a high tech start up. He has now returned to his passion for making music and Davis recorded this album at Ronnie’s Place Studio in Nashville, where a number of experienced players joined him in creating this impressive collection of thirteen songs. The musicians harmonise together in perfect unison and whether it’s a rock-based workout like I Can’t Get Close Enough To You or a tender acoustic balled like Your One and Only Life, the ensemble delivers with some style. There are angry songs, like All Free,  that rail against the injustice and racial prejudice in society, while I Choose Love, is a slow song that examines a relationship break up that ends in a divorce and regret about where everything turned bad.

There are soulful backing vocals on We Will Rise and they are complimented by the big sound of a Hammond B3 organ. Bullets and Blood looks at the struggles of trying to maintain a gay relationship when the world seems against you at every turn. An excellent song and one that tackles an important issue, despite our protestations that we live in more enlightened times.

Two love songs are played in succession, and Second Time Around has an easy melody, while Bet On Love is more up-tempo and another album highlight. Marking Time and Any Lie also delve into the area of relationships and what it can take to make things work out. Through all these personal songs runs a steady message of hope and optimism above any sense of letting setbacks win the day. The band are superb and the production by Davis is very engaging.   

The musicians are Pat McGrath (acoustic guitar, mandolin), Justin Ostrander (electric guitar), Duncan Mullins (bass), Marcus Finnie (drums),  Michael Hicks (B3 organ, piano) and both Russ Dahl and Scotty Sanders on pedal steel. The excellent backing vocals are provided by Kyla Jade, Blair Whitlow, Grant Vogelfanger, Matt Dame, Kristin K Smith, and Tania Hancheroff. A strong return for Brock Davis and this album is both enjoyable and absorbing.

Review by Paul McGee

Jo Schornikow Altar Keeled Scales

The area of indie-folk has been one of those side-bars that people like to speak about, but nobody seems willing to define with any degree of certainty. The ambient feel of the music here, swathed in layers of keyboard, synth and reverb is anything but folk music for the new generation and could be viewed more as a glimpse into the electronic world of dream-like inner musings.

Jo Schornikow was based in Melbourne, before moving to Nashville, and her take on personal relationships and dislocation is the dominant theme running through this, her third release. Whether it’s ruminating on the significance of spotting a raven on a drive home and seeing it as a sign of impending doom (Visions); or self-sabotaging a relationship by always giving in to another (Comeback), Schornikow seems to view the world either with rueful nostalgia and/or anxious expectancy. Dark thoughts and imaginings are also captured on Spiders, an unnerving song that carries a menacing undertone.

Lose Yr Love and Patient appear to be similar in theme; about wanting the return of a lover and wishing for a different outcome than what came to pass. In the track, Plaster, she sings ‘Now for every failure, My heart it is my jailor, Sending me back to Australia.’ A tale of unrequited love perhaps?

Two more songs Wrong About You and Semper Tigris deal with the similar regret of letting someone go and wanting to change the situation. The title track, Altar, is a message to an old lover, ‘Never did see the colours start to fade, Though after all it’s just an altar I made, Just candles and sand and smoke rising, It’s still warm but you’re not there anymore.’

All these songs of regret and self-searching could be simple musings on the human condition – or, if taken as personal, probably one of the most naked break-up album released in recent times. If one was this unlucky in love, then it’s time to enter a Buddhist monastery and contemplate the true purpose of it all. Life is messy but you have to love yourself first.

Review by Paul McGee

Mapache Roscoe’s Dream Innovative Leisure

When you name your band after a raccoon and your third album proper is based around the concept of a dog’s dreams; then you better be able to come up with some plausible excuses and/or serious reasons. There is definitely a quirky side to this band that is comprised of Clay Finch and Sam Blasucci. Born and raised in Glendale, California, this duo major in sweetly arresting harmonies and a sound that falls into the basket of cosmic, West Coast folky pop music. Their sound is generally light and breezy and an expression of their individuality and willingness to explore different influences.

The album is populated with random sounds, like a dog’s bark, a seal’s cry or a deck of cards being shuffled. There are also three songs in Spanish and a strong sense of early Crosby, Stills and Nash in the closely woven harmonies. Songs like Polishing A Band, The Garden and Light My Fire drip with the imagery of Californian sunshine on a bright summer’s day. “Farmer” Dave Scher (Beachwood Sparks), contributes some tasty pedal steel on a few tracks also, Tell Him, Love Can’t Hold Me and Tend Your Garden.

There is a great fuzz-guitar sound on Pearl To the Swine and the acoustic guitar interplay between Finch and Blasucci is both intuitive and inventive at all turns. The cover version of Bo Diddley classic, Diana, is a really inviting rockabilly workout and very bright in the delivery, with some very creative electric guitar. Equally, on the short instrumental, Far Out Of Earshot and the gentle, Feel So Young, you can almost see the musicians gently jamming on a beach porch, strumming quietly in the soft breeze and enjoying the moment.

The eighteen tracks run to fifty-one minutes, making this a somewhat challenging listen in one sitting. It definitely could have done with some prudent trimming but overall, this is a strong album with plenty to enjoy among the wide variety of sweet sounds.

Review by Paul McGee

Loes van Schaijk All I Ever Really Seem To Say Self Release

Originally from the Netherlands, this singer-songwriter, now based in Prague, releases her debut solo album. Loes van Schaijk has previously been part of groups such as Waterflow, Red Herring, and Lucy & the Man. In more recent times she has played with a new project, the folk trio, Loes and the Acoustic Engineers. She also performs as a duo with Honza Bartošek, a member of the same band. Loes plays guitar, bass, and bódhran and sings in both a sweet and adept vocal tone.  Her music spans both bluegrass and folk in style and there are also touches of a more traditional sound on songs like Oh My Lovely/The Gun Sermon.

There is a really bright flow to these songs and the inclusion of guitar, mandolin and violin (Ondra Kozák), dobro (Radek Vankát), banjo (Petr Brandejs), bouzouki (Arthur Deighton), all augment the melodies with superb musicianship. Additional violin and whistles are provided by Joram Peeters and bandmate, Honza Bartošek, contributes violin and harmony vocals on a number of songs also.

Further Away is a song about Alzheimer’s disease and the upset it causes when someone so physically close can still be so distant. Madison is a lovely instrumental with the dual acoustic guitars of Loes, and the talented Ondra Kozák, intertwining superbly. The folk sound of The Wind and the Water is very engaging and there is a great tempo to the guitar rhythms on Simon Says, reminding me of early Ani DiFranco as an influence. There is a fine bluegrass swing to The Cactus Connection, with the twin dueling of banjo and fiddle really sparking the tune. The album was recorded at Studio Ataman in the Czech Republic and production duties were shared by Loes van Schaijk and Ondra Kozák. Plenty here to appeal to music lovers and some superb musicianship to enjoy.    

Review by Paul McGee

New Album Reviews

The Broken Spokes Where I Went Wrong Self Release

Over the last few months, there have been a number of releases that undoubtedly are worthy of the ‘hard-core country’ label accreditation. Houston’s The Broken Spokes are one such band and this album, WHERE I WENT WRONG, is testament to that. The ten track album is a mix of classic honky tonk songs and tailored originals that recall BR5-49 or Red Meat at their best. Their own compositions sit easily beside their version of the much covered Drivin’ Nails In My Coffin, written by Jerry Irby and perhaps best know from Ernest Tubb’s rendition, while Honky Tonkitis from Carl Butler, and the Mel Tillis co-write Honky Tonk Song, complete the trio of classic on-brand covers. 

The band are comprised of singer and songwriter Brent McLennan and guitarist Josh Artall, the band’s chief writers, and both fulfil their roles in the band with undeniable distinction. They are joined by the equally talented Ellen Story on fiddle and the rhythm section of Lawerence Cevallos and Gus Alvarado. The line up is completed by the major contribution from Kevin Skrla on pedal steel and as the album’s producer. He and the team nail the sound, feel and the sentiment of classic country, but also add a contemporary edge that gives it room to grow and manoeuvre. 

This is emphasised by the original songs including one written by former Eleven Hundred Springs’ Matt Hillyer and co-writer Larry Hooper. Someday Not Today is a fitting choice, alongside the opening salvo of the title song and All I Hear You Say from McLennan and Artall. These songs are short, concise and on the nail. But most of all, from the first notes, you just know that this is an album that will make you smile, tap your feet and appreciate who the Broken Spokes are, and how enjoyable this album is on many fronts. It never outstays its welcome, but equally never wastes a second of its playing time in losing focus of creating the kind of music that the band and its audience are looking for - to dance to, to listen to or to drink to. This is a combo that has honed its intentions in the honky tonks and dance halls of Texas, well before ever entering the studio. Their previous self-titled release came out in 2016 and they have grown and learned much since that time.

They also understand something of the graphic sensibility that comes with being such a band and the cover of the album, with its tearful John Wayne graphic, makes it a stand-out release, and sees it join some other fine releases that came out this year. Perhaps the Broken Spokes should consider the subtitle of the next album to be “where we went right”, because this album is an affirmation of doing everything right, from the vocals and instrumentation through to the original compositions and outside song choices. 

Review by Stephen Rapid

The Brother Brothers Cover To Cover Compass 

This time out Adam and David Moss have brought their considerable musical talents and their superior sibling harmonies to bear on a series of covers; as the title of the album suggests. The 12 songs feature such renowned writers as Jackson Browne, James Taylor and Tom T. Hall, alongside such diverse choices as songs from Lennon/McCartney, Hoagy Carmichael and Tom Waits.

The brothers produced the album and, aside from their usual contributions and that of drummer Matty Meyer, they added the occasional contributions from the talents of Alison Brown (banjo), Ryan Scott (guitar, organ), Michael Rinne (bass) and Jeff Picker (bass and acoustic lead guitar). The vocal side of things was bolstered by Michaela Anne, Rachael and Emily Price and Sarah Jarosz, all adding harmony vocals (while the latter also played mandolin on one track).

As we have come to expect from the Brother Brothers, the mood is calm and soothing in the main, closer perhaps to Simon & Garfunkel than other possible comparisons. Not that any such resemblance really matters, given the material’s effectiveness within its own context.

Overall enjoyment of the album may depend on familiarity and the overall appeal of their version, as against the original or a version recorded by another artist. For instance, the opening Tom T. Hall written That’s How I Got To Memphis has been covered by many, and I have a particular fondness for the Buddy Miller take, but given the very different take here it is a great song well done. Another highlight that works, while not being a million miles away from Richard Thompson’s rendition, is Waltzing For Dreamers. Again, their choices have been to pick songs that are grounded in melody and lyricism. You Can Close Your Eyes from James Taylor perfectly fits the sentiment of the song and the approach taken with it. By way of contrast, If You Ain’t Got Love is a more uptempo call for adulation and nicely uses it rhythms to drive the sentiment. Hoagy Carmichael’s I Get Along Without You Very (Except Sometimes) sounds like it belongs in a different place and, though it is faultlessly delivered a cappella, is not my favourite song here. More sombre, in many ways, is Tom Waits’ Flower’s Grave which uses cello and fiddle to emphasise the notion of sadness. It is obviously very different from Waits’ version, but is equally effective in realising its sentiment.

The arrangement for The Beatles I Will bears a relationship with some of that band’s more baroque recordings. Likewise the vision of Feelin’ Good Again translates with ease from Robert Earl Keen’s songs of the Texas troubadour, complete with prominent banjo from Alison Browne. All of which proves that those who have previously been enamoured with the music of the duo will enjoy this (allowing for a track or two) and it may introduce others to the strong original material and concordant delivery.

Review by Stephen Rapid. 

Bill Scorzari The Crosswinds Of Kansas Self Release

Is the music of Bill Scorzari something of an acquired taste? His raspy, sand-blasted voice will not, perhaps, have universal appeal but the answer to that question is that his music is well worth acquiring. His voice is the essential heart of his music and of this album as it delivers his thoughtful, crafted lyrics in a way very few others could. It’s the voice of someone who brings a variety of experienced life stories into focus and one that draws you into the heart of each song.

Scorzari has a very able and creative collaborator in co-producer Neilson Hubbard. The two helm this recording with a clarity of vision and a sense of purpose. This means that the songs are embraced by a rich and diverse musical accompaniment, all grounded in the subtle rhythm section of Hubbard on drums and percussion and Michael Rinne on upright and electric bass. Some twenty plus additional instruments and percussion elements are employed, as befitting the songs’ requirements. 

It is the kind of music that envelopes you. You are perfectly aware of the narration of the songs, whose lyrics allow for individual interpretation and introspection, something that tends to bring you closer to its heart with frequent listening. In the accompanying lyric book, the lyrics are laid out in prose style, which tends to emphasise their narrative style. On that point, there has been a lot of care put into this release (a 16 page full colour booklet and a fold-out digi-pak cover featuring the design and artwork of Anna Berman), all of which makes this something more intrinsic in value than a download.

Another element here is bringing in the sounds and language of the Navajo people in the song Tryin’, Tryin’, Tryin’, Tryin’, for which Scorzari has had his lyrics translated. The song has both atmosphere and meaning in its lament for a people, their place and surrounding nature. The Native American flute is also included (with a Tibetan Singing Bowl Bell) in Inside My Heart, adding a dimension that is inclusive of other cultures as much as taking in the landscape of Scorzari’s immediate surroundings.

There are thirteen songs and a playing time of over an hour, though nothing seems to be superfluous in the process. Like his previous albums, there is much to embrace here with this new recording, which is a step forward for his music and for himself. Those unacquainted with his output, but who may be fans of such individual artists as Malcolm Holcombe or Sam Baker, would be advised to have a listen as the crosswinds of Kansas are blowing strong and true.

Review by Stephen Rapid

Rod Picott Paper Hearts and Broken Arrows Welding Rod

It could just be a marriage made in heaven; the pairing of Rod Picott and Neilson Hubbard. The decision to call upon the many talents of Hubbard is a master stroke here, and his superbly crafted production suits the reflective playing and words of Picott just perfectly. Hubbard also contributes piano, percussion and harmony vocals, along with the impressive Juan Solodzano (pedal steel, slide guitar), Lex Price (bass, tenor guitar), and Evan Hutchins (drums). It’s a tight-knit unit and the interplay is gently sublime, with Picott sounding both fragile and born again on acoustic guitar and suitably worn-but-knowing vocals. All twelve songs are written by Picott, including four co-writes, and, over forty-plus minutes, we are treated to a real look behind the curtain of this musical troubadour.

Picott was born in New Hampshire, raised in Maine and has lived in Nashville for twenty-five years. Over this time, he has released fourteen albums, written two books of poetry, published a volume of short stories and had his music feature on both television and film projects. By any definition, a successful career as a professional musician, and proof positive that we are dealing with a singer songwriter of some gravitas. For every Springsteen who climbs the ladder to world acclaim, there is a Rod Picott, every bit as adapt and as insightful, but destined to walk in the lesser glare of such spotlights. From his early years as a construction worker, Picott has successfully captured the story songs of everyman, from the blue- collar worker to the lost souls and underdogs who never find their true direction. His vulnerable empathy has always been a strength and his desire to endure his greatest asset, as he continues to create music of a consistently high standard.

This album compares to his best, right up there with the highs of Welding Burns (2011) and Stray Dogs (2002). In the last few years, he has continued in a rich vein of creativity and delivered a trio of albums that sit proudly in his overall body of work, namely; Out Past the Wires (2017), Tell the Truth & Shame the Devil (2019), and Wood, Steel, Dust & Dreams (2020), an album written with friend and fellow musical traveller, Slaid Cleaves. Again, all three releases include the sure touch of Neilson Hubbard in their creation.

Indeed, this new release features two songs that were co-written with Cleaves, and the twelve tracks show a very stripped-down and sparce sound; highlighting Picott at his most reflective self.  There are story songs, such as Frankie Lee, where Picott adopts the persona of an outlaw on the run from the electric chair, and Washington County, a tale of poverty and trying to stay above the bread line; every bit as good as Springsteen might have penned… Revenuer, is another tale, channelling a moonshine bootlegger, protecting his way of living from the prying eyes of Government officials. Dirty T-Shirt lightens the mood with a dream fantasy, and a deeply infectious groove, observing our desires and our primal urges for gratification.

Sonny Liston, reflects on the legacy of the world heavyweight champion and the sad tale of a broken childhood, the stigma of mob connections, fights thrown for money and the decline into hard drugs that eventually took his life.  There is also a rumination on family ties and values in the song, Mark Of Your Father, while feelings of loneliness and contemplating a solitary life are highlighted on songs such as, Lover, Mona Lisa and Valentine’s Day – summed up in the lines, ‘You used to hold me, but I held you back, Somewhere the train slipped from the track.’

There is always hope, of course, and Picott never strays too far away from what keeps us grounded and battling through the self-doubt. Through the Dark, looks at our strength to endure and come out smiling; ‘We can’t fight a storm, But we can wait it out.’

Equally the hope of closing song, Make Your Own Light, is a resolve to look within, to be your own spirit guide and to balance the good with the bad. Rod Picott is something of a hidden treasure and like all things that lie waiting to be discovered by a greater audience, well worthy of the effort.

Review by Paul McGee

Steve Dawson and the Telescope Three Phantom Threshold Black Hen

This is an album made in celebration of the pedal steel musical instrument. Across elven tracks and some forty-seven minutes, Steve Dawson creates a thread that links all of the ways in which this unique instrument can colour and augment a song arrangement. Usually, pedal steel is used in a supporting role to the song arrangement, but here, it is given centre stage in order to highlight its charm and versatility.

The lack of any vocals is something of a drawback on many instrumental albums, where the overall dynamic can suffer without the use of voice harmonics to add feel and tone. However, on this impressive album, there are no such concerns, with the superb production and the interesting variety in these ensemble-based arrangements. All the studio musicians are given the space to stretch out in their playing and in their individual interpretation around the song structures and melodies.

In many ways, Phantom Threshold, continues the theme that was created on Telescope, Steve Dawson’s first pedal steel-based instrumental album (2008). Only Chris Gestrin on a variety of keyboards remains from the original studio musicians who played on that album, and his abilities across synthesizers, clavinet, wurlitzer, hammond organ, mellotron, moog, pump organ, farfisa and piano, is quite something. The rest of the band, (The Telescope 3),is comprised of Jeremy Holmes (bass), and Jay Bellerose (drums/percussion).

The improvisation and the interplay across all the tracks is very impressive, and with Steve’s unique ability to vary the mood on the arrangements, we are treated to a really satisfying feast of rich sounds. Dawson is known for his impressive collection of unusual instruments and he certainly gets many of his favourite toys out on this new album, his second release this year, marking his versatility as an innovative artist and producer. Here, we are given an insight into his talent at play, on an array of instruments, including pedal steel, acoustic and electric guitars, mandotar, marxophone, national steel guitar, national tricone, baritone guitars, mellotron, ukulele and weissenborn lap slide guitar.

Recorded at Steve’s Nashville studios, The Henhouse, with additional remote parts captured at various other locations, Steve displays his wonderful guitar technique on the closing track, Whirlwind, a solo piece that leaves no doubt about his musicality. Equally, the short track, Burnt End, has Steve channelling images of lonely prairies and open spaces as he delivers a haunting solo performance on pedal steel. Outside of these two tracks the remainder of the album is a real celebration of powerful ensemble performance. Tripledream is a highlight with the slow, dreamy arrangement, reminiscent of a Ry Cooder soundtrack, complete with some tasty cornet playing from guest, Daniel Lapp. He also contributes on violin to opening track, Cozy Corner, something of a synth layered tip-of-the- hat to the use of pedal steel in other musical genres.

Fats Kaplin also guests, and plays fiddle and banjo on the title track, which has a slow tempo and brushed drums setting the mood. Kaplin also shows his versatility by adding accordion on The Waters Rise, and a fine example of how the pedal steel can intertwine with the rich sound of accordion. That’s How It Goes In the Relax Lounge is another dreamy arrangement, with a gentle sway and a Bossa Nova beat. While the funky bass and keyboards on the blues-based, Ol’ Brushy, includes some nice moments where the musicians let go and jam a little.

All tracks are written by Steve Dawson, except for a co-write with Fats Kaplin (The Waters Rise), and a cover of the Beach Boys song, You Still Believe In Me (Brian Wilson and Tony Asher).  Once again, a very accomplished album from a very gifted musician and someone who merits inclusion in every discerning music collection.

Review by Paul McGee

The North Star Band Then and Now Self Release

This double album is a real joy and one that should gain the band some traction in a career that has seen many highs and lows. The album is split between a ‘Then’ and a ‘Now’ divide; the first disc containing ten songs that were recorded back in the period 1976-1982, when the band were in their infancy. The second disc brings everything into a current perspective, with a consistent creativity highlighted across a further ten tracks.

Are they the band that time forgot? Perhaps a consideration, but listening to this vibrant music, it’s as if the years are rolled back to the time when the members all shared a common hope for a future with some true direction and optimism. These early songs are very reminiscent of the country rock movement of the time, with the playing right up there with established acts such as The Flying Burrito Bothers and, perhaps, early Eagles. The harmony vocals and gentle guitar and piano lines on tracks like You’re Not the One To Blame and Where Does That Get You To, reminiscent of the time, with classic pedal steel and soaring guitar lifting the song arrangements and reminiscent of other talented artists that defined the genre, such as Blue Rodeo and the Souther-Hillman-Furay Band.

The combined playing of Al Johnson on harmonica and Lou Hagler on piano, is augmented by the pedal steel of Jay Jessup on the track, I Shouldn’t Act This Way. Another track, Emergency, brings together this heady time, captured by a real band workout and the soaring tempo bringing a real sense of fun. There is banjo and fiddle on the bluegrass influenced, Crow Don’t Crow,  which celebrates all that is good about playing together in an ensemble that knits as tightly together as this group.

The second disc celebrates their current sound, augmented by more modern studio techniques and equipment. The same musicians are present, and their collective talents have not been diminished over time. Starting with the country groove of Brown Shoe Willy, and the tale of a Louisiana man who wrestled alligators, the scene is set for a real jam session with the band hitting new peaks of ensemble playing. The bigger production on these ten songs is very infectious and would blow away most of what you will hear on commercial country radio stations these days. The easy flow of Whistle Blow is a look back down the track of classic country and a song that George Jones could have taken and turned into a real classic. The heady stomp of both What Goes Up and Goose Creek are both reminiscent of all that remains relevant in real country music – sweet harmonies wrapped in an organic groove and that sense of time standing still.

The rhythm section of David Watt Besley (bass, vocals) and Paul Goldstein (drums) are a constant across both recordings and they gently push the groove with concentrated creativity, with Jay Jessup on pedal steel, mandolin and electric guitar lifting the arrangements into a new space. The closing track, Yes I Do, brings everything to a satisfactory close with a dynamic band arrangement and all players immersed in the deep rhythm and soaring melody. Celebratory music, and if you never got on board with this terrific band of musicians in the past, now is the time to jump in and enjoy the ride.

Review by Paul McGee

The Damn Quails Clouding Up Your City Self Release

Whereas the pandemic created total disruption to artists’ and bands’ recording and touring schedules, trials and tribulations knocked on the door of Okie band The Damn Quails long before the word coronavirus became universal. Confronted with legal battles with their management and label 598 Recordings, numerous line-up changes, addiction issues, and the disappearance of their tour manager following a nervous breakdown, it’s a miracle that the band has resurfaced to record only their third album in twenty years.

Produced by fellow Okie John Calvin Abney, the album was originally to be released as a solo project by Byron White, before his co-founding member of The Damn Quails Gabe Marshall gave his blessing for the album to be credited to the band. Recorded at Cardinal Song Studio in Oklahoma City over a four-day period, alongside Calvin Abney, who played a range of instruments, was Kevin ‘Haystack’ Foster on pedal steel guitar, fiddle and guitar, Byron White on guitars, Johnny Carlton on bass, and Walton McMurry on drums. Kierston White, Ben Mc Kenzie, Chris Jones and Jamie Lin Wilson all contributed backing vocals.

Championing The Red Dirt sound of Oklahoma, the eleven tracks are a potent serving of songs that land somewhere between country rock and Americana. Calvin Abney’s production achieves the live sound that previously generated a large and enthusiastic following for the band. Explaining the recording Abney noted, “The process for recording a song was pretty simple but extremely effective. Gather the band around the piano in the tracking room, spend five or ten minutes running through the basics and working out any kinks, and then Trepagnier would hit record and we’d start playing.”

That arrangement is particularly successful on the stirring ballad Harm’s Way and the lively opener Monsters. The title track, presumably an account of a typical touring day for the band (past or present?), is a chaotic delight and they showcase their capacity to serve up impassioned country tunes on Mile By Mile and the border sounding Golden Sands of Leyte.

Hopefully, the tide has turned for The Damn Quails and they can continue to realise their full potential as a force to be seriously reckoned with, particularly on the live circuit. CLOUDING UP YOUR CITY will be welcomed with open arms by the band’s loyal following and, no doubt will bring many more punters on board. 

Review by Declan Culliton

Willi Carlisle Peculiar, Missouri Free Dirt

This twelve-track album from poet and folk singer Willi Carlisle is a collection of tales detailing the plights of the impoverished and unsettled. Although the characters are unconnected, their common hallmark is one of travelling on seemingly endless journeys.

The songs are performed by Carlisle in traditional, semi-spoken, and fully vocalised format and include characters both from the present day and yesteryear. Vanlife details the life of a nomadic drifter, living in his Dodge Ram cargo van (‘Now I’m peein’ in bottles and eatin’ from cans, but you can’t call me homeless, cause I live in my van’). We hear of the closet homosexual, raked with confusion and guilt, on Life On The Fence and a border cowboy points his finger at the water companies on Este Mundo, citing the unavailability of water for his crops and the resulting dependency on rainwater. The title track, which kicks in at close to seven minutes, is a spoken poem relating to the small Missouri town, but in essence it depicts the transitional modern lifestyle in innumerable American towns. Elsewhere, Carlisle throws away any inhibitions and bashfulness on the defiant I Won’t Be Afraid Any More, which features duo Ordinary Elephant on backing vocals.

Far from conventional, Carlisle follows a similar path to his hero Utah Phillips, promoting and empathising with the underprivileged and disadvantaged. Far from a Saturday night listen and an album as peculiar in content as it is in title, Carlisle’s modus operandi will appeal most to lovers of like-minded folk poets, Todd Snider and Minton Sparks. Spotlighting an artist very much doing as he pleases, PECULIAR MISSOURI is an album that requires plenty of time to appreciate it fully. Still, that time invested will yield numerous high points. 

Review by Declan Culliton

Damien Jurado Reggae Film Star Maraqopa

This self-produced album is the eighteenth studio recording from prolific singer songwriter Damien Jurado and his second recording on his own Maraqopa Records label. A master of understatement, Jurado’s work demands diligent attention, with each listen unfolding previously unnoticed nuances.

This is very much the case on the low-key twelve-track album REGGAE FILM STAR. From the gorgeous opener Roger, where an aging man considers his life journey, to the closing track (possibly concerning the same individual?), Gork Meets The Desert Monster, its tales and characters are atypical and thought provoking.

Jurado’s output has included numerous songs featuring on movie soundtracks and this collection, unsurprisingly given its title, is cinematic in its content. Presented through the eyes of what appear to be support actors, their anxieties and feelings unfold in a series of connected scenes.

It’s very much a low-key affair, though it contains a number of upbeat and poppy tunes, particularly Day Of The Robot and Taped In Front Of A Live Audience. Others that impress are the ‘stream of consciousness’ Meeting Eddie Smith and the instantly arresting and contemplative standout song, What Happened To Paul Sand.

For the recording, Jurado was joined once more by multi-instrumentalist Josh Gordon and his regular engineer Alex Bush, at Sonikwire in Irvine, California. It’s very much business as usual for Jurado and an album that will, no doubt, be treasured by his supporters and one well worth a visit for fans of lo-fi indie folk who may not be familiar with his work. 

Review by Declan Culliton



New Album Reviews

Michael Shaw He Rode On Wolfhard

There’s a lot to like on this debut traditional country album from Michael Shaw. Firstly, there’s his interesting back story. Raised in the Appalachian mountains, after finishing college Shaw forsake a conventional career and followed his love of wild places by working for a decade in the Western Montana Rockies. He spent the summers as a wilderness ranger and the harsh winters looking after horses, usually in isolation. That isolation and wildness inspired his songwriting, and also afforded him the time to indulge his creative drive.

Next, there’s his inspired choice of Grant Siemens (Corb Lund’s guitarist) as co-producer (also contributing lead guitar), who helped Shaw to achieve the sound he was looking for, ‘the feel and warmth of my favourite albums from the ‘60s and ‘70s’. Recorded live to tape in Manitoba, Siemens called some of the best country musicians into the studio and they achieved exactly what Shaw wanted.

Then there’s Shaw’s great ear for a tune - I found myself humming along after only a few listens.

Kicking off with Bad Honky Tonker, a ‘full on’ uptempo blast of swaggering honky tonk that sets the tone for the album, Siemens’ guitar playing is matched by outstanding fiddle playing of Jeremy Pinner (The Wailin’ Jennys, The Duhks). The protagonist tells us that he ‘likes his women fast.. it takes more than one to satisfy me, two’s more like it but I’d rather have three’. Clichés abound here and in the next song, Outlaw’s Refuge, a hard drinking song about whiskey and shotguns, and we learn that the outlaw ‘got back on the bottle and every whore in town’. Cowboy Boots And A Little Country Dress continues in the same vein, and even though Shaw’s vocal range is limited, he yodels here very well indeed. Notwithstanding the crude sentiments, this is another superb piece of music, with manic rock ‘n roll meeting classic country in a frenzied raucous celebration. Shot Down is another rip roarin’ honky tonkin’ classic, a tour de force from all the players, especially steel player Robbie Turner (Waylon Jennings). In Stick A Fork In It, a tale of walking away from a ten year relationship, there’s more superb guitar work from Siemens, and the immortal lines from Shaw that ‘after ten long years of tryin’ to please her, I’d get more love from a walk in freezer’. In true country fashion, there’s much hankering after the past in Like They Used To, with more delicious pedal steel. The true story of the infamous Tennessee moonshiner, the late ‘Popcorn’ Sutton who took his own life in 2009 rather than go to jail, inspired Light Of The Moon, rounded out by the impressive Marc Arnold on organ. This segues into the closing title track, a beautiful slow contemplation of running from the past, running from something, ‘never turnin’ back’, the mood evoked effectively particularly by drummer John McTigue III (Emmylou, Rodney Crowell). Shaw dedicates this to his close friend, Colin Patrick McKnight, who died tragically.

So, clichés or not? Shaw claims that everything in his ten original songs is rooted in truth, so who am I to argue? And, like the Bad Honky Tonker that he is, he probably ‘don’t give a damn’!

Review by Eilís Boland

The Odd Birds Tremolo Heart Self Release

Following on from their six-track EP (Better Days), released just last year, Ron Grigsby and Jennifer Moraca return with an album that both engages the listener and delivers plenty of nice moments. Recorded during the Covid pandemic, the album is focused around the message of connection, both lost and found. The sense of having let something go and the hope that the future may hold renewed optimism for new beginnings.

This project sees the same line up of musicians used on last year’s release, and they return to pick up from where they left off. Grigsby shines on a variety of guitars, both acoustic and electric, plus vocals; while his partner, Moraca, contributes on additional guitars and shares vocals. Matt Froehlich (drums), Bobbo Byrnes (lead guitar and bass guitar), also add their skills in service to the songs. There are three cover versions included this time around; Wichita Lineman (Jimmy Webb), A Song For You (Gram Parsons) and Today I Started Loving You Again (Merle Haggard). All are performed to a high standard and the remaining seven songs are written by Grigsby/Moraca. Production duties are ably handled by Bobo Byrnes and there are additional appearances from Matt Tonge (upright bass), Tracy Byrnes (bass guitar) and Georgina Hennessy (violin) on selected tracks.  

Opening songs, Alright Now and Another One Like You, reflect on lost romance and the need to fill the space with both reflection on lessons learned while looking forward with the perspective gained. The harmony vocals are very engaging, with both Grigsby and Moraca complimenting each other’s range. Moraca in particular delivers with her soaring power and mezzo-soprano vocal. Better At War is a stand-out track with a sombre message; ‘Why are we getting better at war, And losing everything we’re fighting for.’ The angry lead guitar break summing up the frustration as the message hits home. The final song, The Water’s Edge, has the duo playing in unison on acoustic guitars and delivering a message of quiet calm and encouragement. A fine album and one that comes recommended to those who enjoy their roots/folk music performed with both conviction and proficiency.

Review by Paul McGee

The Wardens Sold Out At the Ironwood Self Release

Opening with the Tex Mex swing of The Code, an ode to the cowboy legends of the open prairies, with guitars, bass and accordion merging into the sweet harmony vocals, you just know that this album is going to deliver…

The Wardens are the real deal, a trio comprised of Scott Ward (fingerstyle guitar), Bradley Bischoff (guitar, bass) and Ray Schmidt (bass, mandolin, guitar), who had day-jobs as environmental custodians, patrolling Banff national park in Alberta, Canada on horseback, staying in remote cabins and also curating the music of the area. The song, Shining Mountains, captures the essence of their love for what they do, highlighting the natural beauty that surrounds them in nature.   

There are songs about the return of wolves to the parkland ( Timber Wolf Reprise), a mountain rescue legend, Tim Auger (Thousand Rescues), celebrated mountain man, Bill Peyto (The Legend Of Wild Bill), and the natural, snowbound wonder that is the Rogers Pass, in Glacier National Park, on the sublime instrumental (Selkirk Snow). 

On the title track, Sold Out At the Ironwood, there is a terrific tribute to the song-writing legend of Tom Russell, with the band in full flow as they dove-tail around the melody and the lyrics that name- check so many of his songs in such a clever fashion. The legendary Ironwood venue in Calgary was suffering financial challenges during the pandemic before an online fundraiser and a mini-festival raised much needed funds to keep it from having to close.

There are key contributions on various tracks from both Mike Little on accordion and Scott Duncan on fiddle, both of whom add great nuance to the ensemble playing. In addition, producer Russell Broom contributes on selected guitars, banjo and percussion…

It’s fitting that the last two songs on the album are in a live setting and that they celebrate the organic sound of these musicians. The first is a tribute to the memory of Neil Colgan, (a fellow warden), who died in 1979 and wrote a touching letter to his parents from a remote region of Banff Park. Final song, Supper On the Trail, is a great way to end the album, with a light-hearted look at the food fare available on the trail, as the wardens try to keep themselves fed in creative style. Scott Duncan on fiddle showcasing his talents again.

The song-writing is very democratic with each of the main band members, Scott, Bradley and Ray, penning four songs each. A perfect example of sharing the spotlight on this most enjoyable album of superbly delivered country songs.

Review by Paul McGee

Stephen Doster Over the Red Sea Faw

This self-produced fourth solo album from Austin-based songwriter and guitarist, Stephen Doster, was recorded at his studio base, EAR Studio (East Austin Recording). He is an accomplished musician and producer who has worked with numerous other artists and has credits on over sixty records. In 2016, he was inducted into the Texas Music Legends Hall of Fame.

He is joined by Chris Searles (drums/percussion), Sam Pankey (upright and electric bass), Jon Grossman (organ, piano, vibraphone), Rich Brotherton (guitar, cittern, vocals), Brian Standefer (cello), Sam Jeffrey (flugelhorn), Andrea Magee (penny whistle, bodhran, vocals), Seela (vocals) and JM Stevens (vocals). All eleven songs are written by Doster, who takes the lead on both guitar and vocals.

Highlights include, A Better World, written in memory of Heather Hyer, a Charlottesville woman who was killed in 2017  at a protest rally for "Unite the Right" in the city. The Sweet Life and We’ll Still Have Today both look at living for the moment and having an appreciation for the happy times and the growing realisation that paradise is all around us. There are songs about visiting London (When I Cross the Divide) and travelling in Ireland (The Singing Bus Driver). The Rooster Crows has some nice twin-acoustic guitar harmonising and final track, Black Cat’s Stroll, highlights the dextrous playing of Doster as he brings matters to a sweet conclusion with an instrumental that is both reflective and relaxing. Certainly, an artist that is worth further investigation.

Review by Paul McGee

Scott Martin Corner Of the World Self Release

Austin-based singer-songwriter Scott Martin releases his second solo album and it proves to be a very enjoyable and worthy project. Co-produced by Martin and the multi-instrumental talents of Michael Henchman (guitars, keyboards, bass, bass, drums, percussion), who resides in Vancouver, Washington; lockdown proved no barrier to the rich talent displayed by this creative duo.

Martin shines on acoustic guitar and piano, in addition to overseeing drum programming and orchestration. However, it is his silky vocal tone that really captures the day and delivers a very subtle trick of the light, in bringing these ten songs to full bloom. His warm and comforting voice is front and centre in the production, along with his impressive fingerstyle guitar technique.  In a time when that old term, singer-songwriter, has become somewhat passe, Martin is here to regain some of that higher ground and to shake the dust off that faded canvas.

His songs are reflective and heartfelt. One More Beautiful Day is a perfect example, a love song that emerges from sharing a moment on a walk with his partner and a memory that lingers. We Dance Together, is similarly a statement that we are stronger when we share our love and communicate across the distances that often separate us – the superb Rose Winters on vocal duet. Martin is also joined by Ed Berghoff (guitar, dobro, mandolin), and a coterie of additional players on specific tracks; Bart de Win ( electric piano), Joao Martins (hurdy gurdy), Pete Damore (banjo), Scott Laningham (drums), T. Scott Martin (pedal steel), David Swartz (upright bass).

The Absence Of Angels showcases the talents of Martin, Swartz, Berghoff, Damone and Henchman as they intertwine around the melody in a display of bluegrass-influenced creativity. Can’t Stop This Train, one of four co-writes, is a slower, bluesy arrangement with acoustic guitar and dobro playing off each other and creating an atmospheric groove.  This is a very enjoyable album and well worth your listening time.

Review by Paul McGee

S.G. Goodman Teeth Marks Verve Forecast/UMG

OLD TIME FEELING, the 2020 debut album from S.G. Goodman, was cultivated in the potent country music state of Western Kentucky where she was raised, kicking off her love of music by singing in church choirs from an early age. The love of her homeland flowed through much of that album, despite its history of rejecting Goodman’s LGBTQ community.

The songs on TEETH MARKS, there are eleven in total, touch on that rejection but also cast a wider net over affairs of the heart, social inequality, and opioid abuse.  With Goodman’s capacity to fuse raw indie-folk with punked-up rockers, TEETH MARKS is a kaleidoscope of both. She opens with the title track, a tale of ‘love at first sight’ ending in rejection and reduced to a one-night stand. Connecting tracks, You Were Someone I Loved and its predecessor If You Were Someone a Loved, feature a mourning mother burying her son following a drug overdose. The mood changes with the upbeat and cheerful Heart Of It and then rocks out on the fiercely intensive and Patti Smith sounding All My Love Is Coming Back To Me.

The album’s tour de force is the six-and-a-half-minute anthem, Work Until I Die (‘you make me more rich, no, it won’t be you, pennies for your time and crumbs to chew’).  A discourse on the plight of working classes, it’s a monster of a song with nods towards The B52’s at their most raucous.

Recorded at Chase Park Transduction Studio in Athens, Georgia, the album was co-produced by Goodman, Drew Vandenberg, Matthew Rowan, and Kate Haldrup.

Goodman has the unique ability to set your pulse racing one minute and stop you in your tracks the next minute. That is the recurring theme on TEETH MARKS, an album that encompasses Appalachian folk and garage rock flawlessly, from an artist not afraid to broaden her horizons.

Review by Declan Culliton

The Early Mays Prettiest Blue Self Release

A five-track EP, PRETTIEST BLUE is an introduction to the stripped-back traditional music created and delivered by Pittsburgh-based Appalachian duo Emily Pinkerton and Ellen Gozion. Their career backgrounds might not be an obvious pointer to the recording of ancient traditional music. Ellen is a pianist with the Pittsburgh Ballet Theatre and Emily various enterprises include performing in a chamber piece Rounder Songs, teaching songwriting, and performing Chilean folk music both in the U.S. and in Chile.

The five songs on the album include the murder ballad The Ballad of Johnny Fall, where an abused wife is saved from the intended murder of her husband when he is killed by a train while walking on railway tracks. Beautifully atmospheric it features banjo, cello and vocals, as the tale unfolds of young infatuation and love, leading to abuse and eventual death. Their version of Carter Family’s Bury Me Under The Weeping Willow brings to mind The Louvin Brothers’ classic harmony vocals and A.P. Carter’s is also represented on the closing track My Home Across The Blue Ridge Mountains.  Also included are the traditional instrumental Shakin’ Down The Acorns and the self-write banjo-led On A Dying’ Day. A haunting song of redemption and rebirth, the latter features Ellen on harmonium and Emily on cello.

Carefully measured and refined, PRETTIEST BLUE is deep-rooted in ancient folk music, and with sparse instrumentation and fitting vocals, is a most calming and meditative listen.

Review by Declan Culliton

Lera Lynn Something More Than Love Icons Creating Evil Art

Never one to remain rooted in one particular genre, Lera Lynn’s back catalogue is like a coat of many colours. A career that kick-started in the indie rock scene of Athens, Georgia, was followed by her debut recording HAVE YOU MET LERA LYNN? in 2012, which suggested that she would travel down the ‘country queen’ musical path. Subsequent diversions led to Lynn working with Rosanne Cash and T-Bone Burnett, creating music for the second season of True Detective, the TV drama where she also made her acting debut. Her 2016 release RESISTOR took a more indie rock direction and she followed that album two years later with PLAYS WELL WITH OTHERS, which featured a number of her Nashville neighbours, both co-writing and contributing. ON MY OWN from 2020, was written, performed, produced and recorded entirely by Lynn.

The common denominator across her seven albums has been her ability to pen fine songs and deliver them with her distinctive smoky vocals.   Commenting on her latest project, SOMETHING MORE THAN LOVE, Lynn observes, ‘My fans have come to expect a new experience with each new album. I think people are ready for this sound and this energy. I certainly am.”

Written during the pandemic and shortly after the birth of Lynn and her partner Todd Lombardo’s (Kathleen Edwards, Kacey Musgraves) first child, the interconnected songs lay bare Lynn’s coming to terms with postpartum depression, as she adjusted to the early stages of motherhood. The resulting ten tracks navigate the full range of emotions, from insecurity and trepidation to recovery and renewal.

Produced by Lombardo, the vast majority of the instrumentation was performed by Lynn and him, the only additions being Ian Fitchuk on drums, Robby Handley on bass and cello parts by Nat Smith.

The lush power-poppy opener Illusion sets the scene with Lynn asking ‘Love, is this love, is this illusion taking over me?’ The title track oozes love and connectivity from early self-questioning, (‘how could I, how could I deny you?’), to adoration (‘formula of stardust, you’re a perfect figure, a golden lion’). Synths and echoed layered vocals are awash on the You Are Not On Your Own and I’m Your Kamikaze, the third single from the album, is pop toying with indie. The more hushed Cog In The Machine explores the inevitability of being drawn into a somewhat humdrum routine by personal circumstances. Other high points are the soulful Black River and the art-pop closer Eye In The Sky.

Though in essence an album addressing the emotional baggage of early motherhood, SOMETHING MORE THAN LOVE is also Lynn’s most modern pop-oriented recording to date. It’s strikingly good in that regard and is likely to attract a wider listening audience, given the deserved exposure. Have a listen yourself and make your own mind up. 

Review by Declan Culliton 

The Barlow New Year, Old Me Self Release  

HORSESHOE LOUNGE, released last year by four-piece band The Barlow, was a no-frills action-packed album of, what they describe as, Colorado country. Blending outlaw and Southern rock, it introduced me to a working band that would be the perfect Saturday night live act for a lively knees-up.

They haven’t wasted any time following up on that album and their third studio recording, NEW YEAR, OLD ME, doesn’t stray too far from their tried and trusted musical template. 2021 found them on the road touring HORSESHOE LOUNGE and supporting like-minded country acts such as Mike and the Moonpies, Jaime Wyatt, Cody Canada and the Departed, and Micky and The Motor Cars. The material for this latest album was written while on that tour and recorded at Evergroove Studio, E Square Studio, and Brogly Studio between December 2021 and March 2022.  Like its predecessor, the songs are drawn from the band’s personal experiences, so tales of love found and lost, and road life, dominate.

The band is made up of Shea Boynton on guitar and lead vocals, Brad Johnson on guitar and vocals, Troy Scoope on bass and vocals, and Ben Richter on drums and vocals. Guesting on the album are Ben Waligoske on pedal steel, Andy Schneider on keyboards, and Dan Hochhalter on fiddle.

Mile Marker Blues signposts the album’s direction from the word go. It’s a rootsy affair with some great pedal steel and guitar breaks in the right places, behind Boynton’s grained vocals. Bad Ol’ Days, with hints of Jason Isbell, is a highlight, as is the chunky guitar riff driven Without Emotion. The title track, as the name implies, is the band doing what they do best, delivering no nonsense country rock ‘n’ roll.

A more than fitting heir to its two predecessors, NEW YEAR, OLD ME is a groove-driven affair and a splendid fusion of outlaw country and Southern rock. Laced with catchy hooks and toe-tappers, compliments of a bunch of like-minded players, this is a prime example of music without a hint of ego. 

Review by Declan Culliton

New Album Reviews

Steve Hammond Honky Tonk Record Club No.1  Lorco

A totally new name to me from a musician who has released numerous albums (some 36 releases are listed on his Bandcamp site) covering various musical genres. Does that make this honky-tonk oriented album any less valid? The answer to that, judging from its content, is no. While it covers other influences, and tracks like Someday Mother could equal sit on a power-pop album, from the get go we are in a world of twang and pedal steel. I’ll Return The Key is a relationship gone wrong song, as befits the format. Next up, the tale of a workin’ man and his blue collar white-line life is alluded to in Workin’ On A Highway. It features some unusual backing vocals that add to the overall enjoyment of the song, which is a standout in terms of delivery and melodic structure, and would have fitted in on one of Dwight Yoakam’s early albums.

The songs are all from Hammond, with the exception of a countrified version of The Jesus and Mary Chain song Halfway To Crazy, which fits right into the album’s oeuvre with energy and twang. The aim here is to create a contemporary honky tonk song that honours its past but seeks to have a future, and all Hammond’s other influences no doubt help him to achieve that. That he is producer, engineer, writer and performer/main musician here (guitars, bass, drums, keyboards and lap steel) shows that he has a clear idea of what he wants to achieve with his music and has the ability to do so. This is done to essentially capture his vision rather than to have a hit record and cross over to the mainstream. He deserves both but given the nature of the mainstream it is unlikely to happen. However, one suspects that that won’t affect this outfit one iota.

Having listened to this album now numerous times there is hardly a track that I would want to skip over and there are numerous highlights here alongside those mentioned, such as Fever Dream, Glass Of Wine or the ‘if looks could kill’ narrative of the bitter ballad, The Knife Behind Your Eyes, to name just three more.

Another thing to note is that Hammond vocally draws from some of the honky tonk stalwarts of the past with some stylised vocal inflections that border on the classic yodel, showing that he knows this sources to a degree that many a mainstream artist would not. 

Once again a new name comes to the fore and you realise that there are so many musicians out there who can so easily be missed. This is one that I would advise against missing. Hopefully there will be a No 2 to follow up on this in the near future. This honky tonkitis is catching.

Review by Stephen Rapid.

The Western Express Lunatics, Lovers & Poets Self Release

This Austin based outfit consists of singer and songwriter Stephen Castillo and his partner Phill Brush, both are natives of Houston, Texas but separately made their way to Austin where they met and formed the band. It is very much a creative partnership in which Castillo leads the band, is the songwriter and lead vocalist while Brush is the man taking care of the business, additionally playing upright bass with the band in its early days, and he does so on one track, Last Apology, on the debut release.

The album is produced by John Evans, an artist in his own right with several albums to his name, who does a sterling job of realising the excellent music on offer here. Evans brings in some members of his own band to lend a hand, notably drummer Patrick Herzfeld who also engineered, mixed and mastered the album in Austin’s Signal Hill Studios. Evans brings his guitar and bass playing skills to the sessions too, alongside those of Scott Davis, who also contributes keyboards and accordion. Add to that the fine fiddle playing of Dennis Ludiker, who has been associated in recent times with Asleep At The Wheel (amongst others performers), while Geoff Queen adds pedal steel to Trust Me, You Can’t Trust Me. All are part of the Austin music community, with all the multi-genre roots that that city thrives on.

The album is dedicated to the sadly departed Austin heroes, James Hand and Broken Spoke founder James White. That alone gives a hint as to the band’s direction and influences that range from Hank Williams Sr to later traditional stalwarts like Alan Jackson, but also taking in bluegrass and ranchera along the way. The results are impressive and stand on their own merits, with a set of strongly realised and crafted songs.

The first track on the album (Honky Tonk Saints) was written by Castillo in homage to the likes of Kitty Wells and Lefty Frizzell, but the more recent passing of those to whom the album is dedicated seemed to give it a more timely and appropriate meaning. It is the perfect introduction to Castillo’s characteristic vocal. It is written about those luckless folk who inhabit the honky tonks and bars, where “the brokenhearted are never alone / they raise a glass and sing along”. Flower Of The Rio Grande, the first single off the album, is the tale of an undeniable love for a girl from south of the border. It is again a memorable melody, as is You, Me and The Neon, a walk into a neon lit space that illuminates another possible liaison. 

The tempo kicks up the dust for the warning of the unreliable and dishonest man who is the subject of Trust Me, You Can’t Trust Me. More contemplative with some heightened atmosphere and more of that border feel is the dark tale of Leyenda, a song with suggestions of murderous intent. In Lovin’ You For Awhile there is more than a hint of the Pete Anderson produced work of Dwight Yoakam. It is set to a dance floor rumba rhythm and uses the accordion for an additional Tex-Mex ambience. Dipping into the past of old sad country songs again is Last Apology, which laments the unforeseen break-ups. Finding solace in the emptying of the bottle may ultimately lead to a blank feeling inside, which is what Emptying Me takes on board. The final track Quesadilla Mamacita was written in response to a request to write a song about this corn based Mexican tortilla. It is full of befitting textures and is flavoursome as the food - as long as you don’t try for a share.

There is plenty to share here on this album that brings The Western Express’ name into focus as one of the best new names from Austin, who play it right and play it real. Recommended for lovers, poets and the occasional lunatic.

Review by Stephen Rapid

Dave Vargo Crooked Miles Self Release

A new album from the creative talent of Dave Vargo is always something worth waiting for.  Having graduated from Berklee College of Music in Boston he has developed a solid audience through regular touring and session playing. This included a You Tube/Facebook presence during the Covid lockdowns around a concept of “Two for Tuesday” performing a few songs and inviting guests to join the party. His sound is very much from the Americana songbook, and this third album builds upon the success of Burning Through (2016), Spaces in Between (2019).

It’s focus is around the real scenarios of daily life and the emotions and feelings that arise. Back Then looks back at memories formed and whether you can ever really inhabit that sense of place that once existed. Equally, You’ll Know, speaks about those moments when self-awareness dawns and the path ahead suddenly becomes clear. The playing on the album is really nicely balanced across the production and the ensemble consists of Dave Vargo (guitars, vocals), Tim Pannella (drums, percussion), Dan Haase (bass), Erik Romero (organ), Kim Boyko (backing vocals), and Sahara Moon (backing vocals on Fault Lines). Dave co-produced with Tim Pannella, who also engineered, mixed and mastered the tracks and who lays down an easy rhythmic drum groove on which to create the melodies. There is a nice tone to the lead vocals and Vargo certainly takes control of the overall direction that the songs take. Fault Lines is a slow burn, reflective song that wonders about directions taken and whether the decisions were the correct ones. Some sweet guitar lines colour the melody and the sense of something lost along the way.

All songs were written by Vargo, with only one co-write credited, and the easy flow of the band brings to mind a live feel to the twelve tracks. Nobody’s Fault is another highlight and a great example of the players being right in the pocket of the groove. Empty Space deals with being lonely and missing  someone’s presence. “So much harder to pass the day and fill the empty space, I can smell the ghost of you that still haunts every place, I see your face.” The beautiful guitar lines on She Would display the fluency of Dave Vargo on his chosen instrument and there are really no weak songs on this album. The entire experience leaves you wanting more – always a good sign of strong content and compelling performance.

Review by Paul McGee

The Celtic Duo The Celtic Duo Self Release

This debut album from duo, Jonas Liljestrom and Emil Pernblad, is steeped in the traditions of Celtic folk music. From their home in Gothenburg, Sweden, this accomplished duo has been making music together for many years, dating back to 1990 when they formed the band, Celtic Connections. After a successful five-year run, the band decided to split, but Jonas and Emil continued to maintain contact, despite walking different paths. Jonas qualified with a masters degree in ethnomusicology and Emil immersed himself in the flamenco music culture of Spain. Bands came and went, before the duo started working again in 2010 as part of a group playing gypsy music - leading to the present, and their debut album release (both musicians currently play in five different groups)…

The folk traditions of Brittany, Ireland, Scotland and Wales are explored and played with an élan and a joy that is completely hypnotic and infectious. Their ability to weave together and to soar in the musical arrangements is very impressive and with Jonas contributing on fiddle, percussion and vocals; together with Emil on bouzouki and guitar, the interplay is quite spectacular. These old songs are given a contemporary feel in the structures and the addition of piano (Greg McDermott) and flugelhorn (Johan Asplund), add an extra colour on selected tracks. Of the twelve songs, five have vocals included and all tracks explore the influence of native folk music and narrative. There are  Welsh love songs (Llangollen Market), Irish laments (Spancil Hill), Scottish/Irish jigs (Haste To the Wedding/ The Priest In His Boots/ Off She Goes), Australian folk songs (Streets Of Forbes), and the wonderful flow of both Neil Gow’s Lament… and Captain O’Kane/The Battle Of Aughrim, where these superbly gifted musicians really take flight.   

Roots music contains both folk and world musical forms as intrinsic parts of the whole mosaic. Celtic music has always celebrated the culture of Northern Europe and despite many hybrids over the years, the purity of the folk roots has always shone through. This album is a worthy addition to this tradition.

Review by Paul McGee

Josh Johnston Reasons To Fly Self Release

This is very fine example of the local talent currently available on the Irish music scene. Josh has been involved with all aspects of music for many years now and along with his duties as organist at the Dublin Unitarian Church, his compositions have always been worthy of the time spent in their creation and delivery.

Whether the sweet soul sound of, (I Save You) Lodi, with the big horn section and the lyrical guitar of Brian Hogan; or the more considered and measured blues of Is it Still Called Love?, Josh has probably delivered the most cohesive album of his expansive career so far. Employing quite a stellar cast of musicians, fifteen in total on the liner notes, the superb co-production from Josh and Anthony Gibney is both bright and beautifully judged. Written largely during the Covid pandemic, Josh has released a really big statement of a record.

There is the reflective atmosphere on Melt Into the Room and the steady rhythm laid down by David Hingerty and Brian Hogan on Darkness By Your Head.  Or the atmospheric Hammond organ of Scott Flanigan on Mrs Gogo, mixed perfectly with the expressive piano playing of Johnston. Savour the superbly timed playing of Marco Francescangeli on saxophones and clarinet, and the trumpet and flugelhorn of Bill Blackmore. Indulge in the creative violin and cello parts throughout .

Josh co-wrote six of the songs (four with Doug Kinch) and his own composition, He Is Here, has an interesting take on watching yourself from the side-line, ruminating over the past and the people we once were, still part of us in the present. The title track references a road trip taken and the reasons to leave a current situation behind. “Hopes and dreams, new directions, there is always a reason to fly.”

Two cover songs are included, Mountaineering (Ronan Swift) and Strange Weirdos (Loudon Wainwright 111). Both fit snugly into the eclectic mix of influences and songs that highlight the versatility of this, Johnston’s sixth solo outing.  A worthy effort and impressively delivered by all involved. Take a well-earned bow, Mr Johnston.

Review by Paul McGee

Millpond Moon Sweeter Than Wine Tikopea

This seven-piece band are based in Norway and this is their third album. The creative hub is the partnership shared by Rune Hauge and Kjersti Misje. This talented duo share lead vocals and their easy tone combines to create a rich tapestry to wrap around the song melodies. Hauge writes all the songs and they focus on relationships in all sorts of different colours; from the woes felt in Just Before Dawn, to the sweet memories recalled from the past on Memory Lane. The interplay is quite superb between these talented musicians, highlighted especially on the excellent Memory Lane.

I’ll Do Anything To See You Smile and Fallen On Strange Times continue this relationship theme, with the band playing in an understated manner, full of gentle restraint and sweet harmonising across their instruments;  Andy Leftwich (mandolin and fiddle), Jeff Taylor (Accordion), Rob Ickes (dobro), Kenny Malone (percussion), Mark Fain (Bass), and with Rune Hauge (Guitars and vocal), together with Kjersti Misje (guitar, vocals), heightening everything in the arrangements. Bil VornDick assisted in both engineering and mixing from his Nashville studios and Millpond Moon produced, also using studios in Norway and Spain on their travels.

Don’t Ever Make That Right is a song that tackles domestic abuse and it is finely judged in the playing. The obvious pleasure that this ensemble gets from coming together to play music is captured in the song, All My Life, and it captures perfectly the magic that is clearly present. ‘When the lights go down, I got the best seat in town, Everybody goes with the flow, Brings back memories from long ago.’ I couldn’t have put it better myself. Well worth further investigation.

Review by Paul McGee

The Rosellys On The Porch Clubhouse

Hertfordshire, England band The Rosellys, have been performing and releasing quality roots music for over a decade and a half. Very much a family affair, the band is fronted by life partners Rebecca and Simon Roselly, who play fiddles, guitar and banjos, as well as vocals. The remaining band members are Simon’s father Allan Kelly on pedal steel and accordion, and father and son Matt and George Kirby, who play bass and drums respectively. The latest family addition on their fifth studio album, ON THE PORCH, is baby Robyn Roselly, who makes her studio debut with a giggling intro on the song Lafayette Louisiana.

The album was co-produced by the Rosellys and Ron Rogers (T’Pau) and recorded at Up Lane Recordings in the Monmouth Hills in Wales. It offers fourteen tracks in all, blending country ballads, alongside mid and up-tempo rootsy numbers. They’re out of the traps at lightning speed with the fiddle-driven opener You Ain’t Gotta Go Home and the sprightly title track is equally toe tapping material. Other standouts include the banjo-led River Wye, the breezy and melodic radio friendly Night and Day and the equally easy on the ear Don’t Pull Away, which showcases Rebecca’s impressive vocal range. A further highlight is the calming and spellbinding Firefly. Also included is the nostalgic Camden Town, which recalls the early courtship days of Rebecca and Simon in that multi-cultural London district.

Impressively packaged and with full liner notes, ON THE PORCH is a gentle reminder of the quality of roots music close to home and further substantiation that it matters not where your roots are when you have the gift to write, perform and record strong material. An exercise in keeping things simple and to the point, The Rosellys’ latest recording does just that with a stylish collection of hook-driven roots songs, well worth checking out.

Review by Declan Culliton

Ken Yates Cerulean Soundly

CERULEAN is the fourth album by Ontario-born artist Ken Yates, a winner of two Canadian Folk Music Awards in 2017.  The press release accompanying the album makes comparisons with Big Thief and The War On Drugs, which accurately describes the low-key indie folk material on this eleven-track album.

Produced by Jim Bryson (Kathleen Edwards, Howe Gelb, Lynn Miles), Yates invited a number of female artists to contribute backing vocals on five of the tracks. As a result, his composed vocals are joined by Kathleen Edwards (The Big One), Stephanie Lambring (Don’t Mean To Wake You), Katie Pruitt (Consolation Prize), Liz Longley (Good Things), and Caroline Marie Brooks (Honest Light).

Lyrically, the album reflects Yates’s mindset at a time when he was grieving the passing of his mother, alongside the uncertainty of the near future, with Covid dictating people’s movement and career plans. Those concerns are articulated in the opening tracks, The Big One and The Future is Dead, the former bringing to mind the work of Sufjan Stevens. Yates appears to express his emotions in chronological order across the album with the near despair of the early tracks evolving into hope on the track Honest Life and eventually to acceptance on the title track, which bookends the album.

“This is the first time that I’ve made a record where I feel like the songs were going to be written whether I wanted to release an album or not,” explains Yates. Fortunately, his inner thoughts and the healing process derived from the songs have been shared on an album that manages to capture and hold the listener’s attention. CERULEAN is very much a suite of songs that needs to be listened to, uninterrupted, from start to finish.

Review by Declan Culliton

Chastity Brown Sing To The Walls Red House/Compass

Minneapolis-based Chastity Brown’s initial introduction to music was playing saxophone and drums in church in Union City, Tennessee, where she was born and raised. Her professional recording career kicked off in 2007 with the release of her debut album, DO THE BEST YOU CAN, and she has subsequently recorded six more albums including her latest SING TO THE WALLS.

Written at home in South Minneapolis during a period of isolation during the pandemic, Brown describes the album as ‘a love album, in a way I didn’t plan on.’ Be that as it may but its content is often fuelled by frustrations arising from matters close to home. The riots that occurred a few blocks from her home following the murder of George Floyd in 2020 certainly colours the material, although Brown’s response is one of hopefulness and positivity rather than outright anger.

‘Does this black woman have too much power? Would it go down sweetly if I sang softer?’, Brown asks defiantly on Golden. Elsewhere she pours her heart out on the delightful title track (‘I will sing to those walls, hope it gets through, and I will sing to your scars, they need healing too’). The similarly paced soulful and hypnotic Like The Sun also impresses and Back Seat yearns for carefree days and liberty. Sharon Van Etten contributes backing vocals on the spellbinding album closer Gertrude.

Co-produced by Brown with both Brady Blade and Greg Schutte, the recordings took place in both Stockholm, Sweden, and Minneapolis. A treasure chest of modern soul, gospel/funk, and R’n’B, SING TO THE WALLS presents the listener with textured stories about survival and optimism at a time of extreme challenges.

Review by Declan Culliton

Latest Album Reviews

Sarah McQuaid The St Buryan Sessions Self Release

This is the sixth solo album by singer-songwriter Sarah McQuaid, and was recorded near to her Cornwall home in a local church. Covid lockdown had seen her touring plans disrupted, so like many other artists, Sarah took the decision to use the time creatively and revisited her earlier albums in order to reinterpret a selection of her most popular songs. Choosing a live setting, with no audience present to give encouragement and feedback, was a brave move. However, the album was made possible by a crowdfunding campaign, so in a way the project already had the blessing of Sarah’s core fan-base.

Before moving to Cornwall, in 2007, Sarah lived and worked in Dublin as a music journalist. Having seen the business from both sides of the fence has proven to be a powerful ally, and her writing reflects her life experiences in the fifteen tracks that are highlighted here.

It’s a moment, captured in time, made special in the empty atmospherics of an old church building, with the walls seemingly reflecting the self-searching of the singer through these songs above life, love human-frailty and the magic of nature, time passing, and trying to grasp it all. An accomplished musician and song writer, her skills on piano, acoustic and electric guitar are highlighted by this singular performance.

A particularly affecting cover of the jazz standard, Autumn Leaves, (Kosma/Prévert), is a stand out song while another cover, Rabbit Hills (Michael Chapman), is beautifully performed on piano with the lyrics of lost love hanging poignantly in the air. It’s a tribute to the recently departed and much revered musician, producer and songwriter. Indeed, her last studio album, released in 2018, was produced by Michael Chapman and six of the songs included here are from that recording, If We Dig Any Deeper It Could Get Dangerous.

This live look-back through the looking glass was produced by Martin Stansbury who enhances the performance with his understated ability to serve the songs and provide plenty of room for Sarah to shine. He very creatively includes both loops and tap delays from the mixing desk as Sarah was performing the superb Derby Cathedral, and If We Dig Any Deeper It Could Get Dangerous.

The opening song, Sweetness and Pain, performed acappella, is a mellow introduction to what follows, with the unaccompanied, unhurried delivery that mirrors the dichotomy of sunshine and rain as a metaphor for life. Equally, Last Song, is a lovely reflection of childhood memories and Sarah’s mother; the experience now reborn through her own child.

Well worth your time and a fine example of the talent that is thriving on the UK Folk circuit at the moment.

Review by Paul McGee

Blue Fish Diamond Frozen Stars On the Night Self Release

Formed in 2016 by Jim Murphy, Blue Fish Diamond have released their second album and describe their sound as ‘indie folk.’ They may well take their name from the Blue Diamond Angelfish and the inspiration gained from its beauty and elegance is reflected in the sweet melodies created by this seven-piece Irish ensemble.

Free is the opening song and asks for sweetness in life to be discovered once again – perhaps a plea for a return to normality after two years of Covid lockdown? Morning Star is another look for guidance in these restless times and for the light of tomorrow to be revealed on our chosen path. It’s a paean to nature to show the way through the fog of confusion. Both songs are mid-tempo arrangements with gentle melodies and nice interplay among the musicians; Laura Ryder (piano, Hammond organ), Alex McDonald (electric, baritone and nylon  guitars, dobro), Shay Sweeney (drums) and Ronan Quinn (bass).

Song For Love is another easy melody, with strings arranged by Cormac Curran, as the love song plays out on a wave of pleasing piano and restrained timbre. Alive Again channels the mystery of life that surrounds us daily; the magic in the small details, all of which can help us feel alive in the moment, if we just observe the beauty and simplicity of mother nature. Another renewal song after the dark tunnel of Covid, and a sweet sound.

The Devil Beguiled has the band in sway to a song that warns of falling to the charms of a deceitful force, reckless misfortune awaits… Sunshine In My Brain tells of waking from darkness and looking to live in the moment. Again, there are beautiful strings to embellish the sound and the talents of Lynda O’Connor (first violin), Paul O’Hanlon (second violin), Beth McNinch (viola), Gerald Peregrine (cello) add both depth and colour to the song.

The string ensemble appear for the third time on Blue Eyes and lift everything with their sensitive playing. The song looks to belief and trying to save a relationship from falling by the wayside, whereas Do You Wonder looks at the perspective gained by experience and living different lives; the secret perhaps in the participation and moving ever forward. Some nice nylon guitar provided by Alex McDonald and sweet backing vocals from duo Ella Ryan and Matilda O’Mahony. Indeed, Matilda appears on every one of the ten tracks and her lovely voice is a great addition. Ella provides vocals on three songs and her contribution sits nicely into the overall harmonies.

Lady Marguerite is a tribute to Jim’s beautiful wife and his love is evident from the sentiment of the song. The final track, Secret Bill, brings everything together with a live, on the floor, band recording and the happy tale of a colourful character who lives on the local hillside.

Jim Murphy provides all the lead vocals and also contributes on acoustic and rhythm guitars. His relaxed delivery and warm vocal tone is very pleasant and adds to the easy nature of these songs; all written by Jim and recorded at various studio locations, including Orphan Recording, Hellfire Studio and Strongroom Studios.   Additional musicians are Gavin Glass (synth, mandolin, programmed drums), Joe Walters (French horn and trumpet), with all engineering and production credits to Gavin Glass and additional input from Peter Ashmore and Ross Fortune.

Blue Fish Diamond represent the quality of hidden talent that exists in the Irish music industry and with lockdowns now hopefully a thing of the past, it’s time for Jim Murphy and his merry band of musicians to gather some momentum in their career. They certainly have the talent required and I wish them well on their journey.

Review by Paul McGee

Dave Desmelik Clues Of My Existence Self Release

This is an impressive album from a musician who has been releasing consistently strong music since 1999. Now well into double-figures when it comes to his independent recordings, CLUES OF MYEXISTENCE, is as strong an album as Dave Desmelik has ever released. With superbly crafted musicianship throughout, these nine songs are a real joy to explore.

Based in North Carolina, Desmelik has employed the talents of some old friends from his early recordings, namely Brad Bays (guitars, vocals), Nolan McKelvey (upright bass, vocals) and Ron James (drums, percussion). Their sense of rhythm and timing is an essential building block upon which much of the album revolves. The superb Steve Mayone is also enlisted and he adds an array of guitars, lap steel and vocals on a few songs. There are other cameo appearances, with Ryan Stigman highlighted for his wonderfully creative pedal steel playing and David Phillips adding a twin guitar sound to opener, What If?, straight out of the Allman Brothers school of beautifully honed riffs.

Desmelik brings a beautifully judged balance to the production and the fact that the album was created during lockdown at various locations, with the players all contributing remotely, is a real credit to all involved. There is some seriously impressive playing here, with Desmelik taking the lead on guitars, ukulele, keyboards and vocals. His craft is finely honed over the years and he plays in a very fluent style. The songs are all about personal issues and reflections, such as living life as well as we can (Sun Dog); self-doubt and uncertainty (Sabotage); the price paid for religious dogma (The Farce), or the decision to stick tight to friendship through all weathers (Revealed).

Both Rain Love and Vision Speaks are highlights, the former a plea to hold on and advice for the vulnerable; the latter a gentle melody that reaches out to the process of letting go; ‘In the dark of the night, lonely vessel sails, On an ocean deep, say good-bye.’

There are many questions contained in these songs, some are self-evident and others take a little more reflection before providing possible solutions. Or, perhaps, answers are not always what is required – life is messy and the devil is in the details. A superb example of all that is good in Roots/Americana music today.

Review by Paul McGee

Merle Jagger Trash Talking Guitars Self Release

This trio, fronted by Mark Christian, are a whole bunch of fun with their energised take on twang laden country tales and ranch rock, with some swinging blues thrown in for good measure. It will keep the toes tapping to the beat of the hot rhythm section of Johnny Ray and Nick Zingraf, on drums and bass respectively. They run through a set of mostly original songs written or co-written by Christian, who also produced the album, alongside playing guitars, bass and banjo and delivering all the vocals. Previously he had performed some instrumental jams and released an album of that nature in RANCHO LOS ANGELES. However, for this new outing Christian decided to add vocals to the venture and the results speak for themselves. The album’s final track, an instrumental, Ranch Rock Revival gives you a pretty good idea of how that amalgamation sounded. It is also a testament to Christian’s fretboard skills and a fitting way to finish the album.

Other than a fiery take on Bill Monroe’s Blue Moon Of Kentucky, the rest of the material is original. It was written, or co-written, by Christian. It was recorded in California with some different engineers in the sundry studios, though some might recognise the name of Michael Dumas, who worked in an engineering capacity with Pete Anderson and Dwight Yoakam. In terms of sound, it might be considered a Californian take on the Texas music of Jesse Dayton. I think fans of the latter might feel at home here.

The lyrics tend to centre on bad and broken relationships, as befits the country side of the equation, with titles that give the game away like Hurt By Love, Broken Home Yard Sale and Another Bar To Cry In. Reckless, which opens the proceedings, starts with an acoustic guitar before the band kicks in behind Christian’s effective, world-weary, edgy lead vocals. It lets us know that his blues have not been the same since the object of his desire has departed. He also throws some banjo into the fray. 

TRASH TALKING GUITARS is the kind of music you may have encountered at any time since the 90s, but it’s something to enjoy at any time. It is not going to tax the brain but will provide a deal of cerebral pleasure nonetheless in Christian’s playing throughout. There are some extended guitar moments which are a joy, such as with the “get the hell out of Dodge” sentiment of Run Johnny Run, that strangely reminded me of some of the music recorded by the Pink Fairies.

I have enjoyed my first encounter with the band named for the iconic guitarist Merle Travis and the lead singing kingpin of a certain renowned rock band. Both of these characters are built into the band’s DNA, though I think it is the inspiration of the former that is foremost. Either way can enjoy the conversation.

Review by Stephen Rapid.

Doug Collins & The Receptionists Too Late At Night Self Release

A pleasing mix of country, soulful swing, roots-orientated melodic pop, amongst other influences. Not that this doesn’t allow Collins and his band to create their own identity for the music they generate over, now, four albums. It is often conducive to toe-tapping and is equally full of memorable choruses, that show the Minnesota outfit has continued to evolve since they released their last album. Collins is joined again by Charley Varley (bass and vocals) and Billy Dankert (drums and vocals). These pair are the foundation of the music, which is embellished by Randy Broughten’s pedal steel (he has also played with other local notables, including The Cactus Blossoms) and Collins’ lead vocals and guitar. It was decided by Collins that they would keep the process tight and only work with the band and forgo additional players this time out.

They recorded the album in Minneapolis’ Uptown Sound Studio with Rob Genadek at the desk, and the self contained foursome covers all the required bases, allowing the album to sound complete in every respect. It retains a live and tightly focused sound that suits the process well. The sensation of finally playing together as a band after an enforced layoff added a energy that has been captured. 

Style has been a central element in Collins’ presentation as a live showman and he also brings that element to his songwriting and to the ten songs here on the new release: There’s the old style country of Drinkin’ Again; the slow, sad, vocally enriched Stay The Same; the Spanish guitar intro’d Mexico MO, which sees a discussion based not on the country south of the border but the one they never been to, located in their home state; the ardent and sad memories of the slow-paced Mama’s Shoes; the upbeat, offbeat and gone and best forgotten relationship of the downright catchy Wish I Still Cared; followed by another highlight One Thing In Common (which turns out that the ‘one thing’ is the same lady), which also has an effective steel break. 

Next up, we are all enjoying a very pleasant Sunday Afternoon, or at least one that was had in earlier times. Dixon has a more downbeat edge but also a steady, sturdy beat. The next song Three Waves considers the three phases of a heartbreak and how they come and go. Finally we have to end up with the Hardest Part, that once again emphasises the tightness of these four players, putting their hearts into all these songs and bringing out the best in each of them, enhancing their deserved status as one of the Twin Cities’ (and beyond) finest outfits in the American/Roots scene. It’s never too late (day or night) to appreciate them.

Review by Stephen Rapid

Alex Miller Miller Time Billy Jam

Once referred to as ‘little Hank’, Alex Miller looks even younger than his 19 years on the cover of this album. However, in keeping with his 6’5”, he walks tall in his delivery of traditional country. His music is a throwback to the age and sound of classic “New Traditionalists” such as Randy Travis and Keith Whitley, as well as having some hints of iconic influences like Merle Haggard, amongst others. However, the former American Idol contestant has more than enough pointers that suggest his take on the music will only continue to grow with age and further life experiences. He grew up in Lancaster, Kentucky and listened to country music from an early age - something that was no doubt natural to him. He was once dubbed ‘Little Hank’ as he often performed the songs of Williams Snr to positive response at the age of seven.

One thing though is that Miller wont to be mistaken for a burgeoning ‘outlaw’ (at this stage in his career at any rate). He looks and sounds clean-cut and is God fearing. His parents split up when he was seven and this may well have given him personal insight into some of the lyrical content of heartbreak and breakdowns. However, there is an equal measure of songs that have good-times and girls at their core.

Veteran songwriter/producer Jerry Salley helms this project and brings his experienced writer role to bear, co-writing several songs with Miller which are often highlights of the album, including Breaking The Bank, Through With You, I’m Done, Girls Must Be Clumsy (which has the follow up explanatory line of “because they’re falling for me”) Miller however has a solo contribution here, I’m Over You, So Get Over Me, that indicates that he can only develop that side of his emerging talent. He also adds some covers such as Freeborn Man (a much covered song by such diverse acts as Jimmy Martin, Tony Rice and Paul Revere and The Raiders), a somewhat sentimental tribute to servicemen and women with Boys In Uniform and the album stand-out, the swing styled and infectious Don’t Let The Barn Door Hit Ya. To close the album they have chosen the Hank Williams’ gospel song I’m Gonna Sing where he is joined, to good vocal effect, by The Oak Ridge Boys. Some of these songs may be a bit too mainstream for those of the hardcore honky-tonk persuasion, but are reflective of his viewpoint and lifestyle at this point.

Credit is due also to the assembled players, may of whom were around the studios as A Team players for that new traditionalist phase. These include such seasoned players as guitarist Brent Mason and steel player Mike Johnson. All of this, however, is given its validity by the rich baritone of Miller’s voice. This is a somewhat safe initial step into the arena of country, but one that will gain him exposure. Hopefully this exposure will point him in the right direction, away from the negative aspects of mainstream industry. So, at this juncture, we are far from calling time on Alex Miller and waiting to see where his next moves take him. For now, this album introduces an artist who has had wide exposure through a talent show and delivers his first album after that fact. It will do him a lot of good and underline his commitment to a direction is undeniably country in content.

Review by Stephen Rapid

Hank Williams Jr. Rich White Honky Blues Easy Eye

I have to admit that the fifty-fourth studio recording from Hank Williams Jr. caught me on the hop. I expected a predictable late-career Southern rock album, instead, the larger-than-life character’s latest recording is full-on North Mississippi Hill Country Blues.

The only son of Hank Williams, and father to Shelton Williams (better known as Hank III) and Holly Williams, pursued an early career covering his father’s songs and style with a large degree of success. However, when he became disillusioned with that direction and changed course into country and outlaw rock in the mid-70s, he became a superstar.

His latest offering is a conscious recognition of the music that initially inspired both his father and indeed himself. Hank Snr’s first guitar lessons in Alabama were courtesy of black blues player Rufus ‘Tee-Tot’ Payne. Recorded under Hank Jnr. alter ego ‘Thunderhead Hawkins’, the twelve-track album is a collection of stripped down and razor-sharp blues tracks performed by Hank and a host of killer players. Not surprisingly the production was carried out by Dan Auerbach, whose devotion to that precise blues sound led to the formation of his band, The Black Keys.  Recorded live over three days at Auerbach’s Easy Eye Sound studio in Nashville, the band included Kenny Brown on guitar, Eric Deaton on bass, and drummer Kinney Kimbrough (son of blues legend Junior Kimbrough).

‘That Hank Williams, he knew what he was talking about,’’ claims Hank Jnr. in the title track that also namechecks Bo Diddley, Jimmy Reed, Bobby ‘Blue’ Bland, Lightnin’ Hopkins, and John Lee Hooker. Other highlights include the aforementioned Lightnin’ Hopkins’ My Starter Won’t Start and Short Haired Woman, and a remodelling of Muddy Waters’ Rock Me Baby. Ironically, or otherwise, the album closes with the gospel hymn Jesus, Won’t You Come By Here which is one of the few selections that is not stuffed with particularly politically incorrect lyrics and F-bombs.

No doubt recorded for personal pleasure rather than aimed at a commercial market, RICH WHITE HONKY BLUES plays out like a jam session by high-spirited friends inviting you into their world for forty-five minutes. Track it down and have a listen, it’s not anything that hasn’t been done before but - despite the questionable lyrics - is smile inducing from start to finish.  

Review by Declan Culliton

Stacy Antonel Always The Outsider Self Release

Raised in Ocean Beach, San Diego, Stacy Antonel’s early passion for music was closer to R&B and pop than the refreshing fusion of country and jazz on her hugely enjoyable debut full-length recording, ALWAYS THE OUTSIDER. As a teenager, she studied classical piano and her transition into honky tonk did not materialise until she moved to Buenos Aires after finishing college. The initial spark was ignited when she responded to an ad seeking a singer that sounded like June Carter Cash. A successful audition led to several jingles which were aired on MTV and Jeep in Latin America. That taster for classic country was followed by the acquisition of numerous country albums in a budget store, drawing her hook, line and sinker into the genre.

Fast forward a few years and now rechristened the Ginger Cowgirl, she had relocated to Nashville and recorded her debut EP at RCA Studio C in 2017. That recording, not surprisingly titled GINGER COWGIRL, featured five original tracks and a cover of the Willie Nelson classic Crazy.

Though most certainly rooted in classic country, ALWAYS THE OUTSIDER also mirrors Antonel’s passion for jazz and R’n’B. The recordings for the eleven tracks were divided between Singing Serpent Studios in San Diego and Trace Horse Recording Studio in Nashville. The possessor of a hugely impressive vocal range, Antonel gathered together some industry big hitters to work with her on the album. The production duties were overseen by Ben Moore (Hot Snakes, Burt Bacharach) and Doug Pettibone (Lucinda Williams, Michelle Shocked) and flat picker Paul Sgroi on guitars, Joe Reed (Merle Haggard, Keb' Mo') on bass, and Eddie Lange (Joshua Hedley, Josh Turner, Jeannie Seely) on pedal steel, all played essential roles in providing the musical backdrop to a record that is very much the sum of its parts.

A throwback to a previous era when the country and jazz genres were a familiar partnership, Texas Lasts Forever and Planetary Heartache are country ragtime delights. The title track is a catchy country gem with heaps of hooks and melody. The album includes a number of ‘love lost’ tunes including Heartbroken Tomorrow, which showcases some stunning guitar playing. The album’s tour de force, Karmic Chord, is also a breakup song. Beautifully delivered, the vocals dip, soar and quiver impressively, brimming with emotion and heartache. She takes a swipe at the obstacle course an artist has to endure, no doubt fuelled from her days as Ginger Cowboy, on Better Late Than Never ‘Rude crowd, upper class, sing the song, just make em dance. Strong cologne, bad requests, just smile at the rich old men.’  

All in all, Antonel’s talents have fully blossomed on an album that refashions honky tonk and swing in a striking manner. It’s a giant leap forward from her GINGER COWGIRL EP and one that should reverse the sentiment expressed in the album’s title.

Review by Declan Culliton

Pharis and Jason Romero Tell ‘Em You Were Gold Smithsonian Folkways  

Recorded over a six-day period in their converted barn in Horsefly, British Colombia, TELL ‘EM YOU WERE GOLD is the eighth studio recording from the husband and wife team Pharis and Jason Romero. With a sound that is rooted in old-time folk music, the duo are multiple Juno Award winners.  Their lifestyle reflects a couple steeped in traditional music influences. Together with songwriting, performing and raising their two children, they also build handcrafted banjos which are marketed through their company, J.Romero Banjos.  Their creations can be found in the possession of Jerry Douglas, Martin Simpson, and Ricky Skaggs, to name but a few.

On this recording Jason plays no fewer than seven different banjos, effortlessly switching from clawhammer to rhythmic fingerstyle.  Pharis also plays banjo and guitar, and they share vocals on the albums.  Guests that join them on this recording include Grace Forrest and Trent Freeman (fiddle), Marc Jenkins (pedal steel), Patrick Metzger (bass) and John Reischman (mandolin).

Transporting the listener to an altogether different era with superb playing and dreamlike harmonies that bring to mind the Gillian Welch and David Rawlings partnership, the album’s sixteen tracks are divided equally between instrumentals and full songs. The highlights of the latter are Sour Cream, Cannot Change It All, and Rolling Mills, the instrumental standouts being Cold Creek Shout, Pale Morning, and The Dose.

Despite being their eighth studio recording and Pharis and Jason Romero being the recipients of numerous awards, the album is their first on a record label.  Being released on the non-profit label Smithsonian Folkways Recordings will no doubt introduce a host of new listeners to the hypnotic and bewitching music created by this talented duo. With the Americana bubble bursting at the seams and accommodating endless sub-genres, TELL ‘EM YOU WERE GOLD is solid gold Americana with a capital A.

Review by Declan Culliton

Latest Album Reviews

Michael McDermott St Paul’s Boulevard Pauper Sky

Emerging from lockdown with a new album is a release for Michael McDermott in many ways. A celebration of life in all its various guises, ST PAUL’S BOULEVARD in many ways removes him from comparisons, as it is a strong affirmation that he is his own man with his own vision. That is something that he and co-producer Steven Gillis have realised throughout the album’s fifteen songs that run over one hour. There are songs that have a more immediate appeal than others and the opening song Anam Cara, the title track, and Our Little Secret, with its appealing guitar interjections, directly show that McDermott is on track again. Sick Of This Town covers the frustration of feeling the walls around you, both big and small, beginning to cave in. There is something of a theme (if not a complete concept) here that considers a person’s place in a world that may not be welcoming or even understood, but where they lived, loved, lost faith, or languished. 

There is undoubtedly a big sound throughout that takes his music to a new level, particularly for those who have witnessed the raw power of McDermott live and solo. Here he employs the skills of his selected players, including a sterling rhythm section of Gillis and bassist Matt Thompson, which proves to be the bedrock to build from. He is again joined by his partner in life Heather Lynn Horton on violin and vocals, and Vijay Tellis-Nayak adds piano and organ. To this close-knit team, there are the additional skill contributions of John Deaderick and Danny Mitchell on keyboards and the massed guitar power of David Grissom and Will Kimbrough on guitars - he also adds banjo and mandolin to a couple of tracks.

That’s the team who back McDermott’s passionate performances on vocal, guitar, and piano. He draws on the pain and pleasures he has encountered in a life in music that went from the highs of his early major-label career to the other highs and definite lows that followed and brought him to some despair and addiction. However, that is in the past and here, while not ignoring those hard times, he celebrates much of which is good in his life and nourishes his undoubted spirit, despite what is a dark and desperate world.

The track Marlowe is a tribute the Raymond Chandler’s noir private eye, Phillip Marlowe. It fits his persona well and is given a setting that recalls the best of heartland rock. Over the years and many albums, McDermott has carved his niche in rock’s hall of fame. Maybe not to the degree that others have, but that’s not the fault of his talent, work effort, or passion, rather it is the nature of an industry that often writes off those who don’t immediately hit the media heights. However, I don’t think that particularly plays on McDermott’s mind these days. His aim is to love those close to him and to continue to write and perform his songs. To simply do the best he can.

This album is full of examples of that craft and is a rewarding listen. Aside from the aforementioned songs, there is the graceful title track, the escapist but determined rock of Pack The Car, the chorus rooted All That We Have Lost, the folk-infused hopefulness of Peace, Love And Brilliant Colors, or the eternal beauty of Paris. This album is one of character as well as being full of characters. St Paul’s Boulevard, or someplace similar, exists in a lot of cities and a lot of minds as well as on this album. It is a place worth visiting.

Review by Stephen Rapid

Matt York Gently Used Self Release

An example of time well spent in pandemic purgatory, this is album number four from Boston based country/Americana artist, Matt York. During that period he recorded the eleven songs featured here. He recorded them at Boston’s Bitch Kitty Studios and then added the various musicians’ contributions remotely, in the main. These included telling contributions from Joshua Hedley on fiddle, guitarist Taylor Hollingsworth, Dillon Warnek on piano and pedal steel guitarist Spencer Cullum Jr. They are all used gently and otherwise to being York’s songs to life. And crucially that’s the key factor - the strength of the material - there is proof enough of the robustness of the songs with a number of immediate highlights that will please the listener from the first hearing.

The opening track If You Want Love is a straight up tale of love heading out the door and the wish for it to return. The interplay between steel, fiddle and guitar is vibrant and overlapping and creates a texture of tenacity. This matched by the exuberant guitar riff of the power-pop flavoured I Know You Love Me. These are, in turn, matched by the softer considerations of Baby Doll, Strong Feelings, Word On The Street and the title track. These songs all have their origin in the perennial themes of love, loss, foolhardiness and despondency, often drawn from the personal as well as from the writer’s ability to place himself at the heart of these very real emotions - both positive and negative. 

Producer Thomas Wenzl draws all these elements together with York’s vocal prowess and utilises backing vocals to further enhance the expressiveness of the lead vocal. The assembled players all contribute to the fortitude of the songs, with the aforementioned fiddle, guitar, piano and steel accentuating the perturbation and gratification that each song seems to seek to illuminate.

This is York’s fourth album and he has excelled himself by joining the dots between Austin, Nashville and Boston, drawing on elements of each’s alt-country/roots rock scenes in creating this album. There has been a lot of music created over the last couple of years of, often, self-imposed isolation. Some has been, at times, intensely introspective or wildly exuberant. Here York has struck a balance that never brings the process into a negative space, but rather enlightens the process with some sterling performances from all. There is much to commend about this album and much to simply enjoy. On the inner sleeve York wears a t-shirt that reads ‘Listen to Townes Van Zandt’. Wise words from a songwriter that has himself been listening - and learning.  

Review by Stephen Rapid.

Morgan Toney First Flight Ishkode

Young Morgan Toney was first struck by the power of music as a child, as he sat on the floor of his great-uncle’s home in Cape Breton Island and watched a Phil Collins DVD! He moved on from improvising with pots and pans to learning the First Nations drum and the songs of his native First Nations tribe, the Mi’kmaq, who are indigenous to Canada’s Atlantic Provinces. Next he took up the fiddle, and after realising that he had an aptitude for the instrument, he discovered that his  great-grandfather had been a renowned Mi’kmaq fiddler. Fast forward just a few years and 22 year old Toney has produced a stunning debut album, steeped in the traditions of his native people but also heavily influenced by the more recent fiddle tradition in Nova Scotia, which was brought over through the forced migration of the Scots (the Highland Clearances, etc) during the 18th and 19th centuries.

Opening with just his voice (singing both in English and in the Mi’kmaq language) and a hand drum accompaniment, Kwana Li is a 1:30 precursor to nine tracks, both songs and instrumentals, mostly written by Toney. One of the exceptions is the first single, Ko’jua, an important ancient traditional chant that is over 500 years old. Here Toney puts it to music as an upbeat rousing combination of fiddle, drums, electric bass, acoustic guitar and voices. The droning style of the indigenous chant is combined with the lilting style of the Scottish fiddling. Equally mesmerising is Mi’kmaq Honour Song, another important chant/dance from the tradition, which makes it difficult to resist the imperative to dance. Ashley MacIsaac, the award winning fiddler from the Cape Breton Island family of musicians, guests with a solo on Msit No’kmaq (All Of my Relations), another homage to the importance of the teachings of the tribe, respecting nature and the earth.

Many of the songs are sung in English, or in a mixture of English and Mi’kmaq, making them more accessible to non-tribespeople like myself! Only 4% of the 170,000 natives speak the language and Toney has now become a fluent speaker. His goal with his music is to share the teachings of his tribe in order to bring hope. He does not shun the difficult question of the treatment of the First Nations peoples in Canada, where racism and violence has been visited upon them. In The Colour Red (co-written with his producer, Keith Mullins) he highlights the cases of the missing and murdered indigenous women.

The utter pride that he feels for his roots permeates this album, which has been released on a new label, Ishkode, which is run by two indigenous women. They see it as an exciting opportunity to finally get the music of indigenous artists heard, where previously they felt silenced. Not surprisingly, Morgan Toney won two East Coast Music Awards in Canada this year. This is great drivin’ music, y’all, and I urge you to seek it out.

Review by Eilís Boland

Hot Club of Cowtown Wild Kingdom The Last Music Co.

Celebrating an incredible 25th year in existence (in this line up), Hot Club of Cowtown have just re-released their 11th album, to coincide with a resumption of touring. From the spectacular technicolour of the cover photo, depicting the trio surrounded by exotic and domestic animals and plants, it’s clear that they have lost none of their enthusiasm for making music. Comprising mainly original songs, this record was way overdue, especially since their last few albums have been homages to some of their influences - Bob Wills, Stephane Grappelli, Bob Hope etc. Elana James is the de facto band leader, known for her virtuoso violin playing, rich vocals and sunny disposition. She met Whit Smith (guitars and vocals) in NYC 28 years ago and they hit it off musically. Upright bassist Jake Erwin joined them in 2003, after they had relocated to Austin.

Steeped in Western Swing, gipsy jazz and country music, their unique sound, virtuoso playing and spectacular live shows are now legendary, and this record continues that legacy.

James contributes seven new songs, ranging from the whimsy of My Candy to the romantic Tall Tall Ship and High Up On The Mountain. On Before The Time of Men she imagines the beauty of the world from the viewpoint of a ‘beautiful white stallion’ ruling the high plateau, ‘spirit of the mountains, the prairie and the steppe’, no doubt a metaphor for how the world would have been before recent environmental destruction. She is at her wittiest best, though, in the hilarious Near Mrs., a list song of twenty five near misses with would be suitors (including ‘the guy from INXS’!).

Whit Smith takes the lead vocals on his four original compositions, continuing the retro feel of the band sound with his vintage guitar and jazz stylings. On Billy The Kid he vividly captures the moment when that fugitive is shot down by Pat Garrett, and the life reminiscences that could have flashed before him as he died. Rodeo Blues allows James another opportunity to indulge her love of horses in the tongue-in-cheek tale of how she fell in love with the rodeo ‘pick up man’ when she was thrown off.

The three cover songs include a simply perfect version of the classic How High The Moon.

Co-produced by Lloyd Maines and the band themselves, this collection should whet your appetite until you can catch them live again.

Review by Eilís Boland

Corb Lund Songs My Friends Wrote New West

As you will gather from its title, Canadian country and western singer-songwriter Corb Lund’s eleventh studio album features tracks written by friends and highly respected songwriters. A project that Lund has had on the back burner for many years, the enforced period off the road in recent times afforded him the time and motivation to complete the album.

Lund’s last studio recording AGRICUTURAL TRAGIC from 2020 was a career highlight and the previous year he released his first covers recording, which was an EP titled COVER YOUR TRACKS. On that occasion, he selected a diverse range of songs written by AC/DC, Billy Joel, Marty Robbins, and Lee Hazlewood. Also represented on that recording were songs by Hayes Carll and Ian Tyson, both of whom feature twice on his latest venture. A close ally of Lund, Hayes Carll shared the songwriting credits for Bible On The Dash - check out the hilarious YouTube video - on Lund’s 2012 album CABIN FEVER.

Two upbeat rockers, Highway 87 and Little Rock, from the pen of Carll, are recreated this time around. The selections from country-folk legend and fellow Canadian Ian Tyson’s songbook are the gorgeous ballads Montana Waltz and Road To Las Cruces, both stylishly performed by Lund and his backing band, The Hurtin’ Albertans. Fellow countrymen of Lund, Mike Plume and Fred Eaglesmith, are also represented. Plume’s Big American Headliner is given a full-on treatment, complete with screeching guitar breaks and Eaglesmith’s classic Spookin’ The Horses remains true to the original.

Texan John Evans’ rockabilly and high octane Pasa-Get-Down-Dena is an instant toe-tapper and Lund honours the eccentric Todd Snider with the album closer Age Like Wine, which is delivered with similar vocal styling to the original version. Completing the ten-track collection are Tom Russell’s Blue Wing and Geoff Berner’s That’s What Keeps the Rent Down, Baby.

Loaded with memorable tunes, SONGS MY FRIENDS WROTE is another ‘must have’ album by an artist that seldom fails to deliver. It also had me revisiting the back catalogues of many of the wonderful artists that Lund pays homage to.

Review by Declan Culliton

Elizabeth Cook Balls Thirty Tigers

Listening to the fifteenth-anniversary reissue of Elizabeth Cook’s BALLS is a reminder, if that was needed, of the difficulties encountered by female artists and in particular those recording genuine country albums. At the outset, the album was to be released on a major label but would not have seen the light of day had David Marcus of Thirty Tigers not funded the recording, after the original label pulled the plug at the last minute.

Like Kitty Wells in the early 50s and Loretta Lynn a decade later, Cook raises issues on the album that remarkably still remained taboo for radio exposure at the time, resulting in the lead single, a co-write with Australian country singer Melinda Schneider, Sometimes It Takes Balls To Be a Woman, being systematically banned by radio stations in the U.S. Ironically, the song was nominated as Song of the Year at the Americana Music Awards.

The daughter of a hillbilly singer and a moonshiner, the Wildwood, Florida-born Cook moved to Nashville in 1996 to take up a position with the corporate finance company Price Waterhouse Coopers. Following her music career dream, she was awarded a publishing deal, worked on her songwriting skills, and released three albums between 2000 and 2004, prior to BALLS landing in 2007. With a ‘to die for’ country voice and the ability to craft intelligent and insightful songs, BALLS and its predecessor THE SIDE OF THE MOON, were both classic modern country albums.

The Rodney Crowell produced BALLS visited a range of topics, from the opener Times Are Tough In Rock ‘N’ Roll to Mama’s Prayers, written as a Mother’s Day present to her mom, who used to bring homemade chicken and dumplings to the studio during recordings. A stunning cover of The Velvet Underground’s Sunday Morning drew high praise from its author Lou Reed and Rest Your Weary Mind is a duet with Bobby Bare Jr. Down Girl features vocal contributions from Nanci Griffith and Rodney Crowell.  Despite the quality of the album, it only reached No.72 on the country Charts, whereas ironically, its successors, WELDER, and EXODUS OF VENUS, both less country than BALLS, were commercially more successful.

An independent spirit and a fighter, Cook has overcome some personal and substance abuse issues, currently hosts her own radio show on Sirius XM and continues to record compelling music. BALLS was a noble effort in keeping real country music alive and kicking at the time of its release, only to be overshadowed by the more commercially acceptable recordings by artists such as Carrie Underwood, Toby Keith, and Brooks and Dunn. Blessed with an ear for a tune and a dazzling voice, Cook served up an album loaded with killer songs that sound every bit as fresh today as they did back in 2007.

Review by Declan Culliton

Ric Robertson Carolina Child Free Dirt

This is the second album from a singer-songwriter who has been a member of LUCIUS in a past life, before releasing his debut solo album in 2018. A further EP has led to this follow up record. The ten tracks are very engaging with plenty of variety and inventive playing.  Dan Molad (also of LUCIUS), produced the album and there are plenty of musician buddies that help out in the studio, including Oliver Wood of The Wood Brothers. The sound is varied but sways in the direction of Americana, if you must have a signpost.

Getting Over Our Love is a song about what gets left behind in a broken relationship, the fragile ego of what we need in order to keep believing we are of value, ‘Do you think of me when I think of you, Or are you out there with somebody else getting over our love?’

Harmless Feeling has a slow Country style and looks at dreaming of another girl, while in a relationship with someone else. That nagging doubt that all is not really well and that you should follow what your thoughts and emotions are bringing up. Carolina Child, the title track, is a song about a free spirit that won’t be tamed, but there is the threat of a crash and burn, with the realisation that, ‘everybody’s in this thing alone, running with no place to go.’

Sycamore Hill is a light jazz groove that doesn’t take itself too seriously and has some recorded street sounds to set the tone. Thinkin’ About You is a cleverly worded song that Robertson delivers with confidence and some degree of street cool – the inventive guitar and quirky rhythm mirroring the piano parts and a lyric that bemoans a lost lover. Anna Rose has a touch of Paul Simon in the arrangement and the delivery, some nice restrained playing and an easy tempo. It’s a call to a former girlfriend to stop self-harming and return home, something that the singer in My Love Never Sleeps wants for his own peace of mind – nice guitar from Robertson and a plea to return home. I Don’t Mind has a bluesy, Dr John style to the arrangement, piano, organ and saxophone sounds flirting around the rhythm and great harmony singing from Gina Leslie. Robertson is based in New Orleans and this stand-out track really shows his influences in the sassy delivery.

Rollin’ River is a soulful gospel workout that has the band in full flow and the album includes the many talents of the following list of players; Sam Fribush (organ. Piano, synth, Wurlitzer), Nick Falk (drums, percussion) and Dan Molad (drums and synth),  Oliver Wood (slide guitar), Nate Leath (fiddle), Eddie Barbash (saxophone), Pete Lalish (guitar), Kai Welch (synth, vocals) and a number of guest vocalists, including Gina Leslie, Dori Freeman, Jess Wolfe and Holly Laessig (of LUCIUS), Logan Ledger, and Cameron Scoggins.

Robertson wrote all the songs, including three co-writes, with the exception of two tracks, My Love Never Sleeps and Rollin’ River. The final song, Julie, is a nice snapshot of capturing the emotion of a special memory. Ric Robertson has a lot going for him based on the evidence of this release. The songs have both character and colour and I look forward to watching his career continue to grow.   

Review by Paul McGee

Audrey Spillman Neon Dream Self Release

The beautiful sound of Will Kimbrough’s haunting guitar that opens this album is the perfect introduction to what awaits on the nine songs that comprise this new release. The plaintive atmosphere created, plays out a timeless tale of driving to the desert and witnessing the starry night skies - revelling in the love shared between two people on a road trip. Austin Motel is that opening track and it was one of three hotels that inspired Audrey Spillman during the recording of the album, the other two located and resting in California… After one previous album and a few EPs from this talented artist, we are treated to a work of real substance, beautifully delivered by all involved

A sultry version of the Gershwin classic, Summertime, fits really well too, with atmospheric trumpet adding to the texture and tone. Here, Audrey delivers the perfect vocal, both worldly and yearning. With the following track, Blue Yonder, spinning out another lyrical guitar master-class from Kimbrough, the melody and the  freedom of the open road calling towards a new beginning; you can almost feel yourself in the open-top car.

Never Gonna Give You Up is a love song from Audrey to her husband, sung against a mid-tempo beat that stretches out into a sweet interplay between the musicians, keyboards, trumpet, and guitar lifting the easy rhythm. Red Balloon, captures a childhood memory of Spillman with her father. It contains both the innocence of youth and the inevitable pull towards adulthood and leaving behind the safety of family. Quite superb.

White River reflects upon the Cherokee Indians who were displaced from their original lands and who created settlements on White River, Arkansas in 1785. It has a haunting melody and Audrey sings of the pain and forbearance endured with an elegant restraint.

The album was produced by her husband, Neilson Hubbard and recorded in Nashville, at Skinny Elephants Studios. The stellar line-up of players includes; Will Kimbrough (acoustic, electric guitars, bass), Dan Mitchell (keyboard bass, piano, organ, horn), Neilson Hubbard (drums, acoustic guitar), with harmony vocals on selected tracks provided by; Maddie Alldredge, Neilson Hubbard, Dan Mitchell and Garrison Starr.

With musicians of this quality, it’s hard not to hit a home run, and Audrey certainly delivers. On Breakthrough, with the band let loose to rock it up, a statement is made about the strength in having self-belief and pushing beyond obstacles.

As we wind down, the gentle acoustic Little Light Of Mine is a song for Audrey’s child and a heartfelt message that her deep love will always be there. Again, the interplay is sublime. The final song, Go On and Fly, is a tribute to her stepmother who died of cancer, and Audrey does justice to her memory, ‘Peaceful words and loving arms, To keep you safe and whole, To wash away the burdens of the hurts you’ve had to hold.’

In the album notes, Audrey states that “I want to create an intimacy with the listener by creating an emotive space. That is the theme that runs through this album for me.” This reviewer couldn’t agree more with this sentiment and the album is a real delight to experience from start to finish. I highly recommend this music to you and I look forward to the next project that this superb artist puts her talents towards.

Review by Paul McGee

Orit Shimoni Loren Ipsum Self Release

When we hear the term, D.I.Y. we think of independent artists, furrowing away in solitary isolation. In terms of a musical career these days, it can also be the push to establish a common network, whereby a fledgling career can be maintained on a local circuit and perhaps grown, in this cottage industry.

I think it safe to say that Orit Shimoni wrote the book on D.I.Y existence and the way in which a nomadic lifestyle can be put to good purpose.  With a debut 2006 release under the performing name of Little Birdie, we saw the emergence of this talented singer-songwriter, and she had three further releases between 2009 and 2012 with her self-written, heartfelt songs. That last album under the name of Little Birdie, was a brave and unaccompanied project, aptly named Bare Bones. At this stage, Shimoni had been living for two years without any home as she travelled by public transportation, across Canada and Europe, engaging with people and playing in any type of venue that would have her.

On permanent tour, the self-managed troubadour released five further albums, using her own name, between 2014 and 2018, at different studios across the continents, as this prolific artist continued her musical adventures.

2020 saw the suitcase warrior deliver an album, Strange and Beautiful Things, before Covid played a part in her being forced into a semi-permanent abode for some months during lockdown. Orit decided to revisit her song-books and produced this wonderful recording from an apartment that she rented in Winnipeg. Using very basic equipment, a lap top and a cheap microphone, she decided to record these eleven songs in a single sitting as a keepsake of what she was feeling during this time of uncertainty and dread in the world. The title of the album, Lorem Ipsum, translates as ‘Pain Itself.’

In the opening songs that pain is evident as Shimoni wrestles with the evil and hatred in the world, asking for respite and perhaps a deep snow to turn everything quiet and white. The need to put others down and to take away joy seems to be a basic urge in mankind and not the loving awareness that we all aspire towards wanting. Both, All Comes ‘Round Again and America pose these questions and thoughts.

Maybe Tomorrow is a Covid lockdown song where the motivation to do anything is replaced by a general apathy and a fear about what is going on outside the room that Shimoni occupies, ‘The whole damn world’s broken and I’m so full of fright.’ With, All My Sins, the questions about whether we live decent lives, surface in the face of those who do selfless acts in the world. Wanting to be free is one thing but the inequity of the world continues, ‘Why we cannot get ourselves together is just something I’ll never understand.’

My Flying Shoes sings of that very freedom and the need to be wild and out there in the world, untethered. Dear Maria is a highlight and captures the agony of a mother who has given away her baby at birth and who now wants to reach out to make contact and explain why. It takes the form of a letter that the mother cannot finish and the pain of watching her daughter in her life from a hidden vantage point.  Smithereens tells of a terrorist attack that is brutal in its randomness, while impacting innocent lives for no possible gain.

Draw Me A Picture is a song that wishes cartoon characters could inhabit the real violence done to each other in the world; so that we would never really die, but just bounce back like screen characters and live to experience the next day. Horse speaks about animal cruelty and the reality of making animals do our bidding instead of letting them live naturally and run free. Again, it’s a parody for the freedom that Shimoni wants to protect and enjoy – to be free of the dictates of others. Sing Back To Me is a song about communication and wanting to reach out to another, ‘If you reach back to me, all these storms we can weather.’

Shimoni is a free spirit who values the things in her life that are authentic and real to her. Given her prolific output and her thirst for new growth and experiences, it will not be very long until we hear from her creative muse again.

Review by Paul McGee

Latest Album Reviews

Daniel Meade Down You Go From The Top

Like a lot of musicians whose trade was curtailed during the Covid lockdown, Daniel Meade recorded some new songs at home. As with all his previous work, they showcase a talented singer/songwriter performing in a stripped back recording process that is none-the-less full of rich detail, such as the violin on the tender love song If I Didn’t Have You which sits comfortably under his guitar playing. He also adds some harmony vocals to enhance the overall solidity of the song. The opening track Fixing Quicksand utilises piano and harmony vocals in a similar fashion, adding texture to the simplicity of the song’s sense of the futility of trying to understand how a relationship works.

Meade, of late, has released a couple of albums that aim for a bigger and somewhat more electric sound with a good deal of success, but here we find him looking inward in a somewhat more contemplative manner. The title song seems on the surface to advance the feeling of sadness and emptiness associated with an isolated existence, but has a buoyancy that offers something brighter than the lyric might suggest. Meade has written six of the songs on the album and included two cover songs, including a folk-styled interpretation of the Bros song, When Will I Be Famous, with an alternative  interpretation of the lyrics that ends up being less assertive and more questioning. His friend and colleague Lloyd Reid joins him for Cocaine Jane, a song that pretty much sums up a past lifetime and attendant misdemeanours.

The second cover comes from the pen of Mark May, written a quarter of a century ago when he was a member of Glasgow band, The Pedestrians. He died at a young age and this song is a tribute to him, adding a sense of nostalgia, as both Daniel and his brother Raymond played with the band as teenagers. Will You Still Love Me When It Rains? has some delicate piano to underline its poignancy, a song that has a harsh sense of reality and an awareness of the uncertainty that often creeps into the psyche in a relationship. “How can I miss you if you won’t go away?” has the perception of a person deeply in love but always afraid that they may not deserve that love. The album closes with Little Birds, another message to a loved one with the song being a little message flying home to the person in question. 

One can only applaud Meade’s insight and invention, his toughness and tenderness that comes from his heart, as well as his ability as a musician to give these the depth that makes them rewarding and appealing and not just some throwaway lockdown missives done to pass the time. Listening to these recordings is time well spent.

Review by Stephen Rapid.

Silver Lake 66 The Space Between Us Self Release

Bun E. Carlos is the opening salvo on this roots rockin’, somewhat bluesy and countrified third outing from the duo Silver Lake 66. Something of a paean to the female half of this duo and the album’s drummer Maria Francis, it was penned by partner Jeff Overbo and uses the title of Cheap Trick’s former drummer. Each tends to take the lead vocals on the songs they wrote. The title song has a nice California country sound that shows that Francis is as capable a singer as she is a versatile percussionist. 

The album follows in the long-established tradition of some of the finest male/female partnerships in Americana and the the three songs that Overbo takes the lead vocals on serve as a nice contrast to those of Francis. They co-produced the album with Bryan Daste, who also adds background vocals and pedal steel guitar on certain tracks. They also bring in guests to add keyboards, bass, strings, saxophone and trumpet, the latter played by Portland music scene stalwart, Paul Brainard, who played with Richmond Fontaine.

Relief is a gutsy plea for some of the same, with Francis at her most blues motivated. Easier has a more Americana sound that is subtle and piano-led and marks the strength, as do other tracks, of the collective ability on show on the album. The dobro and bass used in When You Fall has a different feel again, using the two voices on alternate verses before the two join together for the chorus, which overall emphasises the caring nature of the song’s lyric.

There is something of a Southern feel to Take Some More Of These, with the B3 keyboard sound behind the solid guitar riffs.  Sweet Compassion uses the keyboards again to set the tone with the melodic guitar for the slow paced mood of the soft-hearted nature of the lyrics. Much more back in the roots/country vein is Blue Sky and it works well again, with its steel guitar and danceable rhythm section behind the robust vocal.

The closing song is summed up by its title I’ll Sing The Blues. It is again more thoughtful in its use of a restrained arrangement which features a string section that highlights the emotion of the song.

This is Silver Lake 66’s third album and it continues a trajectory that, while it won’t make them household names in the current climate, serves to show their overall commitment and accomplishments and how regional acts are sometimes ignored despite the quality of their output.

Review by Stephen Rapid

Shawn Williams Wallowin’ In The Night Self Release

The trials and tribulations of a man always on the prowl sets the tone for this album with the opening Someone Else, a combination of lyrical nouse, driving rhythm and gritty guitar. Williams continues the relationship theme with Buzzed, where she wants to have her partner come on over, given that she is feeling the “buzz” for them to be there, which opens on a low key acoustic guitar before the scene shifts gear to a greater full-band intensity, befitting the candid carnal nature of the title. Overall the album offers a perfect combination (story songwise) of broken hearts, hell-bound hedonism, hung over mornings and moments of something approaching happiness.

Williams handles the production duties and pushes her band of New Orleans-based musicians into the darker corners of her reality with skill and empathy, for the thrill and turpitude of light nights, dark streets and the pursuit of something to keep her. That band includes Dr John guitarist John Fohl, keyboard player Casey McAllister and the Iguanas rhythm section, to which she adds contributions from Dave Easley on pedal steel and Lynn Drury on harmony vocals.

Don’t Go is an emphatic plea for a best friend to stay and not move away to Texas. It uses the pedal steel to good effect to highlight the sadness that might follow. Its classic country affiliations make it a fine diversion from the more charged, energised tracks. The mid-tempo tale of being let down in love despite a strong sense of that emotion in Everything You Stood For has again some turbulent guitar that stands out, giving life to a sense of agitation within a liaison. Throughout, the guitar playing of John Fohl and, on occasion, Casey McAllister are the backbone of the songs, with driving riffs and hardened edges that allow Williams to deliver some incisive and emotive vocals. McAllister’s keyboards are also an important texture in the overall soundscape.

Rare Form has two sections in the song that goes from a sombre mood to something that sounds more hopeful and countrified by the end of the number. Towards the latter half of the album there are two more notable songs in If You’re Gonna Leave where she asks the protagonist to go with some immediacy, not drawing out the inevitable end. Take Me Home on the surface seems to be at the other end of a hook-up, where there is a wish to start a journey no matter where it might end up, as long as she is taken home. Again it is notable for the vocal prowess and slight understatement that allows the material to breathe life into its heart. It is an album that has grown with each listen, as that allows the focus to change and sharpen and get better acquainted with William’s artistic vision and lyrical storytelling.

There is a feeling that Williams, like her namesake Lucinda, has picked up on her mantle for delivering female-based perception and attitude in the Americana sphere, something that can only get better as time goes along, and age and experience are further brought to bear on her already impressively honed skills. 

Review by Stephen Rapid

Michaela Anne Oh To Be That Free Yep Roc

There is a fine line for female artists between earning household name status in ‘country’ music circles and the many arguably equally talented artists who somehow just don’t get the exposure and radio play that their talent deserves.  The ‘industry’ appears to limit the number of available places at the top table for female artists and those seats are currently occupied by industry favourites like Miranda Lambert, Kacey Musgraves and Maren Morris. Though undoubtedly gifted, their product is crossover radio-friendly pop music, with the exception of Lambert whose output does include an element of country.  

If you dig a little deeper there are numerous women recording quality music with elements of both traditional and modern country. One such artist is Brooklyn born Michaela Anne, whose splendid 2018 album DESERT DOVE, was an end of year favourite of ours at Lonesome Highway.

Moving to Nashville in 2014 to enjoy a more laid-back lifestyle, Anne lives in a rural setting close to Percy Priest Lake, twelve miles from the hustle and bustle of downtown Nashville, with her musician husband Aaron Shafer-Haiss and their young daughter. OH TO BE THAT FREE is her fourth studio recording and her second on the Yep Roc label. Her last album DESERT DOVE, was recorded over the course of several weeks in San Clemente, California, with a host of top-drawer players. If that project was planned and executed in military like fashion, her latest suite of songs is considerably more spontaneous and a reaction to a number of traumatic and life changing events that Anne was presented with.

"These songs became healers, almost as if I’d written them as letters to my future self.” explains Anne. While pregnant and expecting her first child, her world was turned upside down when her mother suffered a haemorrhagic stroke, leaving her paralysed. The latter stages of her pregnancy found Anne at her mother’s bedside in hospital singing the songs that feature on her latest album to her, unaware if her mother would ever be able to speak or walk again. The resulting twelve songs combine themes of sadness, insecurity and brutal reflection.

She sets her stall out from the word go with the fiercely forthright and unfeigned I’m Only Human. We’re reminded of the value of cherishing those dear to us on Good People and the worth of those treasured relationships on the bittersweet ballad Trees. The nostalgic title track recalls the simple childhood pleasures and their innocence and she also digs deeply into the memory bank on Chasing Days.  Other tracks that also leave a lasting memory are If Only You Knew and Who You Are, before she signs off with It’s Just A Feeling, which acts as a reminder that despite the unpredictable circumstances that may visit us, there is, invariably, light at the end of the tunnel.

Michaela Anne’s output has been and continues to be, a blend of modern country and 60s styled countrypolitan. An astute writer and the possessor of a beautiful voice, perhaps her resistance to travel down the ‘pop country’ road may reduce her album sales.  It should not, given the quality of this recording. Readers familiar with her output will no doubt have OH TO BE THAT FREE on pre-order, others are strongly advised to check out this album and dip into Anne’s back catalogue. The challenge of writing the album at a low point in her being has yielded another gem and one that, like its predecessor, is more than likely to feature in this writer’s favourite recordings of 2022.  

Review by Declan Culliton

Nicki Bluhm Avondale Drive Compass

The early career recordings of Nicki Bluhm and her backing band The Gramblers were steeped in late 60s West Coast influences and, given Bluhm’s striking bluesy vocals, raised comparisons with Jefferson Airplane. Following the breakup of The Gramblers in 2015 and a subsequent divorce, Bluhm relocated to East Nashville and wrote her debut solo album, To Rise You Gotta Fall. Recorded at Sam Phillips Recording Studios in Memphis with Matt Ross-Spang overseeing the production, the album was released in 2018.  A fusion of Bluhm’s West Coast origins, the bohemian sound of her newfound home, and the album’s recording location, it offered a mixture of soul, country, and rhythm and blues. The content pointed very much toward open wounds not yet healed, with titles such as I Hate You, You Stopped Loving Me (I Can’t Stop Loving You) and Something Really Mean.

Fast forward four years and AVONDALE DRIVE finds Bluhm in an altogether more positive and forbearing mood. Gone are those despairing song titles, replaced by more unwavering banners such as Learn To Love Myself, Love To Spare, and Leaving Me (Is The Loving Thing To Do).

Bluhm’s prime gift is her incredible voice and it’s put to good use on the radio friendly opener Learn To Love Myself. Poppy and soulful, it would slot comfortably between The Ronettes and The Supremes on a mid-60s jukebox. Similarly, Love To Spare, a co-write with A.J. Croce, recalls Smokey Robinson’s Tears Of A Clown, and pays homage to the classic soulful sound from the same era. Easy on the ear and with each song tumbling effortlessly into the next, Sweet Surrender and the twangy Fool’s Gold also impress, the former being the album’s highlight for me. Wheels Rolling stirs up memories of Bluhm’s early career Grambler days and she speaks out for survivors of sexual assault on Mother’s Daughter.

Produced by Jesse Noah Wilson, the album features a host of impressive contributors including Erin Rae, Oliver Slick, Karl Denson, James Pennebaker, Jay Bellerose, Jen Condos, and A.J. Croce.  It also signals the rebirth, with maximum verve and gusto, of an artist equally adept at imparting soothing soulful ballads as she is cutting loose on well-crafted up-tempo tunes. 

Review by Declan Culliton

Mary Gauthier Dark Enough To See The Stars Thirty Tigers

‘It was high time I chased down some joyful songs and I’m happy that I lived long enough to do that authentically and from the heart,’ confessed Mary Gauthier when Lonesome Highway spoke with her recently, in advance of the release of her latest collection of heartfelt songs titled DARK ENOUGH TO SEE THE STARS.

A latecomer to her vocation Gauthier’s output has been soul searching ever since she released her debut album DIXIE KITCHEN in 1997 at the age of thirty-five. Opening old wounds and addressing ones not yet fully healed, her songs have visited failed relationships, drug and alcohol abuse, and the search for her birth mother. She has also shared the pain of others in her work, most notably on her Grammy-nominated RIFLES & ROSARY BEADS (2018). Arising out of her work with the Songwriting With Soldiers project, that recording was co-written with U.S. war veterans and their families and highlighted the trauma and lack of support for a body of people who served their country heroically.

DARK ENOUGH TO SEE THE STARS finds the Louisiana-born artist giving thought to and reflecting on the personal highs and lows of recent years. It’s essentially a joyous album, evidenced by the first three songs. ‘I was stranded, shipwrecked, side-lined on the shore, you wrapped your arms around me, now I look for love no more,’ she declares joyfully on the opener Fall Apart World. She further expands on those good times with Amsterdam.  Having been signed to a Dutch record label early in her career Gauthier wrote the best part of her early albums in Amsterdam. An unplanned stopover in that city with her partner Jaimee Harris created the script for the piano -led song which simply radiates love and contentment.

Elsewhere the record mourns the passing of beloved artists and close friends in the past few years. Artists that inspired her chosen career calling, such as John Prine, Dave Olney and Nanci Griffith, provided the forethought for the songs How Could You Be Gone and Til I See You Again. The title track, a co-write with Beth Neilsen Chapman, unlike the remaining songs on the album, was written a number of years ago prior to the pandemic. It’s a bittersweet tale that mourns the loss of treasured friends but is also a reminder that the love given by these friends is everlasting.

Gauthier invited the same players and producer who worked on RIFLES & ROSARY BEADS to join her in the studio. Neilson Hubbard is credited with the production duties and also played drums. The other players included Kris Donegan (guitar), Michael Rinne (bass), and Danny Mitchell (piano). Also contributing were Fats Kaplin and both Allison Moorer and Jaimee Harris, who added backing vocals.

It's no understatement for this writer that Mary Gauthier has not recorded anything close to a weak album over the past twenty-five years and a dozen releases. Soothing on the senses, DARK ENOUGH TO SEE THE STARS is another delight and one that I will certainly be returning to on a regular basis in the coming weeks and months. 

Review by Declan Culliton

Dana Gavanski When It Comes Full Time Hobby

This album sits into the firelight of the Folktronica camp, echoing the movement of inde-Folk and going into new corners of expression. A follow up to her 2020 debut, Gavanski sticks to the same ethereal sound and somewhat quirky arrangements; this time out using a different team to produce the studio results. A good example is the song, The Day Unfolds, with its staggered tempo and use of saxophone and guitar sounds to create a sense of being somehow dislocated. Equally, the keyboard motif on Indigo Highway builds into a full band percussive groove with bass lines prominent and Gavanski singing of her place in the scheme of things – somewhat reminiscent of fellow Canadian Jane Siberry at the height of her craft.

The album was recorded in London with James Howard at the Total Refreshment Centre, which seems an appropriate name, given that Gavanski underwent some issues with her voice in recent times. The good news is that she is singing like a songbird, as evidenced on the lightly-trippy track, Lisa. The song, The Reaper, is as close as we get to  focusing on those negative pandemic days, however, with a hypnotic bass loop and angelic harmonies, the song is anything but. Indeed, the synth/keyboard swells are similar in sound to the debut release and the new album title doesn’t focus on Covid songs, as one might think on first encounter. The final song, Knowing To Trust, begins with some experimental guitar sounds before Gavanski’s lovely vocal kicks into gear and lifts everything to a place of gentle calm.

The project was created and delivered by Gavanski, who wrote all nine songs and the players involved were;  Dana Gavanski (vocals, electric guitar, acoustic guitar, Wurlitzer, synths), James Howard (electric guitar, synths, piano, bass, Wurlitzer). The duo were joined by Dimitrios Ntontis (piano, electric guitar, synths) on six tracks; Ursula Russell (drums and percussion) on eight tracks, Thomas Broda (drums,  percussion) one track; Dan Leavers (saxophone) one track,  and Charlie Stock (violin, viola) on three tracks.

Gavanski had her tour plans for the debut album completely ruined by the virus outbreak in early 2020 and she certainly has used her creative energies well in the intervening period. This new release is an album that reveals hidden depths on repeated listening, and one that adds to the growing reputation of this innovative artist.

Review by Paul McGee

Bobby Allison/ Gerry Spehar Delta Man Self Release

This duo have been performing since the 1970s when they were a big deal in separate bands on the local Denver music circuit. They toured together and tried the Nashville scene in the 1980s after their respective bands broke up, recorded music of real lasting quality and always kept in touch as lifelong friends. Many of those songs feature on this retrospective.

While Spehar took a break from life as a full-time musician to raise his family in Los Angeles, Allison continued to deliver his songs and settled into life near New Orleans. They regularly met however, continued their collaborating and writing, and this album is not only a celebration of their friendship but also of their talents over the years.

The fifteen songs included here bring a story from former days and a story behind pretty much every track. Information on where and when a song was written and the different players who have graced the recordings over time. There are some recent tracks also and lead vocals are taken in turn, with Spehar singing on seven songs and Allison taking the microphone on eight more. They share lead vocals on the superb, Train, Train, Train and guest, Lisa McKenzie, takes co-vocals with Allison on the equally fine, The Good Life.

Different studios were used in order to bring this project together and the old songs were given a new coat of paint and rearranged by a team of trusted friends, including Allison and Spehar themselves, at various studios in Nashville, L.A., Kansas City and Pass Christian, New Orleans.

The music is infectious, from the great Rockabilly sound of, Bubba Billy Boom Boom and Me, and Rockin’ On A Country Dance Floor to the Blues influenced title song, Delta Man. The Rock sound of Twenty-five Miles to Brady is in contrast to the quiet tempo of Here In The Pass, and the Honky Tonk groove of Bite the Bullet is nicely balanced by the easy jazz vibe of Just Relax, with Cousin Dan (clarinet, sax) and Denny Osburn (trumpet and trombone) setting the atmosphere.  Kinda Like Love sounds like early Eagles and sits nicely against the  RnB vibe of Money, with the swamp- bluesy atmosphere on Eye Of the Needle set perfectly with the traditional Country melody of River, and some superb guitar parts from Rick Plant.

Paul Lacques, Paul Marshall and Shawn Nourse (I See Hawks In LA) all contribute, as does George Marinelli (Bonnie Raitt) and Pete Wasner (Vince Gill). The list of others who contributed, both in the past and on the recent makeover, are too many to mention but credit goes to all involved in this hugely enjoyable project. The cover of the album has a youthful Allison and Spehar smiling optimistically for the camera, while the back photo has the two in more recent times, Allison in a wheelchair but smiling broadly beside his great friend, Spehar. It says all you need to know about the fellowship that music brings and this album is testament to their longevity.

Review by Paul McGee

Lilli Lewis Americana Red Hot

This is a big production record from an artist who is sometimes called the "Folk Rock Diva." Lewis was born in Athens, Georgia and released her debut album in 2007. Her talents have seen her record with jazz musicians in New Orleans and also led to some Opera-based projects. Lewis has also been vocal on racial, gender, and LGBTQ equity in Americana music.

This release is her eighth album and the thirteen tracks run for just short of an hour. A very generous offering to her admirers and the music contains many different influences and genres. Lewis has been quoted as saying, "Country and Americana share space with the profound legacies of entrepreneurial female artists like Ma Rainey and Bessie Smith." It is this observation from Lewis that best sums up the spirit of this album and the songs include the seven tracks that appeared on the My American Heart Red+ Blue EP that first surfaced back in 2021. This is Country Soul and so much more; the breadth and depth of the record, a real tribute to the talent that Lewis can harness in delivering a work of enduring quality.

On the beautifully delivered, What If It Were You, she brings a message of the pain in the world, whether it’s a family displaced as refugees or a natural disaster that brings death to entire villages. She speaks of her own mother leaving an abusive relationship and her strength to carry on, asking ‘What If It Were You?’ The empathy and love that we require to heal shines through the song as it does on other tracks like, One Shoe and Wednesday’s Child, highlighting inequality and poverty in a prayer for a more equitable society for all.

The hope displayed in songs like, A Healing Inside and Everyday, make positive statements for renewal and rebirth. Lewis sings on My American Heart, ‘We’re in a difficult conversation, One that might go on for years, But in this difficult conversation, I want you to know I can see you, Know I can hear you, Know I still pray for you, With my American heart.’

The album was co-produced by Lilli Lewis and Mark Bingham and the list of musicians credited runs to a total of twenty plus… It strikes me as an important statement of these time; the need to come together and to share in the awareness that we are all born into time and space to do the best we can and to enrich each other. I will leave the last words to Lilli Lewis, taken from the song, Wrecking Ball; ‘What I want is peace for my brother, Peace for his mind, Peace for my sister, Peace for humankind.’

Review by Paul McGee

Latest Album Reviews

Hannah White About Time Self Release

The opening track You Don’t Want Me Anymore, from Londoner Hannah White’s latest recording sets the scene starkly for what follows across the album’s ten tracks. A brutal commentary on past quandaries, it’s a powerfully emotive storybook delivered stylishly by the newly liberated spirit and follows on from her 2020 album HANNAH WHITE AND THE NORDIC CONNECTION, which was nominated for album of the year at the UK Americana Awards Festival. 

White’s history includes surviving domestic abuse, homelessness, and brushes with the law. These episodes are recalled and no more so than on the unfeigned Car Crash, which communicates in some detail the anxiety and dread dealing with the prospect of having her child taken from her.  It’s not all cruel reflection and tracks such as the gentle country ballad Broken Bird, with its echoes of Margo Price, and I Will Be Alright suggest rebirth and hopefulness.  Similarly, the catchy and melodic The Good Stuff is more glass half full than half empty.

Self-produced by White, she is joined by Kieron Marshall who adds delightful splashes of guitar throughout. Other contributors include her Nordic Connection friends Lars Hammers-land on piano and Hammond organ, Svein Henning Bersta on bass, and Luca Wade on drums. However, the real winner is White’s vocals which succeed in drawing the listener into a hugely admirable treasure chest of soulful country tunes.

Life’s complexities and the unforeseen may have been the catalyst that presented White with the ammunition for ABOUT TIME. Still, those events have successfully resulted in a suite of songs that is a worthy companion to her last studio album.

Review by Declan Culliton

Chris Guenther American Outlaw Vol.1 Bakersfieldnorth

Washingtonian multi-instrumentalist and committed honky tonk artist Chris Guenther has been releasing albums for over twenty years and AMERICAN OUTLAW Vol.1 is his seventh studio recording. A stalwart of the Washington country music scene, Guenther divides his time between playing dancehalls with his backing band The Honky Tonk Drifters and weekly solo acoustic residencies.

You need to dig deep to source background information on Guenther, which is surprising given the quality of his recordings. He is heart and soul classic country and a trawl through his back catalogue reveals some quality records that somehow passed me by. THE CROSSING from 2010 and THE 5th, released three years later, are both packed with tear-stained country ballads, all presented with vocals that recall the stylings of George Jones and Buck Owens.

Guenther’s latest offering plays out like a soundtrack to a classic spaghetti western movie of the 60s. Featuring ten self-penned tracks, two of which are instrumentals, it’s very much a country and western project with emphasis on the ‘western’. The ‘Outlaw’ reference in the title relates more to the characters in the songs rather than Guenther paying tribute to Waylon and Willie. We hear of three amigos on the rampage on Sam Bass (Sam, Joe, and, I), robbing and looting and drawn to the desperado lifestyle, more inspired by the buzz of the challenge than the monetary gains. The predatory bank and train robbers The Dalton Brothers, of the late 19th century are recalled in The Dalton Raid, while the track Hangman’s Pole, not surprisingly, is a reminder of the inevitable consequences of the outlaw way of life. Trail Rage, complete with whistling intro, tells the tale of the folk icon and gunfighter John Wesley Harding and the final days of lawman ‘Wild Bill’ Hickok is recalled in Dime Novel Hero.

This is a hugely impressive album that will be lapped up by lovers of the classic country and western sound of yesteryear. More than that, the results are spectacular in places, no more so than on the Morricone-styled instrumentals Five Joaquins and The Shootist.  Typifying an artist steeped in the sound of the celebrated country singers of the 60s, AMERICAN OUTLAW Vol.1 opens a door to a musical feast from start to finish.  Here’s hoping there are more volumes to follow.

Review by Declan Culliton

Laney Jones Stories Up High AHPO

‘When I write, it’s like I step inside of a dream,’ explains Maryland-born Laney Jones, commenting on STORIES UP HIGH, the latest and sixth album from the deft and individualistic singer songwriter.

Far from conventional, Laney Jones’ calling to a musical career was rather alternative. Raised on a ten-acre farm in Florida, where her parents bred kangaroos, wallabies and various exotic animals, her initial chosen career path was in business. However, on reflection, Jones decided to abandon her business studies, instead pursuing a formal education in songwriting. What had previously been a means of expression and escapism for her as a teenager became her chosen vocation. She was subsequently awarded a scholarship to the Berklee College of Music.

A gifted lyricist and the possessor of a quite distinctive voice, Jones’ output has drawn comparisons, quite justifiably, with both Angel Olson and Adrianne Lenker of Brooklyn -based band Big Thief. Two of the songs that appear on her latest album, One Fine Morning and Not Alone, were the subject matter of an EP she released earlier this year, offering a snapshot of what to expect from STORIES UP HIGH. Showcasing the diversity of her musical prowess, the two songs could hardly be more dissimilar, the former a melancholy acoustic lead dreamy ballad, the latter a fierce and dark grungy anthem. Landing somewhere in between both is the intense title track. It’s a powerful narrative of longing and apprehension, topics that reoccur elsewhere on the album. She pours her heart out on the acoustic Daniel, considering the fragility of existence. On a similar theme, she reminds herself of the importance of living in the present in Remember.

Currently residing in Nashville, Jones recorded the album at The Bomb Shelter under the watchful eye of Andrija Tokic, whose name regularly appears on quality albums arriving at Lonesome Highway recently for review. He places Jones’ vocal perfectly in the mix, while succeeding in drawing the listener into material that navigates the emotional compass from melancholy to optimism. With Jones playing a range of instruments including banjo, keyboards, ukulele and guitars, STORIES UP HIGH is a further instalment in the journey of a maturing artist and one that offers a gateway into the inner thoughts of a highly creative intellect.  

Review by Declan Culliton

Various Artists Americana Railroad Renew/BMG

There is a deep-rooted relationship between railway travel and American roots music and this splendid compilation album is a reminder of some of the classic travel songs that celebrate both the inherent romanticism and history of that particular mode of transport.

The project was the brainchild of Carla Olson and Saul Davis who co-produced the album. The stimulus for the album, which was originally broached by Davis over ten years ago, was Gene Clark’s fascination with trains and railways and in particular his songs Train Leaves Here This Morning and I Remember The Railroad, both of which are included on the album. Olson and Davis initially approached Stephen McCarthy (Dream Syndicate, The Jayhawks, Long Ryders) to gauge his interest and given his positivity, they began to create a menu of suitable songs and a wish list of artists to perform them. 

The end product is a nineteen-track album featuring a ‘who’s who’ of notable artists and many memorable versions of classic train songs.  Also included is an original song Southwest Chief, specifically written for the album and performed by Dave Alvin.

Two duets from Stephen McCarthy and Carla Olson are included. The rootsy opener Here Comes That Train Again was borrowed from The Long Ryders songbook and Gene Clark’s aforementioned I Remember The Railroad bookends the album. The latter does bring to mind the ageless album SO REBELLIOUS A LOVER that Olson recorded with Gene Clark back in 1987. Representative of a variety of roots genres, both Steel Pony Blues by Dom Flemons and the Jimmie Rogers written Waiting For A Train, performed by Paul Birch and Fats Kaplin, are acoustic blues delights. Graham Nash’s Marrakesh Express from Dustbowl Revival and Curtis Mayfield’s People Get Ready from Deborah Poppink are uplifting, joyous and soulful. John Fogerty, accompanied by Mickey Raphael on harmonica, reconstructs the Steve Goodman penned City Of New Orleans and the melodic Southwest Chief is delivered stylishly by Dave Alvin. Gene Clark’s son Kai Clark, with Byron Berline on fiddle, fittingly performs his father’s classic Train Leaves Here This Morning.  The remaining tracks are credited to Robert Rex Waller Jnr from I See Hawks In L.A., Rocky Burnette, Peter Case, Gary Myrick, Alice Howe, ex-Byrd John York, A.J. Haynes and James Intveld.

Released as a limited vinyl edition for Record Store Day in November 2021, the album is now available in CD and digital format. Not only a cracking listen from start to finish, the judiciously selected songs for AMERICANA RAILROAD cover substantial historical ground, both of the railroad and American roots music. Without a doubt, this is an ‘every serious music lover should have’ album.

Review by Declan Culliton

Fellow Pynins Lady Mondegreen Self Release

Ian George and Dani Aubert, make up this talented duo, FELLOW PYNINS, highlighting all that is good in Folk music and delivering an album of quiet charm. This is a follow up to their debut release, Hunter and the Hunted, which dats back to 2016. Apparently, the term “mondegreen,” was coined in 1954 by the writer Sylvia Wright, and means a creative mishearing of a line in a song or a poem.

Recorded at their home, which sits off the grid on Buckhorn Land, Cascade Siskiyou National Monument, Oregon, on this occasion they have delved back into the traditional history of Folk music and looked for inspiration among the songs that inspired their love of the genre in the first place. With vocal harmonies that are a real delight, both Aubert and George deliver some superb renditions of old songs learned from English, Irish and Scottish traditions.

The playing throughout is quietly contemplative, both seamless and organic, with some glorious moments to lift the spirit, such as the interplay on Pretty Polly, a song with various renditions and titles down the years, and one that sits firmly in the murder ballad canon. Silver Dagger is the opening song and again, a ballad with a number of variations over the years. Equally, Streets Of Derry, another song with many versions, has lovely vocals that glide above the superb musicianship.

Aubert plays claw-hammer banjo, and bouzouki, while George contributes on guitars, piano and mandolin. There are some beautiful violin parts on the tracks, played by Eugene Feygelson and Maura Shawn Scanlin. Eladio Rojas (drums/percussion) and Ted Olsen (bass) add sublime parts also, with Strohviol violin played by Danny Diamond - an ancient instrument that is also known as a violumpet.

She’s Like the Swallow, a song from Newfoundland, is performed with the creative playing of Tree Palmedo (trumpet), John Cushing (trombone) and bassist Ted Olson. Another traditional favourite is Son, David, an old English hymn, given a contemplative, flowing jazz feel, the players highlighting their skills across the beautiful arrangement and sublime interplay. It’s a real highlight among the other gems collected here.

Irish traditional air, The Galway Shawl, is given due reverence with an introductory part performed by Kitty O’ Mahony from Balleydehob, County Cork. It is a field recording and highlights the authenticity of the entire project, Aubert and George having learned the song from her in a visit to her rural home. When they join the song, it is with a seamless beauty, highlighting the wistful nature of the lyric.

A Scottish ballad, The Road and the Miles To Dundee, and another air, Bonny At Morn, from 1882, are both given a beautiful treatment, gently reflective and superbly delivered. It is entirely appropriate that Fellow Pynins visit these musical influences and keep the Folk tradition alive with these sublime interpretations.

The album art is the famous painting by Hieronymus Bosch, The Garden of Earthly Delights, and an entirely appropriate choice given the rich pickings that await all who enter this joyous project. Timeless music for the spirit and the soul. Highly recommended.

Review by Paul McGee

Josie Bello Resilience Self Release

This third album arrives with Bello questioning the place we occupy on this spinning globe. Perhaps the constraints of lockdown have played their part, but the musings across these nine songs are very much made from introspective searching and righteous anger at the things she has found.

Rising opens the project with a message about overcoming adversity and standing up for what you believe to be true. The next song, Resilience, speaks about racial inequality and the bigotry contained within what we term ‘respectable society.’ This message is carried into the song, The Sound Of Guitars, which looks to music as a means to unite our fractured division and to banish hate.

I Am Empty is a slow song that references religion as a once abiding strength in coping with life. Feelings of hope in these challenging times have fallen away and Bello questions where to search for a better solution. Killing Time is a look back at younger years and juxtaposed with current responsibilities into adulthood. Time makes a mockery of innocent dreams and we settle for a reality that is not always of our making. Another observational song is Coffee Shop Open Mic and a look at the wannabees and frustrated creatives who still aspire to making it into the big leagues. It lightens the mood with a nice mid-tempo arrangement.

Bello writes all the songs, sings lead vocals and plays both accordion and keyboards. She is joined by Mike Nugent on guitars, bass, dobro and vocals; Shawn Murphy on drums and percussion; and Jim Small on harmonica. Mike Nugent produced and there are cameo appearances from Richie Guerrero and Shawn Dolan on percussion also. Calling Card is a fun look at dating and trying to chase down ‘the one.’ Love That’s Real has a nice Country swing to it and it celebrates the search to find the right heart. Too Many Changes closes things out with a reflection that trying your best does not always bring the desired result. Still, it’s important to keep believing and to keep trying. Certainly, a message that we have all held close during the past two years of living with the Covid virus. This is an album with some excellent musicianship and something for everyone to enjoy contained within the tracks.

Review by Paul McGee

Kris Gruen Welcome Farewell Mother West

This is the fifth album from a singer-songwriter who draws his inspiration from the beautiful countryside of Vermont, New England. This release appeared towards the end of 2021 and slipped past this reviewer at the time; no doubt caught up in the plethora of new releases that were given wings during the Covid lockdown period. Well, better late than never, as the nine songs included here weave a magic spell that lingers for quite a while after the thirty-three minutes of sweet music has elapsed.

Listening in headphones creates quite an intimate experience as the gentle melodies and understated playing find both resonance and refuge. Gruen has a fine vocal tone and the assembled musicians do these self-penned songs justice in their restrained approach to colouring the melodies and arrangements. Producer, Charles Newman, applies a light touch and also contributes on piano, keyboards and percussion. Other players include the superb pedal steel and lap steel of Jack McLoughlin; the beautifully balanced rhythm section of Randy Schrager (drums, percussion) and Rob Morse (upright bass); the electric guitar subtleties of Paul Casanova, and the French horn and trumpet of Probyn Gregory.

There are additional cameos on individual tracks, with Charlie Rauh (acoustic guitars), Michael Flynn (piano, backing vocals), JJ Beck (piano and banjo), Gerald Menke (pedal steel) and Colin McCaffrey (mandolin), all taking turns to enhance the final results on this quiet gem.

Water Into Wine is a song about recovery and belief in yourself. Banishing self-doubt and coming into the light. The band groove is superb with pedal steel and guitars chiming in unison. When She Says is a sweet song about working in the fields and sowing seeds for the summer season; ‘Climb your rig, you ride so cool, like a singer in a club on a bar stool.’  The easy melody on Skyline Drive recalls younger days with his grandmother and Gruen sings, ‘I called your old number just to hear you one last time, Then I hung up on that old machine like an addiction hot line.’

A standout track is When I’m Down, a slow-burn number about addiction and just getting to the next day’ ‘You’re an angel sorry girl, how your sadness pours, From your heart to the broken world.’ Again, pedal steel sets the tone and the playing is just sublime. The horns on Pictures Of, set an atmosphere of looking into the past, delving back to see what was left behind, ‘Take a picture of your childhood, And the ones you love from the neighbourhood, Then rise above, ‘cause you know you should, I think we done the best we could.’

Apple Tree is another memory of Gruen’s grandmother and the slow melody captures the mood, ‘Lay me in the ground just like a seed, I’ll shelter over family, In the leaves of your apple tree.’ The album ends with a stripped-down version of the Johnny Thunders song, You Can’t Put Your Arms Around A Memory. The ensemble playing is beautiful, even if the lyric sings of frustrations and breakdown in communication – something that the message on the rest of the album is not focused on. A very enjoyable listen and one that should raise quite a few new admirers for this talented artist.   

Review by Paul McGee

Lia Ices Family Album Natural

On this fourth release, Ices has embraced the joys of motherhood, coupled with a move away from Connecticut to California. Her writing is framed around the quiet calm of her new surroundings, at Moon Mountain in Sonoma, and the nine tracks have a sweet reverie that runs through them. Call it Folk, or modern ambient musing; either way, these reflections offer an easy choice to spend time away from the hectic flow of modern living.

Young On the Mountain sings of this exact mindful state and feeling the quiet power of nature all around. Similarly, both Hymn and Earthy contain elements of 60s hippie-dream contemplations and the wash of electronic sounds are augmented by the flute of Colin Kupka and the viola of Ari Balouzian. John Anderson, provides guitar sounds and the presence of the Isuara String Quartet is a welcome addition on the track, I’m Gone.   Bass duties are shared by Max Whipple, John Anderson and Eva Gardner across six tracks and the subtle drums of Derek James always support the song arrangements.

Beauty Blue is one of the few up-tempo numbers that breaks ranks, with the overall lush treatment still part of the other song moods – is that uncredited pedal steel the I hear also? At the front of everything is the expressive piano playing of Ices, always setting the tone and in harmony with her wistful vocal delivery. Our Time closes the album and it’s sweep of strings, with electric guitar layering, is a standout. A very interesting project, brought to life out of new beginnings and certainly music that will grow on the listener.

Review by Paul McGee

Ali Sperry In Front Of Us Self Release

Ali Sperry has released a number of albums since her 2012 debut and she gathers quite a coterie of friends and players from Nashville on this new release. Included in the main group of players are, Jen Gunderman and Kai Welch (assorted and varied keyboards); Owen Biddle (bass, moog); Kristen Weber (strings, backing vocals); Audley Freed, Sadler Vaden and Joe Pisapia (acoustic and electric guitars); Rich Hinman (pedal steel), Sarah Dugas and Allison Russell (backing vocals on three tracks).   

The opening song, Climber, has a big production but to my ears the string arrangement is somewhat superfluous and unnecessary in the mix. As a song about notching up love conquests however, it hits the mark. The commercial sound of, Lucy, is similar, with a poppy arrangement, whereas I Know You’re Scared is a slow song about looking out for a child who is facing the challenges of the outside world, ‘And in the end we all fall back into the space from where we came.’

Excuses has a bright sound and asks why we cannot just take responsibility for our own actions and failings. It’s all very radio-friendly, up-tempo and breezes along at a pace. Hope introduces a slower reflective sound, with Rich Hinman on sweet pedal steel and producer Jamie Dick on soft drums and percussion, a song that reflects the sentiment of the album; look forward to the future and don’t get upset about past regrets.

Cool Under Pressure is danceable and catchy, a statement for the women of today taking control and not putting up with misogyny any longer. Safe is another thoughtful song and asks about how to protect a vulnerable child against outside predators and pressures that are ever-present. The strings work well here, with some

Peace By Moonlight is a mid-tempo song with some sweet backing vocals from Birds Of Chicago duo, JT Nero and Allison Russell. The aspirational sentiment in the lyric for a better tomorrow is captured well; ‘where the doves are not afraid of the hawks.’ In Your Dreams has a message about not being sorry and saying yes to what life offers… The final song, and the album title, In Front Of Us, is a memory of young love that has grown into something more over time. Trusting in the days ahead.

Many other guests appear on individual tracks, either as players or backing vocalists. The list includes Adam Meisterhans, Sam Howard, JT Nero, Andrew Combs, Carey Ott, Ruth Moody and Kyshona Armstrong. In addition to production duties, Jamie Dick plays drums and percussion on all the tracks and his ability to balance the rich instrumentation and the collaborative efforts of all involved, across a number of different studios, and a period of some months during lockdown, has to be admired. This is an album that is both engaging and enjoyable.

Review by Paul McGee

Latest Album Reviews

Molly Tuttle Crooked Tree Nonesuch

There’s a contagious warmth emanating from the latest and third album from Californian Molly Tuttle, the guitarist extraordinaire who is now also proving her chops as a songwriter to be reckoned with. This reviewer welcomes her return to her bluegrass roots after her experimentation with a more Americana sound for her first two records. Co-produced by her and recorded in Nashville’s Oceanway studio with dobro legend Jerry Douglas, it is worth remembering that he also played on some of those seminal 70s & 80s bluegrass records with Californian guitarist Tony Rice, who was a huge influence on Tuttle’s flatpicking style.

Taking up guitar at nine years of age, Molly Tuttle was encouraged to play in the family band, but her fate was sealed when her father took her to her first bluegrass festival, Grass Valley, at aged eleven. She reminisces fondly on this in Grass Valley, ‘I didn’t know it then, but my life had turned a page’. Always being the ‘only girl guitarist’ amongst the boys and wanting to be taken seriously was a struggle, as she explains in Side Saddle, where she is joined on co-vocals by fellow Californian and Berklee College alumnus, Gillian Welch. Dan Tyminski joins her on the plaintive San Francisco Blues, where she laments the fact that most locals are unable to afford to live there any longer, ‘and most of all she misses the California dreamin’. She’ll Change, a bluegrass song about a strong woman by a woman, is an homage to those similar but scarce songs from her female heroes like Hazel Dickens and Laurie Lewis, who beat the path for her a few decades ago.

Co-writing most of the songs here, many along with Ketch Secor (Old Crow Medicine Show), Tuttle demonstrates that she is becoming a skilled songwriter, one who can push out the boundaries of bluegrass while still embracing its roots. It’s not surprising that she cites people like Gillian Welch, Peter Rowan and John Hartford as influences.

Some of Nashville’s best musicians joined her for the recording: Ron Block (banjo), Mike Bub (bass), Jason Carter (fiddle), Dominick Leslie (mandolin), as well as the aforementioned Jerry Douglas on dobro. Melody Walker (Front Country), Tina Adair (Sister Sadie) and Lindsay Lou complete the illustrious line up on backing vocals.

Former housemate and fellow IBMA Guitar Player of the Year recipient, Billy Strings, guests on the eerie tale of Dooley’s Farm, where the mysterious farmer, Old Dooley, is farming more than just standard crops - ‘he’s smilin’ at you from an IH tractor …. he’s got a strain that will punch your lights out’. The musical arrangements of Tuttle’s and Strings’ guitar interplay, along with Jerry Douglas’s dobro contributions and Jason Carter’s fiddle combine to evoke a lasting chill. Friend Margo Price adds her backing vocals to the banjo driven more traditional Flatland Girl and the catchy title track Crooked Tree eloquently expresses the satisfaction she has gained by not taking the easy route, by being herself.

Highly recommended and hopefully this is a signpost towards further boundary pushing from this talented young woman in the future.

Review by Eilís Boland

Susan Cattaneo All Is Quiet Continental Song City

Boston singer-songwriter Susan Catteneo’s fusion of folk, blues, and rock has earned her numerous plaudits in her home city. She was nominated for Best Americana Artist in the Boston Music Awards in 2018 and was a winner in the Connecticut Folk Festival the same year. Her last recording THE HAMMER AND THE HEART charted at No.1 on the Billboard Heatseekers chart in 2017 and she follows it with her latest recording ALL IS QUIET. The album’s title is a fair reflection of the social environment in existence when the material was recorded, with the circumstances dictating that the recordings were carried out remotely at a number of studios. Catteneo’s hushed and disciplined vocals throughout also mirror the album’s title, as she deliberates on uncharted times and uncertainty.

A professor at the Berklee School of Music, Catteneo’s livelihood, like so many of her peers, was thrown entirely off-kilter by the onset of the pandemic. She overcame a writing block by accepting her predicament and channelling her energies into composing songs that are very much of their time.  Co-produced by Cattaneo and Lorne Entress (Lori McKenna, Mark Erelli), ALL IS QUIET is very much a folk album. While the musicianship is of the highest standard (Kevin Barry plays acoustic guitar and Duke Levine is on guitars and mandolin), the vocals are out in front and crystal clear, drawing the listener to the messages within the songs.

She’s in fine voice from the opening title track. Setting the scene for the album’s theme she sings ‘wondering if I’ll be myself still when all is done.’  That uncertainty and restriction are beautifully articulated on Blackbirds. The arrangements on the track are suitably understated, with Catteneo’s crystal clear vocals accompanied by acoustic guitar and mandolin. That relaxed and unhurried feel dominates throughout the album’s nine tracks.  Positivity and hopefulness in uncertain times are awash on both Diamond Days and Hold Onto Hope and she bookends the album with the prayer-like Follow.

An album that provides the listener with compassionate thoughts and messages, ALL IS QUIET is an uplifting listen from start to finish, from a hugely talented songwriter.

Review by Declan Culliton

Cristina Vane Make Myself Me Again Red Parlor

‘For now, Nashville is home, but I’m starting to wonder if I’ve gotten so used to moving that I need to do it. Either way, I plan to be in Nashville for the foreseeable future,’ explained the somewhat nomadic Cristina Vane, when Lonesome Highway spoke with her in March of 2021.  

A skilled clawhammer banjo and fingerpicking acoustic guitar player, Vane’s 2021 debut album NOWHERE SOUNDS LOVELY was inspired by the Italian-born singer -songwriter’s five-month solo road trip across America, where she studied local musical traditions of oldtime and bluegrass music. If that debut recording was a reflection of that road trip, MAKE MYSELF ME AGAIN finds her in a more introspective frame of mind, having laid down her roots in Nashville and lived through the pandemic. A sense of contentment and feeling very much at home both with herself and in her newfound home is central to much of what’s on offer here.

Vane’s debut album crisscrossed from delta and country blues to traditional roots and rock, as she processed the many musical genres that stimulated and excited her. This time around her album is more cohesive and focused, suggesting a maturing artist growing in confidence both musically and lyrically.

She kicks off in a defiant mood with the raw and bluesy title track (‘Sometimes I lose sometimes I win, I’m gonna make myself me again’). What follows are twelve solid tracks that find Vane in splendid voice throughout and with slick guitar and banjo picking that form the backbone of the album. The album was co-produced by Jano Rix (The Wood Brothers) and Brook Sutton (Blackberry Smoke) and the players alongside Vane include Bronwyn Keith-Hynes (Molly Tuttle) and Billy Contreras (Bela Fleck). There’s so much to savour on an album, Vane and her crew don’t put a foot wrong. Standouts are the Allison Krauss sounding River Roll and the rocky and aptly titled closer Strange Times. Equally easy on the ear are Little Black Cloud with its Slim Harpo vibe and the cheekily titled Small Town Nashville Blues. 

'It is the sound of growing up,' explains Vane in the press release that accompanied the album. True words indeed, this album is a momentous step forward from her highly impressive debut album and one that’s worthy of establishing Vane as the premier breakthrough artist in country blues. Watch this space.

Review by Declan Culliton

49 Winchester Fortune Favors The Bold New West

Taking their name from a street in their small mountain hometown of Castlewood, Virginia, FORTUNE FAVORS THE BOLD is the fourth album from the five-piece band and their first on the New West label. 49 Winchester is Isaac Gibson (vocals, acoustic guitar, electric guitar, cowbell), Bus Shelton (electric guitar, baritone guitar), Chase Chafin (bass guitar), Noah Patrick (steel guitar), and Don Eanes (piano, Hammond B3).

What started as a group of friends hanging out and playing together has, through hard work and dedication, earned them a recent appearance at Willie Nelson’s Luck Reunion, shows at SXSW, and a booking to support Whiskey Myers on their upcoming summer tour. 

Their sound lands somewhere between outlaw and southern rock. Laidback and delightfully loose across its ten tracks, they open the album with the punchy Annabel and bookend the collection with the knees up barroom honky tonker Last Call. For my ears, both tracks echo the sound of the Texan band Mike and The Moonpies which, for this writer, is a major compliment. Elsewhere the album is packed with memorable moments. All I Need (‘I ain’t in no debt, I got a real good woman and a pretty good dog that don’t shit in the house’) and the title track had me hitting the repeat button. Neon is classic southern rock, sounding like it was borrowed from the Lynyrd Skynyrd songbook. It's not all blood and thunder either, they’re equally at home with their feet easy on the pedal on the hook-filled ballads Damn Darlin’ and Second Chance

Make no mistake, these boys can write and deliver classic groove-driven Americana. Isaac Gibson showcases his full gritty vocal range throughout FAVOURS THE BOLD and the players, a well-honed machine from numerous live shows, are firing on all cylinders from the get-go. An album that no doubt captures the mood of 49 Winchester’s fun-filled and carefree live shows, with the support of New West, this recording could very well be the launching pad for an accelerated career progression.

Review by Declan Culliton

Aaron Raitiere Single White Dreamer Dinner Time / Thirty Tigers

Currently one of Nashville’s revered songwriters, Kentucky born Aaron Raitiere has penned songs in recent years for Miranda Lambert, Anderson East, Maren Morris, Midland and many more. His co-write I’ll Never Love Again, from the 2018 film A Star Is Born, written with Lady Gaga, Natalie Hemby and Hillary Lindsey, earned him a Grammy.

The blueprint for this album kicked off four years ago when Raitiere presented Miranda Lambert and Anderson East with a collection of songs and sought their input and support. Fast forward three years and Lambert and Anderson produced and arranged the twelve songs on an album that Raitiere describes as ‘just a bunch of friends getting together trying to help me create something, because they thought I needed a record.’

The album features a host of guest appearances from his neighbours Ashley Munroe, Natalie Hemby, Foy Vance, Waylon Payne, David Cobb and Bob Weir, to name a few. The recordings took place at Nashville’s RCA Studio A and The Casino in East Nashville. As you might expect the players that contributed were all regular top drawer session players. Guitarists Frank Rische, Scott Murray and Jake Mitchell came on board. Bass was by Brian Allen, drums by Darren Dodd. Phillip Downs played piano and organ and Ben Clark contributed trumpet. Kristen Rogers provided background vocals.

Rairiere’s diverse songwriting styles surface across the twelve tracks on the album. You’re left with the impression that he could write any form or genre on demand. He flirts between casual and slapstick tracks At Least We Didn’t Have Any Kids and You’re Crazy to the darker and brooding Dear Darlin’ and Your Daddy Hates Me - the latter sounding like a Patterson Hood creation on a Drive By Truckers album. The title track may or may not be marginally autobiographical and Everybody Else has a deep-rooted melody that’s likely to remain firmly in your subconscious long after it spins out.

It remains to be seen if SINGLE WHITE DREAMER becomes a one-off recording by Raitiere, while he continues to concentrate on his calling as a writer of songs for others. For The Byrds, which features on the album, was included by Miranda Lambert on her 2016 release THE WEIGHT of THESE WINGS and I wouldn’t be surprised if a few more of the inclusions on this album get a recondition by some of the artists that he provides ammunition for. Packed with wicked humour, lots of groove and razor-sharp lyrics, there’s so much to savour here.

Review by Declan Culliton

Garrett Heath The Losing End Self Release

On last year’s album, KINGDOM COME, Heath sang of acceptance, and in opening up to the universal love that heals us all, if we let it in. This time around, and a very quick follow-up, sees Heath in pensive mood and reflecting on the deep wounds suffered by the Rust Belt American populations. Living in economic decline in rural towns with low employment opportunities is a stark reality and Heath tries to capture, not only the quiet desperation, but also the ingrained fortitude and resilience of the people who strive to make ends meet on a daily basis.

There is guarded optimism, coupled with the pain of coming up on the losing end – both the title of the album and the theme that runs through these nine songs. Heath has an authenticity that convinces; he writes from the heart and his vocal is both arresting and memorable in a quietly dignified manner. He plays guitar in a laid-back style and his harmonica skills are very resonant throughout, giving a plaintive mood to these songs of beaten down dreams and haunted memories.

With the song, In Tall Buildings, Heath contemplates leaving the countryside behind, his sense of place - to work indoors, in a suit, taking the subway into tall building imprisonment. It’s like he’s going overseas to war. The harmonica gives an external sense of his inner pain as it weaves through the melody.

The quiet strum of West Front St. contains the story of a working man who loses his job in an industrial accident, turns to the bottle, sacrifices his marriage, and finally finds redemption through prayer and  a decision to leave everything behind – quite literally. It’s quite bleak in the message of circumstance and fate taking their toll.

Live For the Moment has echoes of Springsteen’s Nebraska with naked harmonica cutting through the easy melody. Trying to put down the past is never as simple as it seems, even when the promise of tomorrow is calling.

The title track is about taking the hits that life throws, be it a local store closure, a school football team losing out to childhood dreams and wealthier opponents, or children born into straitened circumstances with little opportunity. It’s almost as if certain strata’s of society are born to fail…

Darker Still reminds me of a Leonard Cohen song with its topic of hiding from real relationships and not being completely open with one-another. We essentially live lonely lives, trapped within our secrets and the stories that we tell ourselves.

Same Old Story channels the need to work, balanced against personal dreams of living differently and feeling free. “Am I the man I’m meant to be? There’s nothing left inside of me, An empty smile and these worn-out jeans, A broken heart, and these tattered dreams.”

Morning Light brings some hope and optimism on the horizon, as a love story that declares the need to persevere, no matter what the challenges. “Let’s take our time dear, and live this life, We’ll build our home here, we’ll stand and fight, Maybe find some peace here, in the morning light.”

Camero recounts a tale of a banker who loses his job in the economic downturn and moves out of NYC to work in a local Walmart.  Downsize or pay the price… The final track, Vanity, is a look at ego as a divisive influence and the realisation that, “Life is but a vapor, Just a whisper in the wind,” coupled with the thoughts that we can take it all too seriously.

A very chilled album, played with restrained skill and plenty of real quality. The songs take hold and deliver a very encompassing experience for the listener. Heath self-produced at his recording studio (Okiejoke Sound), based in Knox,  Pennsylvania. He wrote all the songs with the exception of In Tall Buildings, a cover of the John Hartford song from 1976. A worthy follow-up to last year’s impressive album and yet another confirmation of the superb talent on display here.

Review by Paul McGee

Lynne Hanson Ice Cream In November Self Release

Back in early 2020, Lynne Hanson released her seventh solo album, JUST WORDS, and in my review at the time, I mentioned her superb songcraft and her ability to deliver genre fluid influences in her arrangements. It was an album that impressed greatly and the good news is that Lynne is back, two years wiser, and with the Covid pandemic in the interim, to deliver a set of twelve songs that are every bit as compelling and interesting.

Never one to rest on previous success, Lynne has decided to engage the multi-layered talents of co-producer and musician Blair Michael Hogan for this album, together with a new group of musicians and a different emphasis on song arrangements and sound.

Yes, the relationship musings are still firmly in place, coupled with the inevitable feelings of isolation and loneliness that the Covid pandemic raised. And yes, the dynamic playing is still as sharp as ever, with new soundscapes that wrap a lot of these songs, featuring rich synthesiser, mellotron, and organ, together with drum and percussion programming. The arrangements add to the dynamic, always challenging the listener to stay with the subtle nuances of shifting melody.

There is an old adage that says we must either evolve or die, and while music could never be said to cause a fatal blow, in a career that can see musicians stagnant for periods of time, it’s refreshing when an artist grows from album to album, always challenging herself and painting on new palettes. Lynne Hanson has been doing this since her debut album arrived back in 2006 and has certainly earned her reputation as one of Canada’s premier Roots/ Americana songwriters.

Here, she contributes on acoustic guitar, electric guitar, mellotron, piano, drums/percussion, programming. Her partner in production, Blair Michael Hogan, brings his multi-instrumentalist talents on electric bass, electric guitar, acoustic guitar, baritone guitar, 12-string guitar, mandolin, banjo, piano, synth, mellotron, organ, drum/percussion programming.

The impressive array of musical talent in the studio is augmented by Phil Shaw Bova (drums, percussion, vibraphone); Peter Klassen (upright bass); Raphael Weinroth Browne (cello); Steve Marriner (harmonica); Caroline Marie Brooks (backing vocals), Tara Holloway (backing vocals), Mikhail Laxton (backing vocals).

Lynne also shares the creative process with nine of the songs co-written with Blair Michael Hogan, two songs with MJ Dandeneau and one song written with Jessica Pearson. So, what do we get this time around? There is the opening rockabilly/surf rock groove of Shadowland, with lots of reverb on the stratocaster and a walking bass line. It carries a message about hiding in plain sight and looking out for number one; ‘Tell me all your dirty secrets, I promise I won’t tell.’

Hip Like Cohen is a look back at youthful doubts and fears and learning to ignore the pressure from others and the expectations for success. Be yourself and enjoy the moment; ‘A path is just a road I walk, I’m not looking for any signs.’

The title track is a realisation that time forgets, but that we always remember. Old memories, the fragility of faded dreams and longing for days past; ‘ Beauty queens, That no one remembers, Dancing across the screen, A plastic dream machine, Screaming look at me, Won’t you look at me, I am so lonely.’    

On 100-Mile Wind, escaping the flames of passion is captured in a song about addictive love, survival and avoiding self-destruction. It’s a big guitar sound and one that drives the rhythm, ‘Living high on coke, Coming down on wine, You said it was love, But I knew you were lying.’   

Orion’s Gate has a sweet melody and the sound of lovely cello, in a reflection on our place in the universe and in trying to make sense of an old relationship… ‘Though the world keeps turning round, My world came crashing down, The moment that I found out, You weren’t coming back around.’

Birds Without A Feather is a gritty, bluesy tune that delivers a punch about the hypocrisy of organised religion and a message to find your own path. ‘Fox is in the hen house, Been living there for years, Talking ‘bout sorrow through crocodile tears, Ain’t no  saviour to be found.’

Dominoes has a sultry tango beat, and the fatal attraction that passion holds  - pleasure and pain providing a dangerous cocktail, ‘ Your note said “I love you” and you signed it goodbye, There’s a little bit of truth in every big lie, Turns out lovers and leavers look the same in the dark.’

In On A Wing is a social butterfly, flitting through the superficialities of the day, synth and guitar sounds to the fore in a poppy groove that is radio-friendly with a hint of Sheryl Crow. One Of These Days is another synth-driven, bright poppy sound, with a look at modern life, job and love compromises and everything playing out like a bad movie.

Puzzle Pieces is a reflective song that perhaps was inspired by the isolation of Covid days and a look back at time passed, ‘It’s been eleven months, And the snow’s piled high, I’m waiting on Spring, Yeah I’m just staying inside.’ Le Bon Moment is a beautifully delivered love song, sung in French, and referencing the tragic story of Romeo and Juliette, while waiting in the midnight garden for your lover to appear. The final song, This Heart Of Mine, comes full circle on the journey taken and speaks of the regrets that unrequited love can conjure up. ‘So I drink to remember, That its time I forget, That we were ever lovers, That we ever met.’

Yet, throughout the heartache, the urge to keep on trying is ever-present in the music of Lynne Hanson. It’s a statement of intent from an artist who continues to grow and explore her creative muse. Luckily, we are all the better for it.

Review by Paul McGee

Barton Stanley David Cicada Kenshire

With a debut EP released back in 2011, BLUE FOR EAST BROADWAY, this singer-songwriter decided to leave NYC and relocate back to Texas, three years ago. In the time that has since passed, David has been writing and performing, launching his own record label and also getting married. His music falls in a Folky direction, with leanings toward a more commercial Rock sound. The experience gained in NYC (including meeting his wife), has resulted in these seven songs that play out across twenty-plus minutes of very enjoyable listening.

It is such a big advantage when you can sing with a honeyed vocal tone and phrasing that is both impressive and engaging. Some of these songs started life as far back as 2016, and the title track, Cicada, speaks of returning to the source of childhood memories and the urge to rediscover the influences of the past. The guitar and pedal steel interplay gives the song a winsome feel and it’s a fine opener to the album.

All Ways follows, a love song with a big production and string sounds, reflecting on a strong bond between two people who want to make their relationship work. Great drumming and piano lifting the arrangement and delivering with some conviction.

If I Didn’t Tell You First, starts with a slow acoustic tempo and builds nicely as it takes a look at deciding to leave a situation where there is no real communication. Crest, follows and is a song about building something real with another, with keyboards creating a sweet string melody over the restrained guitar parts.

Evelyn, is a song about a close friend that reflects upon youthful dreams and the need to have someone who understands the process of loving and letting go. Beautiful violin and piano colour the melody and David’s vocal elevates the experience. Things change with the up-tempo, How We Live In Love, with the band really expressing the tight ensemble playing; great rhythm section pushing the arrangement and a soaring guitar break.

The final track, And the Crowd Goes Wild Again, looks at self-belief and keeping a path that allows you to maintain both dreams and daily acceptance.  David plays a number of different instruments (guitars, piano, synth, programming), and is joined by the talents of Matt Young (drums), Chris Anderson bass) and Ben Fisher (piano), with Burton Lee providing atmospheric pedal steel. He was able to call on Douglas Edward (violin/viola), Scarlett Deering (violin/viola), Walker Adams (additional drums), Tom Hopke, Tyler Martin and Steven Cooper (additional guitar parts) on various tracks. String arrangements were also part of the recording mix and overall, the production is very crisp and clean in lifting the arrangements.         

One terrible tragedy that occurred during the recording of the album, was an accident that befell producer Jeff Saenz. He lost both of his hands in a domestic incident with fallen power lines on his property and this led to a fundamental shift in the entire process. David turned to the talents of Scarlett Deering, after a few months sabbatical, in order to rethink everything. Deering has played with Don Henley and the Eagles and she brought her energy to the project to assist in getting things finished. The recent news is that Jeff Saenz has returned to his studio at Modern Electric in Dallas and is trying to continue his career. I wish him every success in his difficult journey and the music on this album stands as a great testament to his abilities.

Review by Paul McGee

Katie Spencer The Edge Of the Land Lightship

It’s that moment, when you put a new album into the player, and the music just hits like a sweet summer breeze on a sunny day. Like stepping out and being filled with a sense that everything will be ok, today. This is meditative music, created in a space where the atmosphere and the mood are almost a musical instrument in themselves. And the overriding sentiment of this special album is captured in the song, Silence On the Hillside, when Katie sings; ‘We are tiny people, full of love bigger than our hearts, When the sun rises, it reminds me, We are never truly apart.’

The sense of both acceptance and forgiveness, of ourselves and others, permeates this record and offers up a healing balm to sagging shoulders and troubled minds. Right from the starting chords of opener, Take Your Time, you are invited into an immersive experience where both the musicians and the listener are joined in the moment; nothing more, just the sublime playing and the beautiful, unhurried vocal tone of Katie making the pace and tempo of things as easy as a sweet smile.

Yes, it’s really that good. The lines in the song, Road, capture a piece of the past; ‘And it all comes rolling back, Some of these memories have been kept hidden, Far off the beaten track, On the roads of my mind.’ A beautiful expression of holding dear what we cherish most.

With a debut album in 2019, and a number of EP releases, including a tribute to the great John Martyn, which includes his old band mates, Spencer Cousins and Alan Thomson; Katie Spencer delivers a series of diary entries, snippets of thoughts and emotions felt, and recollections of other days. It’s as if we are given insight into a time spent in some seaside town with all the charm of an old postcard found in a parent’s drawer from years back, when you were a child in their care. The title track, The Edge Of the Land, looks at the years of living on the coast and the changing vista of life renewing and unfolding, ‘New wavelengths, ocean sensations, The tide spins round and around once more.’

There is sadness here too, with the loss of a lover in Go Your Way. Another song, Wormhole, speaks of coming out of the darkness and into the light of a new morning. There is also the realisation in the song, Forevermore, that a relationship is at an end point; ‘It’s the fourth time we’ve been here before, And I’m so close to closing the door.’

Shannon Road is a look at that very same imagined town on a Saturday night, after the pubs have closed, and the locals making their way home with streetlights flickering and Katie’s recall of living those days also flickering in her memory.

On the soft whisper of Sweet and Gentle, she sings; ‘All my answers come to me, In the night time, so softly.’ And you can imagine her burning the midnight oil, poring over these vignettes of memory and dreams – putting the pieces of the puzzle into place and shaping her process.

She describes herself as a “UK Progressive Folk Singer-Songwriter and guitarist” on her website.  However, this does not fully give justice to the open,  jazz-like feel, that the music creates; the space in the delivery and the timeless nature of the interplay between these gifted musicians. To my mind, this looks forward but also is a way of paying tribute to the past, and the wonderful legacy of Folk music that has developed over the centuries on the islands of both Great Britain and Ireland. It is beautiful in its construct and execution. Hats off to the richly talented players who deliver such gems – Katie Spencer (guitars, vocals), Tom Mason (double bass), Arran Ahmun (drums), Spencer Cousins (Steinway  piano and keyboards), and Nathan Bay (flugelhorn).

All songs were written by Katie, with the one cover song by Annie Briggs (Go Your Way), being the exception. Both Katie and Spencer Cousins co-produced and the album was recorded live over two days at Steinway Recording, Fulbeck, on the Lincolnshire / Nottinghamshire border. You can just sense the magic that was certainly in the room.

It’s captured here for all to enjoy and the intimacy of the music makes it feel like you are in the local pub, in that seaside town, on a night these musicians played in front of that warm fire with the rain pelting it down outside. Album of the year for me so far … The bar has been set high.

Review by Paul McGee

Latest Album Reviews

Landon Lloyd Miller Light Shines Through Twin Mesa

On his debut solo album, Landon Lloyd Miller (former lead singer/songwriter in the Shreveport, Louisiana band, The Fast Chargers) has amalgamated his hotchpotch of influences to produce an eclectic collection of songs, with predominantly folk rock leanings. Growing up with musical and religious parents, the young Landon began to learn piano at the age of 13, and progressed to  drums, harmonica and guitar, all of which he plays here. Justifiably proud that this is a home studio recording, also co-produced by him alongside Josiah Rambin, he wisely employed a ‘less is more’ ethos on the production, but called on a bunch of friends to flesh out the instrumentation at appropriate places.

In styles ranging wildly from a stark piano and voice ballad to whimsical pop, the eleven short songs are held together by his undoubted song craft and his unusual falsetto, which is always to the fore in the musical blend.

The opener Light is Growing and the similarly themed closer and title track, Light Shines Through,  are bookends of positivity in a collection of partly autobiographical and confessional vignettes.

Starkest and most personal of all is Bluebonnet, where the intense lasting pain of the abandonment of him and his mother by his preacher father is palpable - ‘you were only lying when you said why you’d never go, that’s alright, only love lied so I’d never have to know …. It’s not alright, I’m not alright’. Feel It Again is decidedly Marc Bolan-esque musically, but the meaning of the lyrics is open to conjecture. At the risk of being accused of lazy journalism with further comparisons, the gentle harmonica and acoustic guitar accompanied love song Landslide is very close to Jeff Buckley territory, with Miller’s falsetto soaring to a crescendo. 

Definitely worth checking out.

Review by Eilís Boland

Chris Castino & Chicken Wire Empire Fresh Pickles Self Release

The genius of this album from Chris Castino is that, although none of his eleven songs here were originally written for the bluegrass genre, the casual listener would be hard pressed to realise that this was actually the case. Castino is better known in the US as the mainstay behind the Minnesota rock’n’roll jamband, The Big Wu. He came together (during lockdown) with his friends in Milwaukee bluegrass band Chicken Wire Empire to re-record and re-imagine these well established songs from the back catalogue of the Big Wu and the result is a highly entertaining record, produced with the glorious psychedelic looseness of a top drawer bluegrass jamband.

Castino admits that he had to ‘up’ his acoustic guitar playing to reach the standard expected in bluegrass picking, and he certainly hasn’t been found wanting. And to top it all, he convinced quite a few of his bluegrass heroes to join him on many of the tracks. Sam Bush adds his blazing fiddle playing to an extended break in the raging Red Sky, and two members of Hot Rize, Tim O’Brien and Nick Forster, help out on the wistful meandering road song, Bound For the South. Co-producer Adam Greuel supplies the lead vocals on Minnesota Moon and Jackson County, but elsewhere Castino is well up to the job on lead vocals throughout. 

Then there’s the always standout contribution from ‘Flux’ himself, Jerry Douglas, playing dobro on both Jackson County and The Ballad of Dan Toe. The latter is a delicious six and a half minute Tex Mex flavoured saga about a Native American character, and somehow Castino managed to persuade the apparently reluctant veteran Peter Rowan into a studio to record his vocals on several verses! Another dobro player, Andy Hall of The Infamous Stringdusters, absolutely burns it up on the high speed Texas Fireball, the vocals being taken by his band mate Keller Williams.

The icing on the cake is the fun artwork and design from Beth VanDe Walker. 

Thankfully, Castino has hinted that there will be more to follow. I urge you to seek out and enjoy!

Review by Eilís Boland 

Awkward Family Portraits Dear Old West Holy Smokes

I have to admit to being quite surprised after the first listen to this album to learn that Awkward Family Portraits (great name) are, in fact, a Glaswegian roots and ragtime combo and not a Texan retro Western Swing band, as I had initially suspected. With limited information on their socials, I’m unaware of the names of the band members but, based on the photo with the press release that came with the album, the three members of the band are quite young in years. I’m equally uninformed of ‘who plays what’ on the album, which features a multitude of instruments from slick guitar breaks, slapping upright bass, and raging horns.

The eleven-track recording - all original songs - covers a wide range of bases, from Doo-wop to Mariachi, Western Swing to Ragtime, and Rockabilly to Old Timey, all presented skilfully and with no shortage of humour on the side. It follows on from their 2018 recording EVERYTHING WE’VE DONE UP UNTIL NOW EXCEPT WHAT WE’VE DONE SINCE, which earned them appearances at both Celtic Connections and C2C.

Particular highlights for me were the border sound of Ojos Rojos, which plays out like a soundtrack to a spaghetti western, the old-timey La La Bodega, and the Marty Robbins sounding Little Diamond (Dead, Gold & Still)

It's refreshing to come across a young band promoting a conglomeration of a number of classic old time dance inducing genres, and I can only imagine how powerfully emotive these guys would be on stage. Playing out like a history lesson in American music from the 1920s to the 1950s, if the swinging sound of the Cab Calloway era or, indeed, more recent times with the retro musical outpourings of Pokey Lafarge rock your boat, you’ll enjoy this album.

Review by Declan Culliton

Miranda Lambert Palomino Sony

The holder of the most awards in the history of the ACM, Miranda Lambert’s albums have covered a range of sonic landscapes from the traditional country direction of 2016’s THE WEIGHT OF THESE WINGS to the more pop crossover WILDCARD, her last solo release from 2019.  A prolific and skilled songwriter and blessed with the vocal cords to equal the classic country vocalists from any generation, her last album release THE MARFA TAPES from 2021 was an acoustic collaboration with John Randall and Jack Ingram. It was recorded outdoors in the high desert of the Trans-Pecos in West Texas, and found Lambert in splendid form both vocally and emotionally.

The album cover from her latest recording PALOMINO depicts Lambert in full western regalia with a desert background. This, alongside the album’s first single If I Was A Cowboy and its accompanying video, suggests that her ninth studio album may be more country than crossover. So, what is the verdict?

For this writer, it’s a thumbs up. Both laid back and gloriously loose, with lots of twang in all the right places, it embraces elements of both modern and retro country.  Lambert revisits THE MARFA TAPES with the inclusion of three beefed-up tracks from that collection. The funky southern rock direction of Geraldine is splendid, complete with an astute vocal stutter in the chorus, and equally stirring is the hook-laden Waxahachie. The third inclusion from THE MARFA TAPES is the refined country ballad In His Arms.

The first of the fifteen tracks on the album, Actin’ Up calls to mind what Bobby Gentry might sound like in today’s market. Lambert is joined by Sarah Buxton and The McCrary Sisters on her bluesy and raucous cover of Mick Jagger’s Wandering Spirit and she takes a trip down the Cumberland River with the B-52’s onboard on the gloriously funky Music City Queen.

As you’d expect, the production and playing are top drawer. Lambert co-produced the album with her songwriting collaborators Luke Dick and Jon Randall and the players included Rob McNelley on guitars, Ian Fitchuk on bass and keyboards, and Fred Eltringham on drums. 

“The making of this record has been one of the most fun and creative experiences of my career,” reflects Lambert. That merriment and autonomy shine brightly on PALOMINO, giving a lasting impression of an artist very much in a good place at present.

Review by Declan Culliton

May Erlewine Tiny Beautiful Things Self Release

My introduction to Michigan singer-songwriter May Erlewine was courtesy of Los Angeles-based artist Anna Ash, who recommended I check out her good friend’s music. Coincidentally, Erlewine’s latest recording arrived at Lonesome Highway HQ  from her press agent, a short time later.

An artist held in the highest regard in the rural northern part of Michigan, her latest recording is named after the Cheryl Strayed book Tiny Beautiful Things: Advice on Love and Life from Dear Sugar. Written under the pseudonym ‘Sugar’, the book includes a collection of personal and intimate letters between strangers. Given that the songs on TINY BEAUTIFUL THINGS were written during quarantine, the album’s theme is very much about the significance and power of friendship, love, and connectivity.

Born into a musical family and home-schooled, Erlewine was surrounded by music during her childhood. Her father was a member of the blues band The Prime Movers and her uncle was a luthier. She can boast over twenty recordings since her debut album SLEEPLESS in 2003, having served her apprenticeship hitchhiking across Northern America playing street corners, bars, and clubs.

Described by Erlewine as ‘an invitation to connect with the many ways love appears in our lives’, TINY BEAUTIFUL THINGS finds her in great voice across ten lyrically arresting tracks. Of note, in particular, are the Nanci Griffith sounding Changing, the uplifting and sweetly melodic Lion Heart, the soulful piano-led Could Have Been, and the soul-searching opener Easy.

Co-produced by Erlewine and multi-instrumentalist Joe Hettinga (Megadeth, Liquid Soul, Max Lockwood), and recorded remotely during Covid with the input of fifteen musician confidantes of hers, it’s a charming fusion of soulful folk and relaxed country tunes. It will also have the writer delving into the extensive back catalogue of May Erlewine.

Review by Declan Culliton

Grant Lee Phillips All That You Can Dream Yep Roc   

“In some ways, that freed me up to write and record the kind of song that was personal and executed as though it were for an audience of myself alone. That's freeing," confesses Grant Lee Phillips on the circumstances that led to the writing of his eleventh solo studio album.

Whereas he previously wrote while on the road touring, ALL THAT YOU CAN DREAM was conceived during the enforced lockdown of 2021. Focusing on both global events and life’s complexities, the inspiration for the album came from family drives in the countryside, admiring and appreciating the surrounding environment, and ironically, making the best of the restrictions imposed on him by the pandemic.

A Sudden Place, the first single from the album, was written in response to the burning of the Notre Dame Cathedral. ‘The world’s a sudden place, it turns on a dime,’ he sings, considering life-changing events out of our control. Written in 2019, the enormity of that reflection and those lyrics took on an altogether greater meaning when the reality of Covid hit home. It’s a striking opener to the album, with Phillips’ considered vocals caressed by timely cello splashes by Richard Dodd.

Bemoaning a world of ongoing challenges and provocations, the track Rats In A Barrel calls to mind the treacherous invasion of Capitol Hill by Trump supporters in January 2021 and My Eyes Have Seen points to the slanderous campaign of hatred directed at immigrants by the same administration. He recalls losing his home to an earthquake in Los Angeles almost thirty years ago in Cannot Trust the Ground and both Peace is a Delicate Thing and Cut to the Ending question the violent and unequal world we currently live in and how history continues to repeat itself.   

The album was self-produced and recorded by Phillips at his Nashville home, working long distance with a number of players. Jennifer Condos (Ray LaMontagne, Sam Phillips, Bruce Springsteen) added bass guitar, Jay Bellerose (Joe Henry, Robert Plant, Alison Krauss) played drums, Jamie Edwards (Aimee Mann, Ron Sexsmith, David Byrne) was on keyboards, Eric Heywood (Gretchen Peters, The Jayhawks, Hayes Carl) played pedal steel and the aforementioned Richard Dodd (Sturgill Simpson, Loretta Lynn, James McMurtry) contributed cello.  Vocals, guitars, piano, Mellotron, pump organ and keys were provided by Phillips.

Summing up his mindset when composing the songs that contribute to this thought-provoking album, Phillips confesses on the track Cut To The End, ‘I’ve seen some ugliness, some terror in my days. I’d love to think we’ve seen the end but when you think you’ve got the lid on, here it comes. The same old ghosts are back again.’

Phillips once more proves to be a masterly songwriter with ALL THAT YOU CAN DREAM, gifting the listener with a bank of songs that sit most comfortably alongside each other.

Review by Declan Culliton

Left Arm Tan Undefeated Self-Release

Fans of the Chicago based group Wilco will spot that the name of this Fort Worth, Texas band has a familiar ring to it. Taken from the song Monday (‘a world record players on a tour of Japan, Charlie fixing his van with the left arm tan’), which featured on Wilco’s 1996 album BEING THERE, the connection with that band and its predecessor Uncle Tupelo does not end there. Left Arm Tan engaged Ken Coomer, who played drums in both those bands, to produce UNDEFEATED, which is their sixth studio recording.

Left Arm Tan is Brian Lee (vocals, guitar), Daniel Hines (guitar, vocals), Shawn Light (guitar, vocals), Joseph Lopez (bass), Tim Manders (drums, vocals), and Mark Belding (steel guitar). Coomer is also credited with drum parts on the album which was recorded at Cartoon Moon Recording Studios in Nashville. Eight tracks are included, seven of which are self-writes, the title track being a co-write with John Teague of The Teague Brothers. Awarded the accolade of Song of The Year by Saving Country Music for the opening track Wish from their debut album JIM in 2010, they stuck with their template of alt-country albums up until and including their self-titled release in 2020. UNDEFEATED finds them in a more experimental mood, resulting in an album that is inspired by multiple genres.

The Tex-Mex border sound of Pamplona opens the album and that Mexican influence repeats on Born To Break Your Heart, complete with mariachi styled horns and silky Spanish guitar. The title track could have been plucked from the Jason Isbell songbook and the funky Cocaine Skinny tells of a wayward kid that gets drawn into drug dealing. The band cites the writings of Ernest Hemingway as the inspiration for much of the material and they visit a calmer space on the ballad The Old Man and The Sea, which is a worthy tribute to the acclaimed novelist.

Although a slight departure from their previous recordings, this album showcases a musical chemistry from players who are very much on the same page. Simply a lovely listening experience.

Review by Declan Culliton 

Good Looks Bummer Year Keeled Scales

Four-piece Austin, band Good Looks’ debut album, BUMMER YEAR, is a seven-track introduction to the Texas guitar-driven combo. The band is Tyler Jordan (rhythm guitar, lead vocals), Jake Ames (lead guitar), Robert Cherry (bass) and Phillip Dunne (drums), and this striking suite of songs points toward a band with unlimited potential.

Life’s complexities and disorders feature solidly in Jordan’s songwriting. His snarling vocals reign on the opener Almost Automatic as he broods over a failed relationship and the Cure sounding 21, which follows, targets corporate greed. Leaving behind his homestead in South Texas and, in his own words, ‘his father’s cult-like church’, Jordan moved to Austin in his late teens. Plying his trade initially by busking on street corners, he hooked up with Jake Ames, having met him at the Kerrville Folk Festival. Sharing their small-town Texas spoilings they then formed the band.

The frustrations of surviving in the music industry are vented on the raw and brooding Vision Boards. Described by Jordan as ‘a love song for America, written from a place of frustration’, the title track also questions equality and equal opportunity in the modern world. Sonically quite muted, it echoes the vibe of Jeremy Ivey, its lyrical content and mood bring to mind that his 2020 album WAITING OUT THE STORM. 

BUMMER YEAR is an album that resonates as an artist doing exactly as he pleases. A treasure chest of heartfelt songs brimful of texture, if the early work of John McCauley’s band Deertick rocks your boat, you’ll love this.

Review by Declan Culliton

Silver Lining Go Out Nowhere Die With Your Boots On

Regular visitors to the Lonesome Highway website will be aware of our appreciation of much of the roots music coming out of Scandinavia in recent years.  Long before the genre Nordicana was christened, Stockholm sisters Johanna and Klara Söderberg, better known as First Aid Kit, were already out of the blocks and gaining international recognition. With foundations in both folk and country, their sun-kissed harmonies and melodic songs provided confirmation that roots music of that standard was not emanating solely from the Americas. Since then, we have been blessed with a stream of exciting recordings from a host of similarly inspired artists and bands from that part of the world. Malin Pettersen, Signe Marie Rustad, The Northern Belle, Louien, and Darling West have all recorded albums well received by us at Lonesome Highway.

The latest addition to that growing club is Silver Lining, a four-piece supergroup of sorts that features Stine Andreassen of The Northern Belle, his labelmate Louien (a.k.a. Live Miranda Solberg), Halvor Falck Johansen and Bjørnar Ekse Brandseth. Andreassen and Louien have previously been nominated for, and have won, numerous Spellman Awards, which are the Norwegian ‘Grammys.’

GO OUT NOWHERE, the band’s sophomore release is a ten-track album loaded with dazzling harmonies, haunting pedal steel guitar and well-crafted songs.  Particularly easy on the ear are the stunning opener Your Everything, Days Like These, and the closing and standout track Silver Lining.

Silver Lining do dip into crossover radio-friendly pop at times, the title track and Time being examples. However, making music that blends elements of folk, country and pop together is the trademark of much of the music coming from Scandinavia. Drenched in summer sounds and combining themes of both sadness and joy in their songs, GO OUT NOWHERE could justifiably find the band a lot more followers outside of their native Norway. Have a listen and make your own mind up.  

Review by Declan Culliton

Latest Album Reviews

Phil Lee & Other Old Time Favorites Palookaville

This might constitute Lee’s lockdown album, one he recorded in collaboration with producer and multi-instrumentalist David West who had been a part of Lee’s previous album recorded with the band Crazy Horse. In his teens, Lee played his first gig on drums with Homer A. Briarhopper and the Daybreak Gang on a morning TV show. Briarhopper was a big personality performing country music in North Carolina. He was a formative influence on Lee who later moved to New York, Los Angeles, and Nashville. This latest album was recorded in Santa Barbara, California over a period of Wednesday sessions for a few weeks.

The opening track on this collection Did You Ever Miss Someone? was co-written by Lee and John Sieger and comes in at a timely one minute and fifty-seven seconds. It has an acoustic guitar, dobro, mandolin, and string bass accompaniment that was to be the template for the whole record. But things didn’t quite work out that way and other moods, instruments, and enthusiasms crept in along the way. For the next track, Lee added drums and West played electric guitar and bass that bringing an added dimension to the process. I Like Women continues in the same vein, it’s from the bloodline of Chuck Berry and is another co-write for Lee. Might As Well Be is a summation of the musician’s life on the road.

The sentiment of the original template is back for The Devil And The Farmer’s Wife with the acoustic instrumentation on Lee’s arrangement of a public domain ballad which he heard on a field recording by Hamper McBee. Forever After All continues in the same style and is a reflective ballad of the approaching sunset of life. Daddy’s Jail originally appeared on a Bloodshot Records compilation. Lee notes that his father, who was in charge of the Durham Country Jail, was taken with that version but Lee also feels this time out that his father would also have approved. Also close to home is Where Is The Family Today?, which deals with the song title’s question of a true tale of his close (and not so close) relations.

A song he recorded with Crazy Horse, Wake Up Crying gets reimagined here in a bluegrass setting and is well suited to both arrangements, the sign of a good song. The closing choice is another public domain gospel song Just A Closer Walk With Thee which was recorded in the past by Elvis but for Lee, the version sung by Harry Dean Stanton in Cool Hand Luke was the inspiration. Its strength is in the simplicity and sincerity of their reading as it finishes the album with Lee’s distinctive voice echoing as it does throughout with his immediately recognisable timbre. 

All Lee’s releases have been worthy of praise and this is no exception. The interaction between Lee and West is a perfect meeting of minds and offers more than enough variety which encompasses his personal vision of bluegrass, as well as venturing into the Bakersfield sound and beyond. However, it is Lee’s songwriting and song choices that make this a good addition to his work cannon and also something of a perfect introduction to find out if you are of the same persuasion as Lee in terms of his oeuvre. So fun for all the family and one to add to your favourite albums of the year.

Review by Stephen Rapid

The Ben Jarrell Band Up And Headed West Self Release

This album was originally released last year but only recently came to our attention. It has a debt to Waylon Jennings and to Southern Rock but stands up for itself and heads west to some strong country territory. In 2019 Jarrell released TROUBLED TIMES, an album that was well received by those who encountered it by all accounts and this new album will doubtless get a similar response. 

It is produced by Brett Robinson, who also holds down the pedal steel role with Whitey Morgan’s band the 78’s, and as such would seem ideally placed to take charge here. He joins the band here on three tracks, sharing the pedal steel duties with Jordan Harazin (a performer in his own right). The guitarist laying down some sweet twang is Jimmy Teardrop, he is joined by a number of additional players who vary to some degree depending on the track. The consistent voice throughout is that of Jarrell and is perfectly suited to this particular potent blend of hard-core country and Southern swagger and attitude. This is something that is currently not uncommon with a lot of bands around at the moment, but Jarrell gets the balance right in terms of tempo, tone, and delivery.

The album consists of ten tracks all written by Jarrell either solo or with like-minded contributors. First to gain attention is the tenderness of Chevrolets And Angels. It’s a song that starts with Spanish guitar and a superbly seasoned vocal that builds its tale with pedal steel guitar to emote the sadness of the song’s story of a car/racing lover who takes one ride too many. While it stands in contrast to the more uptempo songs that abound on the album, it shows Jarrell’s affinity with disparate lifestyles. Many of the songs relate strongly to life on the road, either just cruising around or making a living covering asphalt, witnessed by titles like Bald Tires and Wheels.  Also included is a cover of a song by Ken Munds’ Trucker And The UFO, that details an alien encounter on the highway. Maybe we have a likely contender for a modern-day Red Simpson to contend with here?

While other material such as the opening Irish Goodbye through to Jack Of Clubs, Coming Down and Alabama Rose all tell of lifestyle, love, and moving on. They all do so with an obvious intent to get the delivery exactly right. Given this is a self-funded independent release that makes it all the more praise worthy. Like many similar acts, the Ben Jarrell Band can very easily escape the attention they deserve. This album was released last year but still warrants your consideration. 

The final track A Fish Named Revelation is given to darker apocalyptic images that are revelations from the end of the line and all that may then occur - “won’t you lend me a dime to pay the toll.” This is delivered with some hard guitar and sturdy vocals as is appropriate to its message.

Jarrell is an Alabama native and recorded the album in his home State. His own background story has not been an easy one, but he and his band can be justly proud of this album and they are certainly up and heading in the right direction.

Review by Stephen Rapid

Peter Rogan Broken Down Love Melt Shop

Kicking off with the title track, Peter Rogan sets a high standard for his new album, one that he impressively matches on all twelve tracks here. Using the metaphor of fixing an old car, he likens the challenge to his broken relationship and the fact that it’s probably going to be easier to bring the automobile back to some kind of working order.

The blues rhythm of Short Shifter Blues spins out the sorry tales of folks who have to work so hard to make ends meet and to rise above the cards that life has dealt them. Back To Natchez is a song about a trucker who lives on the road with the pain of a broken romance his constant companion. Never able to revisit where they first met and never able to rekindle old flames that have gone out.

All That’s Left Is the Blues is a slow song that is laced with regret and thoughts of where things went wrong with a relationship. The theme of loss certainly kicks off this follow up to his 2019 debut,  Still Tryin' to Believe. There is a cover of the Rolling Stones song, It’s Only Rock n’ Roll, and Rogan gives it a funky workout with a great horn arrangement and backing vocals. The fun of Dancin’ Naked is a novel way to decompress from the daily grind and to shake it all loose in the night. 

Butter Lane is a gentle song with pedal steel and restrained guitar setting the tempo.  There is a great harmonica and keyboard groove in the arrangement and a tight feel to the song dynamic. The song channels a youthful memory of growing up and the recollections of innocent times. My Kinda Strange rocks out with a rootsy swing and attitude. Great band dynamic in the playing and a flirtatious lyric about what is good about a sense of lustful attraction. Don’t Be Afraid Of the Rain is a superb song about living free and not letting fear dictate how to experience the good times. 

Ship’s A Burnin’ is another song about leaving the past behind and being ready to move on. Not relying on the attachments that can bind, shedding skin and embracing the future. Thank You Girl is a John Hiatt song and Rogan does it justice, as the second cover song on the album. The ensemble are right in the groove and the musicians are Will Kimbrough (electric, acoustic, slide guitars, harmonica), Phil Madera (keyboards and lap steel), Dennis Holt (drums and percussion), Chris Donohue (electric and acoustic bass) and Rogan himself on electric, acoustic guitars and vocals.

Final song, I Wish, arrives all too early in the proceedings and it’s a sad reflection on regrets over the way in which a relationship can end. Almost as if by holding back in the middle of a difficult moment, somehow things might just not escalate out of control… The playing is wonderful, with Rogan using all the easy charm of the same troupe he used on the debut release. With the great playing talent on offer it’s a warm album that sucks you in at every turn and I recommend it to you as a fine example of the hidden gems that await those who are happy to dig below the surface.

Review by Paul McGee  

Brian Straw Baby Stars/Dead Languages Land Lover

Brian Straw has been a stalwart of the Cleveland, Ohio music scene for the past 20 years, after having moved there as a young man, from his native Indiana. Known for pushing the boat out in rock circles with his experimental approach, he fell into addiction and his last album was released in 2005. Thankfully he survived, still keeping in touch with the music industry, and he had his last drink in 2017.

These songs on his new album have been germinating since then and he has finally committed them to the recording process in his very own studio, Survival Kit. Openly acknowledging that he has lived the cliche of moving from rock bottom to sobriety and now to peace, the songs on this double album chronicle that journey in real time. Variously described as experimental-folk, indie folk and rock, the overall sound is a curious amalgam of all of these. Opening with the moody, broody, bass drum heavy Sleep Study - ‘your eyes lead me to this place where we begin’, through I Have Not Wandered and I Still Dream of You, Straw evokes a dreamlike landscape of shadows and murk. Addiction to heroin and other hard drugs are the inspiration for Needle in the Creek and Keys To My Room, the former detailing a time with a female friend who was also a heroin addict, and who sadly died not along after the song was written.

The songs are relatively long (hence a double vinyl consisting of 12 songs in total) and lyrically obscure. Shades of his past experimental work pop up through out, with a sonic palette that varies from voice and piano to full blown orchestration. Recommended for those who like to be challenged in their music listening.

Review by Eilís Boland

The Wilder Blue Self-Titled Self-Release

Formed in 2019, this is the second album release from the Texas five-piece band, The Wilder Blue. Previously known as Hill Country, the five members are frontman and songwriter Zane Williams, lead guitarist Paul Eason, bass player Sean Rodriguez, drummer Lyndon Hughes, and multi-instrumentalist Andy Rogers. With an emphasis on five-part harmonies and songs that range from ‘busted hearts’ to ‘killer road songs’, the album travels from the classic country rock of the early 70s to the breezy Americana sound of more recent times.

They recorded this self-titled album at Echo Studios in Denton Texas under the watchful eye of producer and studio owner Matt Pence, whose previous life included drumming with the revered alt-country band Centro-matic. Without a recording deadline, the band completed the album over a nine-month period, spending a number of three day recording sessions in the studio.

Crisscrossing from bluegrass to gospel and country funk, the standout tracks of the twelve are Wave Dancer, Picket Fence and the bluesy six-minute track, The Ol’ Guitar Picker. Steeped in jaunty melodies and killer harmonies, both of which are particularly impressive on The Conversation, this is solid and uncomplicated Texan country rock of the highest order.

Review by Declan Culliton

Charley Crockett Lil’ G.L. Presents: Jukebox Charley Son of Davy/Thirty Tigers

Continuing his prolific recording output - this is his twelfth album in seven years - Texas singer-songwriter Charley Crockett’s latest offering is his fourth recording under the Lil’ G.L. Presents series. Using his side name ‘Lil’ G.L.’, the recordings are all reconstructions of classic country and roots songs by Crockett, delivered in his distinctive Texan baritone drawl.  A dedicated student of traditional country music, what makes these albums all the more interesting is Crockett’s capacity to unearth songs unfamiliar to all but the most erudite followers of country music. The benefit of this is twofold, giving the listener the benefit of listening to an album of originals from Crockett and also the impetus to seek out the original versions and their authors.

As you might expect, all the standard topics that inspire country songs get an airing. We’re introduced to cheating women (Porter Wagoner’s Heartbreak Affair, Wayne Kemp & Bill McDonald’s Same Old Situation), busted hearts (Jerry Reed’s I Feel For You, Willie Nelson’s Motel Home), drinking (George Jones’ Out Of Control, Joe Avants Jr & John Koonse’s Battle With The Bottle), and heartfelt regret (Tom T Hall’s I Hope It Rains at My Funeral and Lonely in Person).  The title track was written by Johnny Paycheck and Aubrey Mayhew and, alongside the other thirteen songs, it’s a reminder of the golden years of country songwriting during the 1960s. With his ‘go-to’ producer Billy Horton at the controls and a team of talented players contributing, JUKEBOX CHARLEY is yet another gem by one of the most sincere and gifted torch carriers of authentic country music today.

‘’They better watch out in country music because I’m just getting started in country music, brother,’’ were the parting words from Crockett when we last interviewed him in the summer of 2020. He’s more than living up to that declaration on another outstanding collection of fourteen songs worthy of gracing any country music jukebox.

Review by Declan Culliton 

Cowboy Junkies Songs of the Recollection Proper

“Long before we were musicians, we were music fans. We didn't grow up sitting around the kitchen table playing instruments and harmonizing. We grew up sitting around the record player listening to each other's record collections and having our minds blown,’’ confesses Michael Timmins, which explains the conception and material sources for Cowboy Junkies’ nine-track covers album SONGS OF THE RECOLLECTION. Included on the album are songs and artists that have featured in the bands’ setlists over their thirty-five-year life span. On occasions, these reworkings stick close to the originals and on others, they reconstruct the songs with their characteristic low-fi sound.

Formed in 1985, Cowboy Junkies’ line up remains today as it was on day one. The four -piece includes siblings Michael, Peter and Margo Timmins alongside lifelong friend, Alan Anton.  With an eagle eye for identifying songs that suit their distinctive style, their version of Lou Reed’s Sweet Jane, which featured in the 1994 film Natural Born Killers, signalled a major breakthrough in both the U.S. and Europe. Throughout the band’s career span, they have seldom strayed from their particular style, surrounding Margo’s ambient and evocative vocals with atmospheric sonics. They remain true to that tried and tested application here.

Included on the album are David Bowie’s Five Years and Neil Young’s Don’t Let It Bring You Down, both of which have previously been included in their live shows, and they don’t stray too far from the originals with these studio recordings. Why try and improve on perfection? In fact, Five Years is identical to Bowie’s version and Neil Young’s classic is energised by screeching fuzzy guitar, rendering it more like a Crazy Horse version than the maiden recording. Likewise, No Expectations, borrowed from The Rolling Stones 1968 album BEGGARS BANQUET, replicates the Stones’ version, albeit with Margo’s purring vocals replacing Jagger’s more bluesy drawl.  In contrast, Gram Parsons’ classic Ooh Las Vegas is given a dark, wistful and somewhat unrecognisable makeover, with a sound very much in keeping with the song’s miserable backstory. Equally experimental is their rocked-up version of the Gordon Lightfoot ballad The Way I Feel. The other songs re-worked on the album are Seventeen Seconds by The Cure, a second Neil Young selection Love In Mind, and Bob Dylan’s I've Made Up My Mind To Give Myself To You.

With all the previously mentioned tracks being recordings by major artists, they also include a song by a lesser-known artist and close friend. Vic Chestnutt, who passed away in 2009, was held in such esteem by Cowboy Junkies that they recorded DEMONS, an entire album of Chestnutt songs, after his passing. Fittingly, he is remembered here with the inclusion of a stunningly haunting rendition of Marathon, which featured on his 2007 album NORTH STAR DESERTER.

Cover albums can be hit and miss affairs, often recorded by way of a contractual obligation or filling a gap between recordings of original material. That’s certainly not the case with SONGS OF THE RECOLLECTION, which is a proud and sincere celebration by Cowboy Junkies of where their influences have been drawn from. It really is a compelling listen from start to finish, by a creative band that seldom puts a foot wrong.

Review by Declan Culliton

Erika Lewis A Walk Around The Sun Self Release

The Delondes’ John James Tourville takes the credit for the production on this debut solo recording from Erika Lewis. A member of the renowned New Orleans jazz and roots street band Tuba Skinny, Lewis spent her early years in New Orleans’ French Quarter, in the main busking with jazz player Meschiva Lake. They subsequently formed the band The Magnolia Beacon and travelled to Europe, living and performing in both Berlin and Latvia, before returning to Louisiana.

While temporarily living in Nashville, it’s no surprise that she recorded this album at Andrija Tokic’s analog studio, The Bomb Shelter. So many albums arriving at Lonesome Highway in recent times credit this location and the common denominator among them is their consistent quality. A WALK AROUND THE SUN is certainly no exception.

With the laid-back and graceful arrangements that complement Lewis’ delicate vocal deliveries, previous albums from occasional New Orleans residents Alynda Segarra and Esther Rose come to mind. In fact, the album follows a similar pattern to the gorgeous HOW MANY TIMES, released by Rose last year, and also has echoes of the early Hurrah For The Riff Raff recordings.

It offers eleven self-written tracks with themes that run the emotional gauntlet from survival to loss and rebirth. With splashes of mournful pedal steel and nimble fiddles arriving in all the right places, tracks such as If You Were Mine, First Love, Running Wild and the particularly beautiful Love Song stand out. Lewis turns the tempo up on the bluesy Unsatisfied and she’s in fine form vocally on the instantly arresting title track.

Faced with the trauma of a diagnosis that required surgery on her vocal nerves, the album could have been Lewis’ final recording. Following the diagnosis, a successful fund-raising campaign was launched by her Tuba Skinny bandmate Shaye Cohn to finance the recording and, thankfully, the surgery proved successful. Fortunately, we can now look forward to further installments from the honeyed voiced artist with a keen eye for well-crafted and melancholic ballads.

Review by Declan Culliton 

Pete Gow Leo Clubhouse

The title of Pete Gow’s third solo record is taken from the album’s central track Leonard’s Bar. It’s a seven-and-a-half-minute tale of a hopeless and desperate ex-criminal, planning his final raid and payoff. It reads like a tale from the pen of Richmond Fontaine’s Willy Vlautin and, although not the opening track, very much sets the atmosphere and colour for much of the accompanying songs.

That mood and darkness was very much a feature of Case Hardin, the U.K. roots combo fronted by Gow, although the musical direction of his solo albums is entirely more adventurous and ambitious.

HERE THERE’S NO SIRENS, released by Gow in 2019 and nominated for the AMA-UK’s ‘Album of the Year’, was the initial departure by Gow from the traditional roots sound of Case Hardin. Awash with symphonic strings and crowning brass, it chronicled painful tales of heartache and loss. No less dramatic was THE FRAGILE LINE which followed in 2020. Completing the trilogy, LEO, in many ways surpasses both those recordings.

Reuniting with producer Joe Bennett, the recording took place at Farm Music Studios. Vocals and guitar parts were performed by Gow, drums by Fin Kenny, and just about everything else by Bennett. The final mix is credited to Tony Poole of Starry Eyed and Laughing and Bennett Wilson Poole fame. It opens with the swashbuckling Where Else Would We Be Going and closes with a gentle reprise of that same song. I was immediately reminded of the soulful sounds of Graham Parker and The Rumour on that opener and the glorious echoes of Van Morrison backed by the Caledonia Soul Orchestra come to mind on Both Sides Are Down. Equally impressive are the aforementioned Leonard’s Bar and the dazzling Eight Long Hours.

An album that crosses from the relaxed to the frenetic and with arrangements that compliment Gow’s vocals, it completes a hat track of stunning albums from its author and his trusted team.

Review by Declan Culliton

Doug Adkins A Cowboy’s Life Self Release

This appears to be Adkins tenth album of down-home country music, music that is not troubled by the ambitions or allure of mainstream country radio. Rather, this is music that plays well in the honky-tonks and festivals in Europe where, judging from the dates listed on his website, he is predominantly playing this summer in Europe (this includes shows in Germany, Denmark, Switzerland, alongside other countries). Doubtless he would equally be welcomed in Ireland, especially up in the North, as his sound is eminently suited for dancing and having a good time. It won’t confuse the listener as to what genre it is supposed to be. He had success appearing on The Voice of Germany in 2020 and subsequently charted with the title song from his then album, WHISKEY SALESMAN. So the concentration on playing Europe makes a lot of sense.

However it is this album, his eleventh, that we are focusing on. It was produced by Montana native Adkins himself, and features some solid playing from the assembled band which sits comfortably behind Adkins’ comforting vocal and makes the most of his songwriting. Such notable players as Brent Mason, Bruce Bouton and Lonnie Wilson have appeared on previous recordings, which gives an indication of the standard involved. He has writing numerous songs during his career but notes that the final track here is the first time he has recorded a cover version. He has chosen Mammas, Don’t Let Your Babies Grow Up To Be Cowboys, a song best known from its version by Willie Nelson. It was written by Ed Bruce and his wife and Adkins chose it in tribute to him after he passed away recently. Adkins’ arrangement fits his overall style and sounds different enough to comfortably sit alongside his own songs, some of which allude to the theme of the album title in relating to the ups and downs of the life of a cowboy, both in work and dealing with different relationships. In Jesse James there is an association between the famous outlaw and a modern day proponent that juxtaposes the pair’s lives. Adkins also references some earlier western songs in his story of a ranch hand loyal to his lifestyle and brand in Country Certified. Many of the other songs detail the high and low roads of romance and of lust, topics that fit easily the bar-rooms, festivals and CD players for this solid no frills country.

So songs such as Stand For Something, Too Much Worry, Billy Wants To Dance and Tail Lights In The Mirror all tell their own tales, the latter about the constant movement required of a working musician looking into his rear view mirror as he moves on. One Kiss details an instant bar room romance. The perennial tale of Saturday night versus a regretful Sunday morning is at the heart of Amen. So it goes through the album, the work of a man in love with the more traditional aspects of the country music of the 90s. Adkins may not be doing anything that is radically different than any number of hard-working musicians. Equally he has the balance right on his own terms and that counts for a lot with those who have already embraced Adkins in whatever form they have encountered him - and this album is as good a place as any.

Review by Stephen Rapid

Dave Goddess Group Back In Business Self Release

New York based Dave Goddess makes his music for one of the most valid reasons of all, which is to satisfy his desire to make honest truthful music for himself. He fills his songs with aspects of rebirth, religion, time, freedom, and gratitude but also allows for a little fun to be part of the mix. It is solid roots-rock that has the influence of Tom Petty, Bruce Springsteen and Bob Dylan, to name but three, in its DNA. For this album Goddess was deep in pandemic times, so was largely working from his imagination and experience. That inward look produced eleven songs, all of which are delivered with heart despite have been recorded under Covid conditions. His long term rhythm section of bassist Mark Buschi and Chris Cummings on drums provided the base to build the songs on. Goddess add vocals and guitars while the additional instruments including steel guitars, keyboards and violin were overdubbed under the watchful eye of Goddess and co-producer/engineer Konrad Carelli. A half-dozen singers added background vocals to complete the business of making this new album.

Much of the material has a strong sense of structure and melody that rewards the listener. While the template used here has been around for some time now, these players bring a good sense of commitment that gives the whole album its sense of life and love of life, something that exists in spite of the many vicissitudes being faced in recent times, though the overall feel is largely positive and potent. Perhaps best summed up in the lyrics of Better Days - “forgive yourself, go on forgive the world / unshoulder that burden, seize the day.”

Standout tracks include Back In Business, Blessing In Disguise,You Can’t Get There From Here, I’d Do It Again, One-Way Ticket. These songs often highlight the skills of each of the musicians with keyboards, accordion, pedal steel and guitar riffs making their presence felt throughout. The vocals are also crucial to the process with Goddess’ lead leading the way, and the background vocals also being used effectively. There is light and shade and everything is not taken at the same tempo, which gives it a stronger listening experience.

The truth is, as Goddess has outlined, he makes this music for himself and his team essentially and indeed they should be satisfied. There is nothing stopping it reaching a wider audience other than the fact that it is so hard for an independent act to make itself heard amid the many distractions, and the many levels of media that clutter the consciousness. The Dave Goddess Group are not the new Tom Petty Band, but they are what they are and that puts them back in business to build on what they have already achieved previously, with this solid, satisfying album.

Review by Stephen Rapid

Harley Kimbro Lewis Harley Kimbro Lewis Midnight Mango

‘All songs written and played by Harley Kimbro Lewis’ it states on the cover, which pretty much sums up this self contained trio of English guitarist Martin Harley, and Americans, the double bassist Daniel Kimbro and singer/songwriter Sam Lewis. Each has their own individual history; Harley is an award winning acoustic blues guitarist with several albums to his credit; Kimbro, as well has being an integral part of this combination, also tours with John Hiatt, the Jerry Douglas Band, the Earls of Leicester; Nashville-based singer/songwriter Sam Lewis has worked with such diverse artist as Leon Russell and Chris Stapleton and has also released albums under his own name. However even though Harley and Kimbro have worked together previously, this trio should be considered separately and this as their debut release.

The first song that gained my attention was the humorous contemplation of those who share a logistic closeness, that is Neighbors. Set against a simple subtle bass and guitar backing, it reveals the peculiarities of those next door or living on the same street. This line can perhaps sum up the joys and jeopardy of such relationships “I got neighbors who don’t realise that they got neighbors who like to sleep at night.” Throughout the remaining eleven tracks, there is an engaging mix of expert musicianship combined with observation and insight. Who’s Hungry asks the question about what is at the heart of a break-in and the possibilities that might result from such an incursion. But for the most part the balance is towards the lightheartedness of humanity, in all its light and dark moments. I Gotta Chair with a helping of banjo to the fore again “Well I gotta chair at home that kinda squeaks / I got a rug at home that stinks / a hardwood floor that kinda dips / a kitchen tap that always drips.” The song is a list of all the things that are wrong with a home but are those very things that make a home what it is, for better or for worse. 

The song Cowboys In Hawaii is a loving tribute, both to the source of the slide guitar sound that became a staple in country music, and to a character who might swap his pony for a life on the island paradise and white horses in the waves. The guitars which sum up the mood perfectly are by Kimbro and Christian Sedelmyer. Indeed most of the songs are full of such individual thoughts and actions that relate to the oddities that pass for normal behaviour in some individual cases.  

This continues throughout the album which seems to also include a couple of uncredited guest spots. It’s easy to see why this trio fit together so well, and make these songs that make you smile, as well as appreciating the seeming simplicity of the execution of the material. The interaction of the three have definitely created a sound that is both the sum of its parts and more. The previous Harley Kimbro releases were all worth listening to for many reasons, but the addition of Lewis has added a dimension that offers a whole bunch of new possibilities while marking out a territory that is both fruitful in musical terms, while also being a load of fun.

Review by Stephen Rapid

Joshua Hedley Neon Blue New West

Four years after the release of his debut album MR. JUKEBOX, Joshua Hedley returns with another suite of songs that pay tribute to his beloved classic country. If that debut album, in the main, admirably replicated the country ballads of the 50s and 60s, his latest offering moves on a few decades to the country stylings of the late 80s and early 90s. Hedley describes that era as ‘the last bastion of country music,’ before the more cannibalised pop crossover sound became the music of choice thanks to the movers and shakers on Music Row.

Hedley has been the kingpin for classic country music in Nashville for nearly two decades. From the age of twelve, he had been playing fiddle every weekend in bars in his native southwest Florida, before relocating to Nashville seven years later.  By now he’s been playing at Robert’s Western World for seventeen years. His residency at that famed honky tonk on Lower Broadway consists of four-hour shifts belting out country covers and self-written tunes, earning him the title ‘Mr. Jukebox’, in recognition of his encyclopaedia-like knowledge of country songs. He’s also a regular performer at Acme and Seed and AJ’s bar on Broadway, together with appearances at the hippest out of town honky tonk, Dee’s Cocktail Lounge, at Palestine Avenue in Madison.

As was the case with his debut album, each of the twelve tracks on NEON BLUE have a familiar ring to them.  Although all original songs, they sound like resurrected classic country treasures from three decades ago. All the familiar country themes are covered here, from sad-eyed ballads (Old Heartbroke Blues), love found (Found In A Bar, Let’s Make a Memory), cheating (Down To My Last Lie), and first-night dating (Wonder If You Wonder). It’s as danceable as hell also, in particular the opener Broke Again and the title track.

With a collection of Nashville’s best session players and with the production duties shared by Jordan Lehning (Rodney Crowell) and Skylar Wilson (Justin Townes Earle), the end result is flawless. The final mix was by Kyle Lehning, whose previous employers include Randy Travis, George Strait, George Jones and Bobby Bare. Unlike his debut album, Hedley teamed up with other writers this time around. Carson Chamberlain, who was pedal steel player with the late Keith Whitley, and two other writers, Wayne McCubbin and Zach Top, penned the songs with Hedley. One cover was also recorded, the Roger Miller written River In The Rain. Hedley invited Jenee Fleenor, the first woman to be crowned the Country Music Association’s Musician of the Year, to take the fiddle parts, allowing him to focus entirely on the vocals.

‘I studied all the legends and learned from what they done,’ announces Hedley in the autobiographical song Country and Western.  You’re left wondering just how successful he might have been had he been born thirty years earlier. I expect that most likely he’d have his own name over the door of a Nashville honky tonk by now. In the meantime, tune in to NEON LIGHT and open a door to some musical delights from a torchbearer for real country music.

Review by Declan Culliton

The Waymores The Stone Sessions Chicken Ranch

Career musicians Willie Heath Neal and Kira Annalise hooked up in Georgia a decade and a half ago, when they were both performing in a covers band and side project called No Count Palookas. That encounter led to them combining their talents to play locally as a duo initially, prior to spreading their wings, touring and recording as The Waymores.

Now husband and wife, the self-managed duo are back on the road and as things get back to normal, they expect to return to their two hundred plus annual shows of pre-pandemic times. Their individual backgrounds are like something plucked from a film script.  Neal’s mother was an occasional country singer. Her son’s checkered upbringing included regular exposure to the music of Patsy, Elvis and Hank, together with spells in foster care. Unsurprisingly, he was a rebellious teenager and his saving grace was a career decision to join the Navy. Unlike others, rather than pursuing a dynamic and nautical related career in the Navy, Neal formed a band and played gigs when docked at every available port. On leaving the Navy he played in a number of punk and country groups, before launching his own outlaw country band, Willie Heath Neal and The Damned Ol’ Opry. That venture resulted in five albums but was disbanded for a new, and less hectic, adventure as The Waymores in 2013.

Annalise’s background was somewhat less volatile. She sang in her brother’s band for a couple of years before meeting her future partner in the No Count Palookas. What was initially a professional liaison eventually became romantic and they decided to follow their dreams by spending as much time together on the road, doing what they love best.

With nods in the direction of Loretta and Conway’s lush harmonies, THE STONE SESSIONS is a ten-track album packed with catchy hooks and wicked humour. Bat Shit Crazy follows a similar sentiment to Loretta, marking her man’s cards, but with lyrics that wouldn’t go down too well at The Grand Ole Opry. Sharing the lead vocals, Neal takes the honours on the similarly bawdy and Johnny Cash sounding Roll That Chain. I Don’t Like The Liquor is a Hank influenced romp and Annalise is at her twangiest on the lively Even When. Dale Watson and Katie Shore of Asleep At The Wheel guest on the album’s standout track, Caught.

Although THE STONE SESSIONS is laced with and humour innuendo, it’s much more than a novelty record. The combination of twang and raspy baritone vocals, combined with fine playing, is really engaging. The musicians that feature are Steve Stone who plays pedal steel and produced the album, Cody Jung on electric guitar, Eddie Martin on bass and drummer Shawn Thacker.

Review by Declan Culliton

Rain Perry A White Album Precipitous

The somewhat undistinguished album cover on Rain Perry’s seventh recording does little to highlight the treasures contained within.

Hollywood-born artist and activist, Perry’s whirlwind childhood included spending her early years in a fundamentalist hippie cult with her mother, who died at a young age from Toxic Shock Syndrome. She was then raised by her actor/writer father, residing in over twenty houses in both California and Colorado. Surrounded by musicians and artists during her childhood, it’s hardly surprising that Perry gravitated towards the arts and in particular towards songwriting and performing. Diagnosed with rheumatoid arthritis at the age of twenty-two and losing the ability to play guitar, she formed her own record label Precipitous Records and outsourced various musicians to feature on her recordings. One of those musicians, Mark Hallman, has appeared on the majority of those recordings and produced this album, together with playing most of the instruments. Others who guest on the album include BettySoo, Akina Adderley, and Wilko’s Mikael Jorgensen

The multi-talented Perry has collaborated in the past with a host of household names including Chuck Prophet, Eliza Gilkyson, John Dee Graham, and Victoria Williams. She also produced and directed the documentary The Shopkeeper in 2016, which highlighted the detrimental effect that the streaming economy was having on artists attempting to survive in the music industry.  

This album - as the title suggests - visits issues of race across the nine tracks, seven of which are originals, the two covers being Stevie Wonder’s Visions and None of Us Are Free from the pen of Barry Mann. The gorgeously funky The Money, complete with rap vocals, considers the less than equal opportunities between white and black Americans. In the song she recalls advice given to her by her grandfather (‘If you’re smart and put your money away you can be part of the American dream someday’), but articulates how that principle hardly applies to all races. Two tracks particularly stand out, Yarddogs/Morning Dew and the epic Lady of The Harbour. Awash with strings and choral harmonies, the latter is simply a delightful listen. The former,  equally impressive, finds the author revisiting her family history of bygone times.

 It’s little surprise to learn that Perry is working with director Kim Maxwell on a stage version of this album. The material is topical and intelligently written, laced with passion and impeccably articulated with truly touching lyrics.  Reflecting on and questioning the social and racial issues at large in modern America, it’s a body of work with zero misfires. Hugely impressive.

Review by Declan Culliton

Jefferson Ross Southern Currency Self Release  

Eleven songs, all based around the southern states of America and produced by the fine talents of Tomm Jutz. Having worked in the past with Jutz, notably on ISLE OF HOPE (2013) and STABLE SUITE (2015), Ross asked his old friend to produce this new project. All songs are played beautifully by a group of musicians that includes Jutz (guitars, harmonies), Timmy Rogers-King (fiddle, harmonies), Mark Fain (upright bass), Lynn Williams (drums, percussion), Mike Compton (mandolin), and led by Ross himself on guitars and lead vocals. 

The organic interplay is so fluid and natural, with the songs lifting the collective spirit and warming the soul. It’s reminiscent of a campfire get-together, where everybody contributes, and the overall feeling of being in the moment is everything. The songs are spread out across eleven different states and they give a sense of the magic that exists in these regions and the rootsy sounds that arise. It’s a joyful listen and songs like, Baptise the Gumbo (Louisiana), The Nashville Neon Waltz (Tennessee), Turquoise and Tangerine (Florida) and the title track, in tribute to Virginia; highlight this impressive collection, fuelled with acoustic blues, cool country and a celebration of the varied cultures that co-exist in the deep south.

Now on his seventh album, Ross sings with authenticity and his take on life in southern USA is not all candy coated for the folks; rather a genuine tribute to those who have influenced the rich tapestry of life there, the joy and the pain, the celebrations and the struggles. An impressive album and one that has much to recommend it.

Review by Paul McGee  

Mark Joseph Vegas Motel Self Release

The title track kicks off this eight-song new release from Minesota-born Mark Joseph. It’s a fine example of classic Honky Tonk, with the pedal steel of Jeff Waldeland prominent in the mix. It reflects on a lonesome guy, drinking off the memory of a lover, and soaking his self-pity with yet another shot. The traditional country sound of Hard Workin’ Man has the fluent fiddle playing of Ryan Young (Trampled By Turtles), leading the melody and a tale about doing what is necessary to make ends meet in raising a family. 

Joseph plays acoustic and electric guitar, in addition to taking all lead vocals. Nate’s Garage is a fast tempo work-out for the musicians and is reminiscent of early-Eagles in the country-rock feel and the driving beat, pedal steel and fiddle joining with the guitars to deliver impressively. The Life Of A Pipe Welder is another tribute to blue collar workers and takes things down a notch in an easy acoustic arrangement that includes some nice alto flute, courtesy of Stanley Behrens.   

Early Riser is an instrumental that highlights the superb talents of Ryan Young, as he solos with gay abandon, perfectly in synch with the fine acoustic guitar playing of Joseph, as they interweave across the melody. I Love You ‘Till I Die has some sweet Hammond organ playing by Toby Lee Marshall, together with the soft trumpet of Jake Baldwin, and the soulful vocals of Joseph. On a number of songs, we are lifted by the harmony vocals of Steph Devine and Jill Mikelson; all tastefully engineered by Alex Proctor (Grace Potter) and steered in a creative fashion by co-producer, JT Bates (Hiss Golden Messenger), who also contributes on drums and percussion. Cody McKinney anchors the sound on bass and plays in the pocket at all times with Bates. 

Little Lucy is clearly a song written for his daughter and is filled with heartfelt love for her presence on the earth, ‘You are my sunshine, you are a rainbow, Always smiling in the light.’ Such a gentle song, with bass trumpet from Baldwin and guitar from Jeremy Ylvisaker, complimented by understated keyboard melody from Proctor. The final song, My Friend, Stella Blue is a fitting way to end the album and it clocks in as the longest track included here. It looks back at an old friendship and contemplates the passing of someone who left a real mark in Joseph’s life. This third album really impresses over thirty-seven minutes of quality and refined musicianship. 

Review by Paul McGee    

Kate Klim Something Green Self Release

This is the fourth album release from a singer-songwriter who debuted back in 2006, after qualifying from the Berklee School Of Music in Boston. Klim has lived through  lot of life experiences since those younger days and now finds herself at something of a crossroads. Her youthful dreams have been put to the test and examined forensically by the in-between years. Having moved to Nashville in order to follow her muse, Klim found herself getting married, having two children and taking a step away from the music machine. Ever thus, the conundrum faced by many females when trying to prioritise family over career.

After seven years of balancing motherhood and the need to find a creative outlet again, Klim started to record some of the songs she had been writing; her world changed dramatically with the news of the tornado that caused havoc in East Nashville in early 2000. Returning from her Dallas base at the time, Klim found herself caught up in the wave of Covid-19 that effectively shut everything down for the music industry and led to her questioning the fragility of all that she held as providing stability. Add to this a gradual decline in her marriage that led to a break-up with her husband, and the need to display fortitude and resilience in the face of the gathering storms was never more apparent. 

The good news is that Klim is not only fighting back against these odds, but in the process has delivered an album of great depth and resonance, across these ten songs and forty-three minutes of superbly crafted music. But You Can’t talks about how fleeting all this living seems, trying to hold onto things that we can never fully keep, all the while growing older and taking on new interests, new experiences and searching for something to ground us, ‘All our books have torn up pages, all our pants have torn up knees, Doesn’t matter you’ll outgrow them in another couple weeks. It’s like we’re racing down a hillside and we’re only gaining speed and then we’re done.’

Head To Toe channels a river as a metaphor for life and the decisions that sometimes seem forced upon us, ‘I don’t know what’s wiser, or what ends up better, Oh to wait out the weather or to grab my things and go, Neither way is what I wanted, either way I'm getting soaked head to toe.’

Nobody Told You is a true song about a Japanese soldier who was discovered on a pacific island, not aware that WW2 had ended and, some thirty years later, still clinging to the belief that he is under attack. It stands as an example of the intransigent beliefs we often hold to be unshakable and it is, sadly, a truism. God and Magic, questions a relationship and how it develops, or dies, over time, while the sublime, Lines, couples the image of a halting teenager, trying to remember her part in the school play, with the sense of devastation felt in the aftermath of that Nashville tornado, ‘Piles of what used to be, the thing about storms like these, Is you’re still feeling them for years after they’ve passed.’

Having successfully navigated a Kickstarter campaign to raise funds for this new project, Klim took stock of her new reality and decided to press forward with using these songs as a way to reconcile the past while moving forward into her new life. Andrew Delaney produced in his Texas studio, while Michael Briggs engineered and mixed the tracks. A fine job they made of it too, with a warm sound and lots of space in the arrangements to enjoy the understated musicianship. Kate Klim plays piano and sings beautifully, her soft vocal tones calling to mind Sarah McLachlan in part. Josh Blue (drums, percussion), Scott Davis (guitar, bass, synths), Alyssa Cortez (trumpet), Mia Rose Lynne (harmonies, backing vocals) and Emerald Rae (string arrangements) make up the team of players who contribute to what is a look back at a life lived, lessons learned and a hope towards a brighter future. This is both an engaging and impressive album.

Review by Paul McGee

Latest Album Reviews

Errol Walsh Through Your Eyes Self-Release

 Northern Ireland singer songwriter Errol Walsh’s latest album is a collection of a whopping fifteen songs, mostly self penned and with a few cowrites. Co-produced by Errol with Joe Murray, in whose Sessions in the House studio the project was also recorded, he called in many of Ireland’s best studio musicians to help achieve his signature laid back country sound. The house band consisted of Ted Ponsonby (dobro and electric guitars and Hammond organ), Gordon Murray (guitars), Rod McVey (piano and Hammond), Dave Luke (mandolin, lap steel), Colin Henry (dobro) and Stephen Quinn (percussion), along with Joe Murray and Errol on guitars. The sound is enhanced on various tracks by Jonathan Milligan on pedal steel and fiddle player Niall Murphy.

Blessed with a wonderfully rich resonant vocal tone, the production amply allows Errol’s vocals to be upfront and centre.

‘There’s a ghost train tonight, leaving for the past’, Errol sings in Childhood Years. Judging by the theme of many of the songs here, he’s at a stage in life where he’s reminiscing about his past - songs like Old Man, Childhood Years, Looking Back and The Mortal Coil Shuffle make that abundantly clear. Like one of his acknowledged influences, the great Guy Clark, Errol is a master of the ‘talking bit in the middle’ as he demonstrates most notably in the aforementioned Childhood Years and in the story song Teardrops in the Happy Cup Cafe. There are three heartbreak songs and four love songs, although I Wish I Didn’t Love You But I Do tends towards the begrudging, intentionally tongue-in cheek. The tempo rarely strays from walking pace and the sound generally sticks to all of the full band instruments mentioned above, with backing vocals from several of the musicians. There’s some deviation from that formula in the blues/jazz number Just Around the Corner from the Blues and the closing track It’s All Good is a slow Western Swing affair. Stand out track is Let’s Go Round Again, a cowrite with Joe Murray and Pandy Walshe, who also guests on the song on acoustic guitar and duets with Errol. It’s a fun upbeat classic country song, referencing Merle and Willie, with some wonderful banjo from James Henry.

Let down somewhat by difficult to read sleeve notes and photos on a black digipak, there should be however, plenty here to musically satisfy Errol’s many fans around the country and further afield.

Review by Eilís Boland

Alexander’s Tin Star Enjoy the Ride Self Release

Alexander Mills is from Dundee, Scotland and he recorded this album with his son, Alex Mills (the 11), at the production controls. The album takes on an added poignancy when you learn that it was originally to be recorded with Alexander’s long-time friend and partner, Joe Ogilvie, who sadly died during the year. This makes the album project all the more meaningful. Some of Joe’s lyrics are included on the twelve tracks and the opening, title song, sums it all up with the words, ‘Let’s take our chances and ride while we still can.’

Alexander has plenty of experience on the local music circuit, playing in a number of different bands over the years and now collaborating with his musician/producer son on a project that is clearly dear to their hearts. Times Like These asks that we all come together and work for the common good and it’s such a relevant message for the reality of lockdown and community challenges that we have all been living through recently.

A Better Man, skips along on an easy groove and speaks of growing into an improved version of yourself when things don’t work out as planned in life. The Bottle, tells of regret over a failed relationship and an ongoing struggle with alcohol as a poor substitute. A Short Time, has a bright arrangement and some nice interplay between fiddle and guitar, with the message of having a good time while we’re here, ringing clear. 

Hypnotised is another love song about falling for the girl and trying to get into that feeling of being swept away. My Thunder is a highlight, with some great collaboration between the musicians and a celebratory sound; piano, fiddle and guitars coming together to reach a satisfying climax. It’s a fitting tribute to the memory of Joe Ogilvie and an enjoyable listen, with some fine musicianship and production to recommend it. 

Review by Paul McGee

Rhyan Sinclair Letters To Aliens LHG

The enforced lockdown courtesy of Covid was preceded by a period of recovery following a car accident for Kentucky-born singer songwriter Rhyan Sinclair. Rather than initially using that time to create a catalogue of songs, the anguish resulted in a period of writer’s block for her. Taking stock, Sinclair sought help by way of therapy, addressing both her predicament at that time together with previous trauma she had encountered. Eventually, the floodgates re-opened, the result being this collection of twelve songs, many of which deals with emotional issues Sinclair confronts.

LETTERS TO ALIENS is her second full album, following BARNSTORMER from 2018 and her EP MARSHMALLOW WORLD from the same year. Blessed with a delightful crystal-clear voice, Sinclair recorded the album supported by her band The South 65. The recording took place at Sneak Attack Recording in Lexington, Kentucky, with the production duties credited to Sinclair and Jason Groves. Her band is Danny Flanagan (guitar), Jeff Binder (bass), Cary Shields (drums) and her mother Toni Karpanski on backing vocals. Guesting on the album is Fats Kaplin, who contributes fiddle, pedal steel and theremin.

Performing, fronting bands and writing since her early teens, Sinclair’s core sound is a throwback to the country rock of the early 70s, with a comparison to Linda Ronstadt being the most obvious.  She opens the album in fine style with the explosive Dragon Spirit.  Her vocals sail gloriously above some fine bass and organ on the soulful Should’ve Been Prepared and echoes of Emmylou surface on the sublime ballad Gathering Dust. Other highlights include the radio-friendly Where I’ll Be Found and album closer With Every Goodbye.

“This album is a documentation of my human experience, my time capsule, my letter on a balloon, my story thus far.’’ explains Sinclair. It’s also a celebration of recovery, rebirth and regeneration from the possessor of a killer vocal and a skilled songwriter.  An extremely easy on the ear listen both vocally and musically from a collection of players firing on all cylinders. 

Review by Declan Culliton

David Quinn Country Fresh Self-Release

A shabby and very old glass ashtray in a recording studio in Nashville, where David Quinn was working on his second album LETTING GO, provided the impetus for the title of his third album. The COUNTRY FRESH logo, printed on the ashtray, pretty well summed up Quinn’s lifestyle changes in recent years, which found him moving in 2020 from the hectic city life of Chicago to a tranquil lake house in rural Indiana, where he penned the twelve tracks on his latest recording.

He returned to that same studio, Nashville’s Sound Emporium, to record this self-produced album, working once more with a host of top-drawer players, many of whom had also contributed to his last album. Returning players included Micah Hulscher and Jamie T. Davis from Margo Price’s band, who played piano and guitars respectively. Laur Joamets of Drivin N Cryin on slide guitar and solos, and Kacey Musgraves’ pedal steel player Brett Resnick also featured once more. In addition to these musicians, Fats Kaplin added fiddle, Andy Holcomb played bass, and Sturgill Simpson’s drummer Miles Miller also performed. Mike Stankiewicz (Willie Nelson, Shooter Jennings, Jason Isbell), who produced Quinn’s last album, was allocated engineering duties on this occasion.  

My initial introduction to Quinn was his inclusion on the Bloodshot Records compilation album TOO LATE TO PRAY, DEFIANT CHICAGO ROOTS from 2019. Featuring twenty-two artists, Quinn’s Long Time Gone was the stand out track for me and directed me towards the previously mentioned LETTING GO (2019) and its predecessor WANDERIN’ FOOL from the previous year, both of which were hugely impressive.

Describing his music as Black Dirt Country, he cites fellow Illinois-born John Prine as his primary influence.  Re-energised by his rural setting, the title of many of the album’s tracks (Grassy Trails, Cornbread and Chili, Hummingbird’s Song) express a nostalgic calling to mind and, in a world of ongoing challenges, an appreciation of the simple things in life. The expansive mid-Western landscape, its beauty and tales of both rejection and celebration, are central to the song’s sensibilities. He's in splendid voice throughout and the accompanying arrangements more than complement his gritty vocals. Setting his stall out from the get-go, the opener and title track is a salute to his new found lifestyle, sounding like a distant relation of the similarly upbeat Country Squire from Tyler Childers. Twangy guitars, perfectly placed in the mix, kick start the autobiographical Boy From Illinois, which also includes some slick pedal steel and moody bass lines.  The piano-led love ballad I Came Back To You (To Say Goodbye) echoes Merle Haggard at his most melancholy and the up-tempo honky tonker Easy Like The Breeze recalls carefree touring days.

Wearing his heart on his sleeve, COUNTRY FRESH finds its author proudly celebrating all that’s central to the music and way of life in his home state. In doing so, Quinn has once more revealed himself as a maturing artist and, alongside Ian Noe, Tyler Childers, Colter Wall, Charley Crockett, and Jaime Wyatt, part of a team of immensely gifted artists who are keeping modern classic country alive and kicking. If David Quinn is an artist unknown to you, I highly recommend that you check this album out. Believe me, this is truly worth your investigation.  

Review by Declan Culliton

Andrew Ryan A Tiny Death Delete Yourself

The title of Missouri singer songwriter Andrew Ryan’s latest album is taken from the French phrase ‘la petite mort’, which translates as ‘the brief loss or weakening of consciousness’. It signposts the lyrical direction of an album that finds Ryan in a contemplative mood and looking over his shoulder at past experiences, both memorable and lamentable. His reminiscences of being on the road as a welder in his previous life and more recently as a travelling musician, presented him with the time space and subject sources to create his healthy war chest of songs that appear on this album and his two previous recordings, ACROSS CURRENTS (2017) and WILD TERRAIN, YOU CANNOT DELETE YOURSELF! (2020). Whereas those two previous albums were more indie folk in musical direction, A TINY DEATH is slower paced, more acoustic, and likely to be filed in the groove driven Americana section of your record collection. Unlike many other similar recordings of recent times, the material was not written during Covid isolation, in fact Ryan was performing much of the material while touring prior to lockdown.

With unhurried vocals, Ryan’s husky deliveries are supported by warm and unobtrusive arrangements. What raises a number of the songs to another level are beautifully placed wispy backing vocals, in particular on the stand out tracks Janet and Midwest Kids. The latter is a statement about the life changes as we travel through the various stages of maturity and the former recognises the resulting mental pressure that accompanies them. Accepting and dealing with those inner pressures also surfaces on the free-flowing Fighting Loneliness and the acoustic Wilted Lover could have been plucked from the Leonard Cohen songbook.

Very much a DIY project, the album was recorded at home by Ryan, with contributions - also from their homes - from Jay Burgess (The Pollies), Danial Wolff (Dead Horses), Alan Hedges (American Aquarium), and Will Walden (STaG).  It’s a further reminder of the standard of somewhat under the radar artists out there recording quality music and an album that deserves to be heard by many.

Review by Declan Culliton

Kaitlin Butts What Else Can She Do Self-Release

Oklahoma-born country singer songwriter Kaitlin Butts has been a ‘work in progress’ for the past number of years, honing her skills as a performer, singer and songwriter. I witnessed her perform solo on a bill with fellow Oklahoma native Carter Sampson in Nashville a number of years ago and she oozed talent both in her stage presence and her knockout voice.

Currently residing in Nashville, her debut album SAME HELL DIFFERENT DEVIL, released in 2015, was an introduction to an artist with the capacity to write and construct credible songs, far from the formulaic material masquerading as country music and currently dominating country music radio stations. Seven years later - she has released a number of singles in the interim - she returns with an album that builds solidly on that impressive debut recording.

First things first, as previously mentioned, Butts is blessed with an incredible voice and the capability to be vocally powerful or hushed, whether belting out a honky tonk song or whispering a soothing country ballad.  She applies those vocals to some seriously impressive songs on WHAT ELSE CAN SHE DO. A recurring theme of choices (or indeed the lack of choices) facing women both in relationships and careers features strongly on the album. Her writing style brings to mind that of Brandy Clark, another artist with an eagle eye for detail. I suspect that much of the material is semi-autobiographical, as she confesses that the opening track It Won’t Always Be This Way, was a reflection of tough times that both her mother and herself were working through at the same time. Each of the other songs tells of resilient women in difficult predicaments, some confused, others outraged or struggling.  

Recorded at the Sound Emporium Studios in Nashville, the production duties were overseen by Oran Thornton (Angeleena Presley, Eric Church). He gets the sound spot on with the emphasis on placing Butt’s vocal drawl out in front, backed by a fine bunch of musicians. Those players were Fred Eltringham (drums), Justin Schiper (pedal steel), Joshua Grange (electric guitar), and Lex Price (bass). Her husband and Flatland Cavalry frontman Cleto Cordero adds harmony vocals on the classic title track What Else Can She Do.

The crutches used for short-term relief to blank out broken dreams fuel the track She’s Using. With a driving melody, it’s a powerful yet non-judgemental statement and is matched by the equally forceful Blood.  The latter, a co-write with Angeleena Presley, tackles emotional abuse and ‘gaslighting’ head on, decrying the controlling practice of portraying the victim as the abuser. While namechecking June and Johnny on Jackson, as you may expect from the album’s direction, the tale is one of unfulfilled dreams and rejection.  In The Pines, the album’s swan song, is old school country noir at its finest. Butt’s crystalline vocals simply soar above screeching guitars and pedal steel, providing a fitting end to a compelling suite of songs.

 Make no mistake, this is quality modern country music with a capital C. It’s been a long wait for Butts’ sophomore album but she has delivered with flying colours.

Review by Declan Culliton

Alma Russ Fool’s Gold Self-Release

A multi-instrumentalist and gifted with a voice as clear as a mountain stream, FOOL’S GOLD is Alma Russ’s second full-length album. Temporarily leaving her home state of North Carolina with producer Bill Palmer, she set up home in the Chihuahuan Desert for the recording. The location was the ghost town of Terlingua, Texas, where she recorded the album in the St. Inez Church, a rural chapel that has been standing in Terlingua for over a century. Joining her for the recording, alongside Palmer, who also played bass, were Lee Martin (pedal steel), and Moses Martinez (drums). Russ played acoustic guitar, fiddle and banjo and was joined on backing vocals by Mary Brett Stringer.

There’s very much a homegrown feel throughout the album, the ambience of a group of players jamming on a front porch comes to mind. With vocals that quiver, dip and soar in all the right places, and supported by some fine playing, Russ doesn’t put a foot wrong on the album’s nine tracks. The sound that she and her players collectively produce appears organic, unhurried and uncontaminated by any modern music trends.

Rural landscapes, and characters who dwell in them, are painted in vivid detail across many of the tracks. We hear of the neglected child Maggie May on the track In Another State and her dreams of leaving her hapless existence behind, (‘Jameson, baby girl you knew the smell ‘fore you could spell your name, mama’ d leave the empty bottles covered in her lipstick stains’). Escapism and leaving a toxic relationship behind also surface on Oklahoma Freight, (‘Old man put needles in his veins, I was the object of his shame, so I made my getaway, I hopped that Oklahoma freight’). Awash with uplifting pedal steel and weeping fiddle, it’s a simply divine tale of rebirth and passion. Notions of escape and fulfilment also loom large on the title track and elsewhere Bad Mammajamma features a carefree and fearless nomadic rodeo bull rider.

Not only the possessor of a golden voice, Russ is equally skilled as a songwriter. Eight of the tracks here are self-written, the ninth is her take on the traditional song Hills Of Mexico.  Born and raised on a farm in Florida, Russ is country through and through and that sentiment looms large in her writing. The material could not be further removed from the often lifeless and predictable songwriting manufactured in the sweatshops of Music Row. Instead, we’re presented with a suite of songs where the writer appears to have lived through every line.

FOOL’S GOLD, for me, is what authentic country music is all about. No frills, songs written from the heart, understated playing, laid back and gloriously loose, and as country a voice as I’ve encountered in quite a long time. A treasure of a find for me, it’s an album that I’ll be spending a lot of time with in the coming weeks and months.

Review by Declan Culliton

The Lied To’s The Worst Kind Of New Hollow Body

The third album from New England duo The Lied To’s, is a further examination by band members Doug Kwartler and Susan Levine of relationships, both failed and blossoming. The passing of loved ones, cherished and unwelcome memories also influenced their songwriting on the album. The songwriting and lead and harmony vocals, and acoustic guitar playing are shared on the album, which offers ten self-written songs and covers of Tom Waits’ Long Way Home and Clay Pigeons, written by Blaze Foley.

The band’s title - taken from The Everly Brothers’ When Will I Be Loved - points in the direction of a less than rosy backstory for both band members and the track Time, written by Levine, was triggered by recollections of difficult times, culminating in her divorce. However, many of the inclusions on the album also celebrate the present and more joyful times. Missing You was written by Levine during a pandemic enforced separation. Kwartler returned the compliment of that time apart with the love ode Brokedown Jamboree. Loved ones no longer with us also influenced the songwriting. The country-tinged Long Lonesome Road recalls the passing of Kwartler’s father and mother, and the importance of cherishing each day is echoed on the song. On a similar theme is the closing track It’s Only Love. The perky It’s Not Who You Love is a tribute to two musicians dear to Kwartler, who both departed this life around the same time.

THE WORST KIND OF NEW is an impressive exercise in keeping songwriting simple and to the point. Digging deeply into their memory vaults, The Lied To’s have delivered an album packed with a great deal of fervid soul searching. It plays out essentially as an album that they have written for each other, fueled by recollections of the past and optimistic about the future. Thankfully, they’ve shared those memories on this very listenable recording.

Review by Declan Culliton 

Jamie McDell Self-Titled Self-Release

Signed to EMI at the tender age of sixteen, New Zealand singer songwriter Jamie McDell’s debut album SIX STRINGS AND A SAIL BOAT achieved gold album sales in her native country. She subsequently recorded two further albums, ASK ME ANYTHING (2017) and EXTRADORDINARY GIRL (2018) prior to this self-titled album.

McDell experienced a somewhat unconventional childhood, when she was seven her father abandoned a thriving career in an Auckland law firm, purchased a yacht, and transported his wife and family on an exploration of the Mediterranean islands. It was during that adventurous period, thunderstruck by her parents’ John Denver, James Taylor and Jimmy Buffett tapes that were played constantly on rotation, that McDell was inspired to start songwriting.

Family is very much the central theme in much of the album’s lyrical direction. An ode to her father, she recalls her eccentric upbringing on Poor Boy. It’s a perfect country ballad, sung from the heart and masterfully presented, both vocally and musically. A further thumbs up to her parenting emerges on the chunky Daddy Come Pick Me Up and the acoustic ballad Mother’s Daughter. Dream Team, awash with dreamy pedal steel, is a Kathleen Edwards-style tune and a classic tale of dare and devastation.  She’s joined by the equally sweet-voiced Erin Rae on Where Are You Now and The McCrary Sisters lend a hand on the gospel tune Sailor. Female insecurity is addressed on Botox, which was the title track of her 2019 EP and she’s joined by Robert Ellis on backing vocals on the breakup song Worst Crime.

Blessed with a stunningly crystal-clear voice, perfectly suited to her contemporary country tunes, this album finds McDell in a particularly confessional mood on songs that are directed towards self-examination. She’s supported by some stellar playing with slick guitar breaks and pedal steel in all the right places. Releasing a self-titled album mid-career is often a reflection of an artist’s most honest and forthright outpourings. This is most certainly the case here and those outpourings amount to an extremely listenable and enjoyable album.

Review by Declan Culliton 

Latest Album Reviews

Michael Weston King The Struggle Cherry Red

I first encountered Michael Weston King as a member of Gary Hall and The Stormkeepers and later when he became a founder member of the band The Good Sons. I continued to follow his career but he really came into his own with his career as a solo artist. This started proper in 1999 with the release of GOD SHAPED HOLE which was followed by the release of a live album recorded in Europe and America (LIVE IN DINKY TOWN). Since then a further six albums were released (either recorded in the studio or live) and these additionally enhanced his reputation as a singer/songwriter who is the equal of many of his contemporaries in both the UK and USA. 

His career took a diversion in 2011 with the release of the debut album HOW DO YOU PLEAD? from My Darling Clementine, a more directly country orientated album that was essentially a vehicle for King and his wife and partner in song, Lou Dalgleish. Now he has released his first solo album in a number of years in THE STRUGGLE. It is in keeping with his worldview, an album whose themes are connected with the struggle that is simply a part of living today, of trying to make ends meet and when they do, to survive. It is political in that it is personal.

The opening track, Weight Of The World, reasons that it’s not the big but often the small that can be the straw that breaks the back of many. It assumes the mantle of a beat cop and the notion that force rather than favour can achieve facilitation. It appears also at the end of the album in a “ghostwriter” mix, that the seeming fiction of the song became a reality with the storming of the Capitol Building last year. There is a more late night feel to the second version with subtle wah-wah guitar and electric piano to the fore.

Weston King has handled the production of the album and Clovis Phillips recorded it and played on much of the material in a small studio in Wales. A selection of fine players were brought in to help him achieve the best results for each song, including the nostalgia of The Old Soft Shoe, which features some fitting trombone from the celebrated Barnaby Dickinson. Fellow singer/songwriter Jeb Loy Nichols adds vocals, as does Lou Dalgleish and, keeping it in the family, Mabel Dalgleish-King adds vocals and descant recorder on another track. Steve Nieve played piano for one song and strings were added effectively on a number of other selections. Overall it is testament to all involved with its vision realised successfully.

The title refers to a difficult climb in the Cumbria district but can also refer equally to the hard struggle that many, including Weston King, have faced since the start of this pandemic, perhaps as evidenced by the song The Hardest Thing Of All (which may well be just getting out of bed).

There is a certain melancholy and sadness that pervades these tales, yet that is tempered with the hope and underlying strength that is brought to the delivery by King’s distinctive and thoroughly recognisable vocals, that are both restrained and passionate. The majority of the songs are from King with two having additional credits. Theory Of Truthmakers has lyrics by his late friend Jackie Leven (for whom he has recently also produced a tribute album) while Sugar is a co-write with Peter Case and Sean Bruce. 

While listening to this album I also delved back in the MWK catalogue and it is a sterling body of work that is peaked by THE STRUGGLE but one that should be explored for its integrity, creativity and humanity.  

Review by Stephen Rapid

Ian Noe River Fools and Mountain Saints Thirty Tigers

 Numerous singer songwriters of recent years have attempted to follow in the footsteps, both musically and more particularly lyrically, of the legendary John Prine.  Few, if any, have succeeded to the same extent as Eastern Kentucky born and raised Ian Noe. His 2019 release BETWEEN THE COUNTRY signalled the arrival of a young singer songwriter with the skillset to create genuine country songs and with a correspondingly authentic vocal drawl to deliver his tunes. His inspiration comes simply from his life experiences growing up in the Eastern Coal Region of Kentucky, its striking landscapes, and the people that populate it. The songs and tales that flow from his pen are a throwback to the classic singer songwriters of previous decades, who wrote from the heart and not from hours spent in songwriting classes under the supervision of a record label hack.

 With RIVER FOOLS AND MOUNTAIN SAINTS, Noe has more than overcome the ‘difficult second album syndrome’, and instead has recorded a suite of twelve tracks that, if anything, surpasses that fine debut album. The recordings took place over a two-year period at Bomb Shelter in Nashville, the home of ‘go to’ producer Andrija Tokic, whose previous clients include Alabama Shakes, The Deslondes, Jeremy Ivey, and Phosphorescent.

The album introduces us to a diverse range of characters in Noe’s homebrew of tales. A guitar player that plays his instrument in the middle of any water available to him features on River Fool and the native people that once populated his homelands are recalled on Burning Down The Prairie. The latter includes a screeching guitar lead from Noe, who admits that he has been carrying that guitar break around for over ten years, waiting for the correct home for it.  Other standout tracks on an album with absolutely no fillers are the dreamlike Appalachian Heights and his extraordinary reconstruction of the Ronnie Scott / Steve Wolf written and Bonnie Tyler hit single, It’s A Heartache.  Having said that, I could include any of the album’s remaining tracks, given the quality on offer here.

RIVER FOOLS AND MOUNTAIN SAINTS is a further glimpse of the unquestionable talent of Ian Noe, an artist that would, without doubt, earn a place at Guy Clark’s top table in the mid-70s documentary Heartworn Highways.  A fuller sound than its predecessor, it is an album that transports the listener to the Appalachian coalfields of Kentucky, with poignant stories about real people and real events brought to song.  It’s also, for me and I expect many others, one that will be up there with the finest recordings of this year. Essential listening.

Review by Declan Culliton

Owen Fitzgerald A Deep Clean You Can Count On! Sleepy Cat

Even before popping this album into the CD player, the titles of the first three tracks (Touching the Oven At Work, Dark Meat and Don’t Give Me A Pet) on Durham, North Carolina resident Owen Fitzgerald latest recording suggest a somewhat left of centre offering. That’s exactly what is presented here as Fitzgerald continues on a comparable musical and lyrical direction which emerged on his two 2015 digital recordings, TIGHT GYRE and POINTER, representing the inner thoughts of an introvert attempting to survive in a messed-up world.

 Speaking about this album, which follows his debut EP BODY, CHILD, LIGHT, CRIME for Sleepy Cat Records, Fitzgerald explains, “These nine songs are like school pictures. They are wallet-sized portraits taken between 2006 and 2016. Sometimes I can’t recognize myself in the songs.’’ Taken at face value they suggest ‘home truths aplenty.’ Fear, isolation, depression and confusion all emerge, often laced in irony. By way of categorisation, his style and songwriting are similar to the work of the late Vic Chestnut and his vocals match those of Bright Eyes. 

A mutant strain of what could loosely be defined as alt-country, Fitzgerald strays into chamber-folk territory on the aforementioned Touching the Oven At Work. He recalls his battles with alcoholism - now fortunately conquered - on Fear On Pine Street (“Katie, I’m sorry, I keep falling down.’’). Austin Holly kicks off as a traditional love lost ballad before morphing into freeform jazz mid-song.  ‘I wish to the Lord I’d never been born or died when I was young,’ he announces on the love lost acoustic ballad that bookends the album, All Good Times Are Past and Gone.

With lyrical content that unfolds like an exorcism of sorts on many of the tracks, A DEEP CLEAN YOU CAN COUNT ON! is most certainly not a party album. More appropriately it is one for the slow cooker and with repeat spins many treasures unfold and is well worth the time invested.

Review by Declan Culliton

Jeremy Ivey Invisible Pictures ANTI

The third solo recording from Jeremy Ivey finds his attention distracted from the political topics and concerns that surfaced on his 2020 album WAITING OUT THE STORM. His latest offering calls to mind matters closer to home, not surprisingly given what he has gone through since that last recording. Struck down with Covid and a diabetic, Ivey battled the illness for a number of months, often sleeping ten and twelve hours a day, while his wife Margo Price and their two children were quarantined for over two months. Thankfully, he made a full recovery, and that whole experience, coupled with an enforced break from touring, heavily influences his latest album.

Rather than repeat the format of his previous albums by recording with his band and calling on Margo Price to produce, Ivey went down a different road with this album. Repeated listens to the record START IT OVER by Riley Downing of The Deslondes, led Ivey to the door of old friend Andrija Topic (Yola, Alabama Shakes, Hurray For The Riff Raff, Ian Noe), who had produced that album at his Bomb Shelter Studio in Nashville. Ivey and Margo Price had previously recorded with Topic back in 2008 with their band Buffalo Clover. Impressed by the arrangements and in particular, the rhythm section that Topic put down on Downing’s album, Ivey asked the producer to gather the same musicians in the studio for his recording. As a result, the impressive line-up that features on the album includes Jack Lawrence from The Raconteurs and Dead Weather on bass, Megan Coleman, who plays in Yola’s band on drums, and Margo Price’s keyboard player Michael Hulsher. Contributions also came from Chris Scruggs on pedal steel, and jazz violinist and bluegrass fiddler Billy Contreras. The infusion of new blood to work with and handing over the control to Topic proved to be a masterstroke.

If many of the album titles suggest a somewhat dour and downbeat direction, the end product is, in fact, the opposite.  In a recent Lonesome Highway interview with Ivey, he explained, ‘What happens is that I naturally write from an upset and dark place and when I develop the songs, I find hope in there. That tends to be the theme.’

His listening choices which influenced much of the musical trajectory on the album were Elliot Smith, The Handsome Family, Spanish guitarist Paco de Lucia, The Kinks and The Beatles. Tossing that lot into the melting pot had the potential to yield interesting results, and d0es exactly that. The autobiographical and bittersweet opening track Orphan Child plays out like a personal introduction by Ivey to the listener. Behind the soulful swinging melody - with echoes of Graham Parker & The Rumour’s Heat Treatment - lie some soul-bearing lyrics (‘my family tree’s on fire and I don’t belong here or any place near’). Fast forward to the present day and Ivey opens his heart on the loved-up and gloriously power poppy Keep Me High (‘I got a new love that lasts forever, she’s got what it takes to keep me high’).  A co-write with Price, it’s confirmation if that was ever required, of two survivors who are in a very good place. Those rays of hope and optimism also shine brightly on the title track, which is a duet with Price. ‘No nothing could bring me down today,’ they sing defiantly while recalling the horrors of the 2020 Christmas Day bombing in Downtown Nashville, together with ongoing crime and homelessness.

Trial By Fire and Empty Game are both tender ballads featuring Ivey on nylon string acoustic guitar, and the album closes with the piano led Beatle-esque Silence and Sorrow.

Given that Ivey’s main focus in the past number of years has been to support the burgeoning career of his wife, he has recorded three fine albums in as many years. For my money, INVISIBLE PICTURES, with its deeply melodic approach throughout, is the pick of the crop, and an album that I’ll most certainly be regularly returning to in the months ahead.

Review by Declan Culliton

The Hanging Stars Hollow Heart Loose

London five-piece The Hanging Stars headed north to Edwyn Collins' Clashnarrow Studios in North-Eastern Scotland, to record their fourth album HOLLOW HEART. Signed by Loose Records, it follows their fine release from 2020, A NEW KIND OF SKY.  A further expansion of their signature psychedelic cosmic country, their latest offering also signals a growing confidence from a band whose melodic intensity seems to improve with each of their recordings.

The Hanging Stars are songwriter Richard Olson (lead vocals, guitar), Sam Ferman (bass), Patrick Ralla (guitars, keyboards), Paulie Cobra (drums) and Joe Harvey-Whyte (pedal steel). Their core sound lands somewhere between the psychedelic probing of Syd Barrett era Pink Floyd and West Coast country rockers The Flying Burrito Brothers.  With the prospect of touring put on hold during 2020, they put the downtime to good use, working online collectively on the album’s material, prior to heading to the studio to record. They called on Sean Read (Dexy’s Midnight Runners, The Rockinbirds, Famous Times) to oversee the production duties and on the basis of the resulting ten tracks, that choice was more than rewarding.

Swaddled in sweeping arrangements and with Olson’s assured vocals supported by layered harmonies, trippy guitars and soaring pedal steel, the band draw on their influences to construct a suite of consistently impressive tracks. Loaded with show stoppers, it’s actually difficult to highlight the individual stand-out ones. The tracks that did have me hitting the repeat button on the first play were the sweeping Black Light Night and the jangly Ballad Of Whatever May Be Hollow Eyes. Equally striking is Hollow Eyes, Hollow Heart, which plays out like a bonus track from the soundtrack to the 1969 classic Easy Rider. The flowing harmonies on You’re So Free’s recall CSNY and Radio On, the first single from the album, is a sublimely crafted modern pop song.   

It's unfair to always compare an album with its predecessor. However, The Hanging Stars have raised the bar multiple notches with HOLLOW HEART and given adequate promotion, should attract many more devotees on both sides of the pond.  In simple terms, it’s a free and easy listen of harmony loaded cosmic country, with striking melodies more familiar in previous decades. If you want your senses soothed, check this one out. Believe me, it’s certainly worth your investigation.

Review by Declan Culliton

Samana All One Breath The Road

Samana is comprised of artist and poet, Rebecca Rose Harris and producer and multi -instrumentalist, Franklin Mockett. Their second album is a real treat and one that lulls you into a soporific state of drifting reverie. Harris possesses a vocal style that is both haunting and languid in her delivery. When you wrap her esoteric words around the lush melodies created by Mockett, then what you get is a restrained magic across these ten songs.

The album was recorded in 2020 in rural France, where the couple found themselves in lockdown as Covid struck the country. Deciding to stay at their rustic retreat and to explore what may arise out of their collaborations proved to be a wise choice. The results were a basket full of songs that echo the quiet calm of the countryside and an ethereal sense of the world slowing down. The lack of album credits leads me to believe that the entire project was delivered by the duo exclusively and, if this is the case, then I am in awe of the talent on display. 

Harris channels the spirit of these times, her feminine instincts in tune with the slow turn of nature and seducing all those who listen to these vignettes of reflective thoughts and realised emotions. Her tone is sometimes reminiscent of Nico as she sings on top of the beautiful melody lines that add great colours. Leaving is all strummed guitars, soaring cello and violin melodies with a stripped-down bass and drum rhythm; a song about wanting to travel and releasing a wistful yearning to feel free. The superb Patience builds to a dynamic conclusion and is about the most up-tempo track included here. Begin Again has a gentle acoustic guitar motif, subtle strings and a wish to start a life all over again. Patience speaks about living in the moment and returning to the present. There is not a weak track here and the superb guitar playing of Mockett is a joy throughout. An album to treasure and one that is both hauntingly beautiful and deeply moving. 

Review by Paul McGee

Eve Adams Metal Bird Basin Rock

This third album from Oklahoma born Adams reflects upon a time when she was commuting between her new base in Canada and California, where a family death had taken her. As such, there is an air of melancholy that hangs over the ten songs included and the restrained vocals of Adams are reminiscent of Judee Cruise, circa her work with David Lynch on Twin Peaks. The song arrangements are angular in part, somewhat reflecting a dissonance felt within. The is a muted saxophone, a harmonica and drone part, a jazz-tinged guitar, a piano part that seems out of step with a melody. 

The album title is a metaphor for the sense of risk and danger that we all feel at moments in our lives. Adams states that she “felt lost in time; like everything was up in the air.” It also references the fact that she felt “suspended on a journey that is no longer in our hands.” The regular flying between cities gave Adams the opportunity to reflect upon her life and questions of love, death, insecurity and loneliness. 

All songs were written by Adams and the project was produced by Military Genius (Bryce Cloghesy), who added saxophone on a couple of the tracks – on the closing song, My Only Dream, and You’re Not Wrong. The sparce sound is augmented by occasional orchestral arrangements, courtesy of Nicolas Dirksen and the sense of floating through space and time is very evident in the overall feel of the album. There is a hint of fragility and creeping darkness on tracks like The Dying Light, Blues Look the Same and Prisoner. If Mazzy Star had a secret sister, then I’m sure that Eve Adams would be that person. Her vocal is laced with a touch of regret and of something lost. It can make for meditative reflection or for a plea to end the inner turmoil, a choice that seems to rest with the listener. Sometimes compelling, and occasionally uncomfortable, the album is certainly an interesting addition to the growing reputation of a talented artist.

Review by Paul McGee

Jerry Leger Nothing Pressing Latent 

This Toronto-based artist has been releasing music since 2005 and his creative talent has seen thirteen albums surface to date. This new project was recorded with Michael Timmins of Cowboy Junkies fame at the controls. It helps that Latent Records is in fact the label that is owned by the Cowboy Junkies, and that Timmins has also produced the previous three Jerry Leger albums, including 2019 release, Time Out For Tomorrow. 

In 2020, Leger released a solo acoustic project, Songs From the Apartment. It was ten songs, recorded at home, and the sense of isolation during lockdown didn’t impact on the relaxed and quiet feel of the lo-fi recording. He has always moved across genres and is a prolific artist, gaining many new admirers for his side projects, like the Del Fi’s (rock n roll), and the Bop Fi’s (bebop/jazz). Leger also released a career retrospective album in 2019, titled Too Broke To Die, it included twenty-one tracks that spans his output between 2005 and 2019.

His vocal tone is quite high on the register and has a warm quality to it. The songs seem deceptively simple on initial digestion but on further analysis they contain plenty of layers and some rich interplay. The new album is very much an example of this, with Leger playing acoustic and electric guitars, harmonica and Wurlitzer. Tim Bovaconti adds some electric guitar and pedal steel on two tracks, while Dan Mock on bass and vocals anchors everything with Kyle Sullivan on drums and percussion. They are very locked in as a rhythm section and provide a great groove to the arrangements.  Angie Hilts sings on two tracks and producer Michael Timmons jumps in on ukulele also.

Songs like Protector and Nothing Pressing are acoustic based and swing along with an easy melody. On the title track he sings, ‘Try me again next summer, And I'll be so relaxed, Gone will be the burden, Of hiding all the cracks.’ Ah yes, the relative boredom of life in the country…

There is a touch of Neil Young on the atmospheric Recluse Revisions. It’s a song about looking back and reflecting, ‘I thought this bar was gone, Looks the same after so long, You're the one who's different, Making recluse revisions.’ It has some fine pedal steel and harmonica parts.

Underground Blues has some superb guitar interplay between Leger and Bovaconti with great atmospheric feel. The jangling guitar sound of Have You Ever Been Happy? is pure rock n roll dynamic and the harmony vocal of Angie Hilts adds an extra colour in the mix. A Page You’ve Turned talks about a broken relationship and Leger has stated that “this record is about survival, mental, physical and artistic survival.’ Well, based on the evidence here,  he is doing much more than merely surviving; Leger is thriving and this album hits a creative highpoint.    

Review by Paul McGee

Sarah McCulloch Sawmiller’s Daughter Self Release

This is a real pleasant surprise and I love when a new artist comes along to inject a ray of sunshine into the life of an old, tired music reviewer. Twelve songs over forty-seven minutes and not a bad track among them. The playing is really bright and vibrant throughout and the assembled musicians sound like they were really having a fun time. The whole  project was produced by Jim Bickerstaff at East Avalon Recorders in Muscle Shoals, Alabama. The location and its history clearly rubbed off on the players, with such inspired surroundings leading to great interplay, both subtly restrained on the slower numbers, and generously layered on the more mid-paced and up-tempo ones.

McCulloch allows her southern roots to shine through in her vocals. They add a warmth in the delivery and her tone is not unlike Nanci Griffith at times. She grew up in Miami and her sound is very much traditional Country. A real breath of fresh air in these days of country crossover and genre blending.

All songs are written by McCulloch, except for a great cover version of I'm Just an Old Chunk of Coal, written by Billy Joe Shaver. This track allows free reign to the musicians to take solo turns in elevating the arrangement and kicking it into a joyful jam. 

The featured musicians are Terry Feller (drums), Bob Wray (bass), Clayton Ivey (Hammond B3, pianos, Wurlitzer), John Willis (acoustic / electric guitar, banjo, mandolin), Kelvin Holley (electric guitar), Donny Carpenter (fiddle), Pat Severs (pedal steel), Stan Geberer (harmonica) and Savannah Bickerstaff, David Hester, Landis Yarovyy, Leslie Gardner, Simone Appleby, and Jim Bickerstaff on background vocals.

Sugartown is a song about young love and has a great guitar sound. Half Crazy is a cheating song with a slow arrangement and some fine pedal steel playing. Sawmiller’s Daughter is a tribute song to her father and the example that he set in the life that he led. Sun and the Moon is a message to love life, and the longing and dreaming of Sunkissed is matched by the optimism of Peace and Happiness, with the prospect of new beginnings. The banjo, pedal steel and fiddle on Free Spirit Love Song are another highlight, while the harmonica and banjo on Honey To A Bear reflect the light touch and easy groove on much of this impressive record. Well worth your time folks.

Review by Paul McGee

Latest Album Reviews

The Whitmore Sisters Ghost Stories Red House 

Texas born sisters Eleanor and Bonnie Whitmore were raised in a musical and liberal home, where their father taught them how to fly planes while still in their teens. Bassist Bonnie, the younger of the two by seven years, has four solo albums under her belt already. Having spent a few years in Nashville, she currently lives back in their home town of Austin, where she plays bass with people like James McMurtry. Eleanor (strings and piano player) moved to the other side of the continent to be with her husband, Chris Masterson in California, from where they tour as The Mastersons, collaborate with Steve Earle and Chris also produces other artists in their home studio.

This first duo album from the sisters became inevitable when Bonnie visited Eleanor and Chris in LA for a week during lockdown, and Chris insisted that they finally record that project that had been bubbling under for so long.

GHOSTS is permeated by the spirits of the many loved ones that they have lost along the way. Contrary to what one might expect, it is not a collection of dirges, rather a diverse series of recollections, reminiscences and tender tributes, which have been tempered by the gift of time. 

Bonnie was in a relationship with the late Justin Townes Earle during her time in Nashville, and Greek Tragedy expresses the intense pain of loss brought about by addiction, by it’s almost inevitability. Hattie Webb’s harp adds an appropriate ethereal atmosphere to a touching farewell, sung in harmony by the two sisters ‘carry on in our memories, goodbye, sweet dreams’.

Another ‘dead ex-boyfriend’ of Bonnie’s was Chris Porter, a musician who died tragically while on tour, is the inspiration for The Ballad of Sissy & Porter, which is given a distinctly Cajun flavour, helped by the presence of Dirk Powell on accordion and triangle. 

In addition to the two sisters on their usual instruments, they are accompanied throughout by the core band of Chris Masterson on guitars, Jamie Douglas on percussion and Tyler Chester on Melllotron, piano and organ.

Friends We Leave Behind is intensely moving, and in fact could be a difficult listen for the recently bereaved, ‘The friends we leave behind, is what defines us, how many will there be when we’re gone?’ Soaring strings express the rising pain of a break up in Superficial World of Love, and the title track is a beautiful tribute to all the people of colour killed by the police in the US, “I will remember you, I will say your names”. Renowned pedal steel player Jon Graboff adds his magic to the delicate subject of falling for someone who’s already taken in By Design.

The two covers - Aaron Lee Tasjan’s Big Heart Sick Mind and Paul McCartney’s On The Wings of a Nightingale - are less appealing to this reviewer. 

The album is visually appealing with its sepia photographs and detailed lyrics and information insert - take note, all you budding artists out there!

I must admit that it took quite a few listens before I really ‘got’ this album, but it’s one of those that is worth every minute spent in its company, and it reveals new riches with each play. Seek it out and enjoy.

Review by Eilís Boland

Old Salt Live in Room 13 Self Release

Describing themselves as an ‘international Americana band’, Belgian based string band Old Salt have released this 5 track EP as a sort of calling card for their return to live gigging, post the you-know-what. Recorded live in Ghent’s Room 13 Studios, they have raided the Great American Songbook to chose songs that express ‘the monotony, loneliness hope and loss’ felt by all of us over the last two difficult years, but recorded with their usual verve and enthusiasm.

Led by American Dan Wall (banjo), the band is completed by a trio of Belgian natives: Lotte Remmen on violin, Johannes Wannyn on guitar and Lara Rosseel on upright bass (although the touring bass player often changes). 

The much covered Woody Guthrie’s Pastures of Plenty is given an appropriately ominous and menacing feel (very different from the original recording), emphasising the trials of the many migrant workers who toiled in the US (and indeed still toil) to feed the country. ‘(We) cut grapes from your vines, to set on your table your light sparkling wine’. The song runs into an original lively, fiddle-led instrumental Charlie’s Dog, before reprising the original song, ‘we come with the dust and we go with the wind’.

Ry Cooder popularised Always Lift Him Up and Never Knock Him Down, originally from the pen of fiddler Blind Alfred Reed in 1928, and here it’s given a gentle soulful rendering, led by Dan on open backed banjo, with exquisite harmonies from the three band members. Nobody Knows You When You’re Down and Out, the blues standard originally popularised by Bessie Smith, is given a gloriously over the top jazz-blues rendition, and another jazz-folk standard, St James Infirmary Blues affords Old Salt the opportunity to show off their jazz chops, including a dramatic increase in tempo halfway through. They cement their versatility with a stunning a capella version of the sea shanty, Grey Funnel Line, written by Cyril Tawney in 1959 and now a standard in the English folk cannon.

On top of their existing three albums of mainly original tunes, Old Salt have demonstrated that they are equally adept at breathing new life into the time honoured covers that they sprinkle through their live set. Check it out, and catch them live if you can.

Review by Eilís Boland 

The Wooks Flying High Self Release

The third album from contemporary bluegrass band The Wooks was recorded live over two sessions in Nashville. Self-produced by the band, the recording took place in the home studio and under the watchful eye of bluegrass guitar player Jake Stargel, who engineered the album. Acclaimed in bluegrass circles, Stargel’s many awards include the IBMA  2014 Instrumentalist of The Year. The band’s objective was to recreate the authentic live sound attained by the late Tony Rice’s work with producer Bill Wolf at Arch Studios. Following the passing of Rice in 2020, the band made contact with Wolf, asking if he would master the album, which he agreed to do.

The current line-up of The Wooks includes three Nashville-based players, Harry Clark on mandolin and vocals, George Guthrie on banjo and vocals, Allen Cooke on Dobro, and Lexington, Kentucky resident CJ Cain on guitar and vocals. Additional guest musicians that lent a hand in the studio are Johnny Calamari and Mike Bub on bass, and Nate Leath and Jesse Wells on fiddle.

Of the twelve tracks on the album, ten are written by the band along with two covers. John Prine’s Iron Ore Betty gets an acoustic makeover and opener What The Rocks Don’t Know was written by Arkansas songwriter Willi Carlisle. One instrumental, Madison Chimes, also features, showcasing their individual and collective playing skills and, in particular, the banjo playing by Guthrie who composed the song.

Far from being ‘one trick ponies’, they stray from their traditional bluegrass origins on Tennessee Girl and the old-timey New Peace Of Mind. Both tracks tip their hat in the direction of Tyler Childers, no doubt influenced by partnering Childers on tour in recent years. They recall the country roots of The Band on the title track and Mudfish Mama, which sit comfortably alongside more conventional bluegrass tracks Virgil’s Prayer and Butler Hayes.

All in all, a refreshing suite of songs from a band whose appeal should travel much further than simply diehard bluegrass fans. FLYING HIGH captures the mood of free-flowing and fun-filled live music, in addition to delivering well written and spirited country tunes.

Review by Declan Culliton

Sarah Shook & The Disarmers Nightroamer Thirty Tigers

“I didn’t want there to be a shocking, jarring difference, but I definitely wanted it to feel like things are opening up. It’s a bigger feeling experience,” explains North Carolinian artist Sarah Shook about her third full album with her band, The Disarmers.

Her previous two albums SIDELONG (2017) and YEARS (2018) were both released by the now defunct Chicago based independent label Bloodshot Records, who were the perfect fit for Shook’s marriage of raw country and indie rock. The demise of that label resulted in a delay in the recording of NIGHTROAMER, which thankfully received the support of the Thirty Tigers label and finally sees the light of day.

The album is somewhat broader in range than her previous releases, without abandoning her trademark ass-kicking insurgent country punk. The opening three tracks, Somebody Else, Been Lovin’ You Too Long and If It’s Poison, all super melodic, do signal a move from her core sound to a more indie driven power poppy direction. However, that all changes with the next three songs No Mistakes, the title track and It Doesn’t Change Anything, all of which find Shook and her comrades as spunky and twangy, both musically and vocally, as ever. Believer and Stranger both land somewhere in the mid-point between alt-country and power pop.

Shook has spoken openly about the many life challenges that she’s been dealt. Born into a fundamentalist Christian family, dealing with issues around sexual orientation, depression, addiction and relationship issues dominate her songwriting. The titles of the majority of the ten tracks leave the listener in little doubt as to the extent of Shook’s intense personal searching and allude to open wounds not yet entirely healed. Lyrics such as ‘God is dead and heaven’s silent’ on It Doesn’t Change Anything are a stark reminder of the people’s never-ending struggles with mental health and addiction issues.

With Eric Peterson on guitar, Aaron Oliva on bass, Phil Sullivan on pedal steel and Shook’s marked vocal deliveries, they collectively reproduce their rugged weather-beaten sound that works spectacularly well in the live setting.

Let’s hope that removing Bloodshot Records from the pitch does not signal the death knell for many alternative roots and insurgent country artists, it does seem fewer and fewer albums are coming from that genre. This recording, loaded with attitude and passion, opens new doors on every listen.  It’s also further testimony of Shook’s creative fire, one that deserves to continue burning brightly.

Review by Declan Culliton

Hailey Whitters Raised Pigasus/Songs & Daughters/Big Loud

The path to stardom for Iowa-born artist Hailey Whitters is the stuff of fairy tales. With a passion for country music since childhood, at the tender age of seventeen she abandoned her hometown of Shueyville (population 731), leaving her parents and five siblings, and headed for the bright lights of Nashville. Overnight success evaded her and she existed for over a decade working at various jobs while performing most evenings on any stage available to her.  Twelve years in Music City and without any prospect of a sustainable career in music, her final throw of the dice was the independent release of MY DREAM, an album, in the main, detailing her unfulfilled aspirations. Despite her upset that the recording was to be her Music City swansong, the album, and in particular the track Ten Year Town, finally got her critical industry attention.  It also won her a label signing and fast-tracked a deluxe and expanded recording of that album the following year.  Ironically titled LIVING THE DREAM, it included collaborations with Brent Cobb, Jordan Davis, Hillary Lindsey, Lori McKenna, Little Big Town, and Trisha Yearwood. It also resulted in the accolade of  being ‘one of the most interesting voices in country music,’ from NPR. Her reputation was further enhanced when she was Grammy-nominated for the song A Beautiful Noise, co-written with Brandi Carlisle, Brandy Clark and Alicia Keys.

If THE DREAM and LIVING THE DREAM focused on the ups and downs of her adventures in Music City, RAISED finds her back home in Shueyville, recalling the events of her previous life. Co-produced with Jake Gear, Whitters has a lot to report about those times and does so across no fewer than seventeen tracks, sharing the writing duties with a host of big hitters including Lori McKenna, Craig Wiseman and Brandy Clark. Also featured - quite unexpectedly for me - is an out-and-out rocker titled Middle of America, which finds her working with B.J. Barham and his band American Aquarium.  It’s a killer track and possibly a hardcore sound that Whitters may explore in the future. Elsewhere, she sticks broadly with the sonic terrain that worked so well on LIVING THE DREAM, blending country ballads with more mainstream tunes loaded with irresistible hooks.

Whitters is blessed with a vocal purr with heaps of twang, that dips, soars and quivers on a host of impressive tracks which hit the spot instantly. Many of those tunes are memoirs from happy times growing up, with the album’s deepest cuts being the title track, Big Family, In A Field Somewhere, the piano ballad Pretty Boy, and complete with a Tom Petty sounding riff, College Town.

The album opens and closes fittingly with the operatic Ad Astra Per Alas Porci, i.e. ‘To the stars on the wings of a pig.’’ It was the defiant personal seal of John Steinbeck in response to being told by a teacher that he would succeed as an author ‘’when pigs fly.’’  It may or may not reflect comments made to Whitter as she set off on her journey to realise her dream, but it is a testament to her resoluteness and dogged hard work, notwithstanding her talent as a singer and songwriter.

‘’This record is where I'm from, this is me. It feels like the prequel to THE DREAM," explains Whitters. She has thankfully also remained ‘country’ - there’s plenty of pedal steel, fiddles and banjo on offer - without a total crossover to mainstream pop, striking the balance perfectly between both. Similar to Miranda Lambert, her chosen musical direction is likely to reward her handsomely in the years to come. Sometimes dreams do actually come true.

Review by Declan Culliton 

Amy Correia As We Are Self-Release

Singer songwriter Amy Correia grew up in Lakeville, Massachusetts prior to relocating to New York, where she graduated from the woman’s Liberal arts college Barnard College. Signed by Virgin, she recorded her debut album at Daniel Lanois’ Kingsway Studios in New Orleans, but issues with the label resulted in the album being shelved.  Titled CARNIVAL LOVE, it was eventually released by Capitol/EMI in 2000. Her output has been quite sparse since then, though consistently of very high quality. The outstanding LAKEVILLE was released in 2004 and YOU GO YOUR WAY followed six years later.

Her latest release is a five-track EP. Written before the pandemic, Correia revisited and refined the songs during the lockdown, eventually recording them at Woolly Mammoth Sound Studios in Waltham, Massachusetts. The production duties were carried out by bassist, singer songwriter and producer Kimon Kirk, who has recorded and toured with Aimee Mann, Alejandro Escovedo, Rufus Wainwright and many more. Kirk played bass on the album and was joined in the studio by Mike Castellana (The Blue Ribbons, Sarah Borges) on guitars and pedal steel, and Andy Plaisted (Pete Mulvey, The Radio Kings) on drums and percussion.

The album is one that doesn’t slot easily into any particular genre and covers a number of bases. Correia is quite at home being a little bit jazzy (Bow To The Fire), a little bit folky (Sweet Thing), and a little bit bewitching (The Beggar). Her vocals are out in front, gloriously edgy, sometimes sounding as soulful as Frazey Ford, other times as delicate as Melanie. There’s also a noticeable chemistry between her supporting musicians, whose understated intricate arrangements fully support her vocals.

An acclaimed lyricist, there’s mystery in Correia’s writing, with the outcome of tales that unfold often left open-ended. An abandoned pair of sneakers, observed by her following a rainstorm, sowed the seeds for the song The Beggar and we hear of a carefree driver heading for a possibly fatal crash on Sunday Driver. She signs off with an ode to the artists who have opened their minds and hearts and inspired Correia. Titled With All Of Us, it’s a fitting finale to a collection of most enjoyable, ambitious, and ambient songs.

Review by Declan Culliton

Bigdumbhick A Little Bit Weird Self Release

Jeff Wall grew up in Tennessee and he now resides in North Carolina, playing mostly on the local circuit, where he has developed a reputation based on a hard-work ethic and a natural talent for song writing.  He taught himself guitar during a 20-year career in the navy and was persuaded to record his songs for the first time in 2016. Since then, Wall has earned his stripes, playing in all kinds of venues, at all types of functions - a long path littered with plenty of stories to tell from gigs in all kinds of strange places. This is Wall’s fourth release and it’s a great listen. With a generous thirteen songs and over fifty-five minutes of listening time, the album boasts an engaging production with plenty of organic playing from Wall and his musician buddies that really bring his songs to life.

Using a performing name of Bigdumbhick gives an early image of someone who is out to trip himself up, or worse still, to scare the kids away. Standing 6 feet 7 inches tall and weighing north of 25 stone, it’s understandable to have such an impression; but don’t get fooled by this sleight of hand. While there is no disputing that Wall cuts a serious presence, my feeling is that he comes over more like a big old wise grizzly bear. And the first song on the new album, Unicycle, gives testament to this, when he sings, ‘ I'm a bear riding a unicycle, wobbling around the ring, I'm old and I'm fat, I wear a dumb little hat, I'm just trying to do my thing.’ As a code for living the simple life, it sums up his down to earth, humble approach to it all. 

With his humorous, witty words, and ironic world view, Wall is an artist that will certainly turn a few heads. If you enjoy the keen observational eye of James McMurtry, with some of the old wisdom of perhaps, a Guy Clark influence, then you may well find yourself seeking out the company of Bigdumbhick. This performance moniker probably doesn’t serve him well if looking for new admirers, but I can assure you that it’s all very tongue in cheek, the self-mocking joke being more an inverted way to win friends and influence people. A testimonial from Patterson Hood of Drive By Truckers fame, does no harm at all and underlies the talent that creates these songs. A perspective that is worthy of serious attention. 

When you look beyond the wicked sense of humour, you find plenty to pose some serious, heartfelt questions too. First Cup Of Coffee looks back at the values of older generations and is in tribute to his father, ‘My old man is gone but I wish I could ask him, If he ever felt the same in his day, You don't have to like it, you just have to do it, That's one of the things that my old man would say,’

Also, with the song, Help Me Mama, I Can’t Breathe, the shocking death of George Floyd is the subject for righteous anger and frustration at the way Black minorities are treated, ‘8 minutes, 46 seconds, The time it took for him to die, Another person executed, Being Black his only crime.’ The jagged, edgy electric guitar of producer Tom Troyer venting the rage in a really dynamic arrangement.

Equally, closing song, Choices, is a deeply personal regret that Wall holds over his inability to support his pregnant girlfriend, back in their teenage years. His decision to run from the reality of the situation haunts him ever since and this very honest apology is something that Wall clearly has thought long and hard about including on the album. It’s just a vocal and an acoustic guitar, bare bones, and reflecting, ‘Being young and scared that ain't no excuse, That won't justify the things that we choose, And every choice we make comes with a price, Some you pay right now, others take the rest of our life.’

The playing has an addictive, loose, almost ramshackle feel in places, but is filled with inspired interplay among the musicians. Recorded at Big Rabbit Audio in Greenboro, North Carolina, the talents of Mark Byerly are to the fore on a combination of lead electric guitar, resonator and slide guitar. He is joined by Mark Dillon on banjo and mandolin, with Evan Campbell on upright/electric bass and Aaron Cummings on drums. Jack Gorham plays accordion, Caleb Baer and Christen Mack both contribute on fiddle, and producer Tom Troyer also adds some key parts on electric guitar and calliope (a keyboard instrument, resembling an organ, but with the notes produced by steam whistles). Jeff Wall plays acoustic guitar, in addition to providing all lead vocals. His vocal tone is very engaging and bears a rugged quality that fits perfectly into the character of his songs. 

He wrote all thirteen tracks and included are memories of his childhood on the folky blues of 1968 Lebanon, TN; the country steel twang of I Don’t Know Where I’m Going,’ and the witty observations of a travelling musician on ‘Ain’t Nobody Listening To Me.’ Another great road song is Check Out Time and the race to check out of the motel each morning, ‘I played a club just up the street / I had them people on their feet, The party moved down to my room / Daylight came way too soon, I got to bed at half past 7 / Check-out time’s at 11.’  Wonderful stuff!

‘What We Ain’t Got’ is a heart-felt tribute to those old local hardware stores in rural America, ‘We got everything as you can see, What we ain’t got, brother you don’t need.’ The country cheating song, Every Bone In Her Body, is a hilarious look at two sisters who are having affairs with two best friends and the words speak for themselves, ‘I guess I ought to hate her but she's the mother of my kids, I love every bone in her body except for his.’ 

Bigdumbhick is a great discovery and his music will bring plenty of enjoyment to those who jump on their own unicycles and wobble down the road on this colourful journey. 

Review by Paul McGee

Michael LaneTake It Slow Greywood 

This artist released a debut album in 2014 called Sweet Notes, and he has spent the last seven years living up to that title, by providing music that both calms and soothes the spirit. He followed up his debut with two further releases in 2016 and 2017, before returning to the studio again in 2019 to produce his fourth album. Four albums in six years is quite an output and a strong statement for an artist who is a prolific songwriter. With a gentle vocal style, these folk tunes dance along on sweet melodies, all written and produced by Lane himself and his mellow sound will appeal to many. 

Lane was a soldier in the American army and served in both Iraq and Afghanistan. No doubt the experiences of seeing conflict at first-hand has shaped his world view ever since and is certainly reflected in his  song-writing. His sweet vocal tone brings to mind the style of Sam Beam (Iron and Wine) or Michael Fitzsimmons. Lane is also a producer and operates out of Studio Waldblick, based in Bavaria. He was born in Nuremburg to a German mother and an American GI father, but spent much of his childhood and teenage years living in Wisconsin, USA, before moving back to Germany. 

This new album arrives with a very positive energy and a message of hope for all. The title track is about rebirth and starting to see the world through new eyes, ‘The prison of the mind is just a choice, Free your head and take a breath to quiet down the voices.’ The next track, Good Times is a song that reflects on a bad relationship experience and how placing too much focus on material trappings cannot take away inner doubts and pain. A bouncy melody hides the serious lyric.

Ladybug is a reflection on nature and the changing seasons, a wish to also be part of the circle of life, just letting it be. A gentle acoustic tune. Coming Home reflects upon home life as a ‘sanctuary for the soul’ and the joy of family. Fire In the Night looks again to nature as a soothing balm in our world. Lane’s tenor vocal high in an arrangement that uses electronic reverb to lay down a soothing path. This is folk music for the modern age. 

Moment is about just that – staying in the moment, enjoying the sense of just being present. Angelic voices soar as the message counsels,  ‘shine bright like a diamond, remember who you are. Life’s too short to be living in the past, stay close to the present moment.’ Open Road is a gentle acoustic song that reflects life as a continuous journey. Moon and Sun is another song about nature, stepping out into what surrounds us and enjoying its presence. 

The theme of enduring love and a trust in the natural world to always provide and survive, infuses these ten songs with a positivity throughout – Be Still says that ‘Love is all that we need,’ and to ‘spread your wings and you will fly.’ 

The final song is an acoustic version of the title track, Take It Slow, and the abiding message to, ‘Just take it slow, The sun will show you where to go, Trust your heart can help you see, I have seen the light, it settled me.’ No doubt about where Michael Lane’s sentiments lie and the future direction in which he is heading. Contemporary Folk music is still rooted in both personal and social reflections but the use of modern production techniques has increasingly taken it into the pop arena and towards a new psychedelic direction. While this album doesn’t stray quite that far, there are elements of this new sound emerging and Lane is certainly an artist worth further investigation.

Review by Paul McGee

Andy Irvine and Paul Brady Self-Titled Mulligan / Compass 

It was 1976 and the destination was Rockfield Studios in Wales. The decision taken by both Paul Brady and Andy Irvine to bring their talents together and decamp to a foreign location was both inspired and prophetic. With invites also accepted by Dónal Lunny (Planxty, The Bothy Band, Moving Hearts) and Kevin Burke (The Bothy Band, Patrick Street), these four master-musicians travelled to this rural setting to record what has become an Irish Folk classic. 

This special edition has been remastered from the original analog tapes, using a combination of classic analog and state of the art digital equipment. Lunny and Burke's own group, The Bothy Band, had previously recorded at the same studios and while Brady and Irvine were galvanizing themselves after the break-up of Irish legendary band, Planxty, the scorching weather of a record-breaking summer was a distraction that they needed to ignore.

The combination of such special talents inevitably led to great results and the rewards are here on this remastered album for all to enjoy. Andy Irvine contributed vocals, bouzouki, mandolin, mandola, hurdy-gurdy, harmonica. Paul Brady contributed on vocals, guitar, mandolin, bouzouki, tin whistle, cittern, and harmonium. Their interplay is mesmerising throughout, both understated and laced with intricate finger-picking, and yet fully realised in both tempo and tone. The sessions were produced by Dónal Lunny, who also played on guitar, bouzouki, bodhrán, plus backing vocals. Kevin Burke provided superb fiddle on five of the ten tracks, lifting the interplay with his lyrical touches.

Nine of the songs are traditional tunes that were adapted by the musicians and given fresh arrangements.  There are ballads, laments and love songs to be enjoyed and the ensemble knitted together so fluently that you can only applaud the nuance and subtlety of their playing. The production is crystal clear and you can revel in the separation of each instrument in the mix. 

Opening song, Plains of Kildare, is a song that recounts a horse race and is delivered with great elan. This is followed by Lough Erne Shore, a tale of unrequited love, and there could not be a better introduction to what follows…  Fred Finn's Reel / Sailing into Walpole's Marsh is an instrumental of the highest quality, before Bonny Woodhall tells the tale of young love being taken away by the killing fields of war. The famous tune, Arthur McBride, follows on, with its story about rebuking army recruiters on the road and ending with a beating. Brady sings it superbly, before The Jolly Soldier / Blarney Pilgrim gives flight to the players and another song about a soldier – this time returning from war to marry his young bride and entry into her wealthy household.

Irvine sings his reflective tune, Autumn Gold, and is followed by Mary and the Soldier, once more a history lesson borne of conflict and war. Equally, Streets of Derry, tells of a love story with the lady rescuing her love from the gallows with a king’s pardon. Martinmas Time / The Little Stack of Wheat brings everything to a superb conclusion with a tale about a young maiden who tricks a troop of soldiers by dressing up as a soldier boy herself and gaining her freedom. It concludes in a rousing hornpipe, The Little Stack Of Wheat, to deliver the perfect finale.

The album came together over a period of only ten days which is a remarkable achievement, given that studio technology at the time was not as enabling as it is today. It’s a glorious reworking of all that is creative and special in the Irish tradition of musicians coming together in celebration of both song and storytelling. This is an example of that very best tradition – perhaps the finest one ever, as it influenced such a wealth of music that has followed over the decades, from De Danann and Altan through to Kila and Lankum. A classic and a treasure.

Review by Paul McGee

Latest Album Reviews

Surrender Hill Just Another Honky Tonk In A Quiet Western Town Blue Betty

Husband and wife partnerships are not uncommon in Americana, though there are not as many as in the more traditional areas of country. Surrender Hill are Robin Dean Salmon and Afton Salmon. They share lead vocals and harmonies and the songwriting, while Robin produces the songs and played keyboards and guitars. I have reviewed their albums previously and can say that this new outing surpasses them in scope and ambition. It was likely recorded over a longer period of time than usual, given the names of the several different studios and players listed on the sleeve. The main tracks were cut in Betty Blue Studio in Galveston and the guests players were added at various points. The finance appears to have come from the “100 Club” members also listed and thanked. Whatever the timescale and methods the end result is a fine compliment to the talents of all those involved.

The release is divided into two discs; the first being JUST ANOTHER HONKY TONK and the second, not surprisingly, IN A QUIET WESTERN TOWN. Twenty four tracks in total over the two discs. The differences overall are not that pronounced but both sets of tracks relate to the night life experience (Just Another Honky Tonk) and other songs are rooted in the outdoor life (Cowboy Campfire Song, Long Rider). Much of the material takes you to a quieter, more reflective place though both sides have uptempo elements - cuts like If This Ain’t My Rodeo, which is about finding one’s place and the notion of friendship is at the heart of Call Upon My Friends and using their help to get back in the saddle after some misadventure. There is acceptance leading to regret and resolution in Heartache Goodbye while Somedays has a longing for a lapsed relationship that encompasses love and leaving. Swallow takes the life of such a small bird and links it to compassion.

The opening track on the second CD Tumbleweed has some Bono/U2 moments in it that underline the broader range of influences that are an undeniable element of the duo’s make-up. However the predominant mood is country/roots and that thread clearly runs through both of the two discs with the use of fiddle, pedal steel, dobro, and B3 organ on different songs throughout. There are many songs that achieve recognition in the immediate sense such as Love Your Neighbour, with its strong message of reaching out. Boomtown is a much bigger sound powered by the rhythm section’s drive. It considers better times in the past and the hope that they be reconnected with. The title track follows similar thoughts and like other tracks has some predominate twang in the guitar tone from, I assume, lead guitarist Mike Waldron. Old Chair reminisces again about past times, while Nothing But The Skin sees the need to return a divided country back to simpler values and openness. That kind of wishing for such basic humanity is an overall theme over the tracks and is delivered with a sense of sincerity and integrity. 

Surrender Hill as a name was taken from a place in South Africa where the Boer War ended and is something of a  metaphor for being able to surrender to adversity and finding one’s place and some measure of peace together. It seems appropriate for these musical endeavours, wherein the duo more than prove themselves as songwriters, musicians and vocalists and this is something of a statement of what can be achieved as independent artists and truth seekers.

Review by Stephen Rapid

Geoffrey Miller Leavin’ 101 Self Release

This album is steeped in the sound and attitude that was, and still is, associated with the vibrant sounds that emanated from Bakersfield in California. It is the sound of the Telecaster twang and pedal steel and a propulsive rhythm section. It wasn’t one that paid a great deal of attention to the whims and wishes of the Nashville Music Row movers and shakers. However, many of the originators, such as Tommy Rollins, Buck Owens and Bakersfield native Merle Haggard, of that incisive sound were signed to Nashville based major labels, many to Capitol Records.

There were exponents who defined that Telecaster sound such as Buck himself, his friend and guitarist Don Rich, as well as Roy Nichols, Eugene Moles, Billy Mize and many others. These days there are a number of guitarists who regularly play in that style as a cornerstone of their music delivery, including Dave Gleason, Kenny Vaughan and Geoffrey Miller.

The latter has recently released his latest album LEAVIN’ 101 and it is steeped in that distinctive sound. Miller handles all the guitar duties and vocals as well as writing the material. He has a tight rhythm section with upright and electric bass from Zack Sapunor and the sound is completed by the worthwhile and adept pedal steel playing of four different contributors, with Max Hurt taking the majority of the songs. It was mixed and mastered by another guitar star in Deke Dickerson. On another track, California stalwart and Yoakam acolyte Scott Joss plays fiddle. But it is Miller who is front and centre, and his vocal delivery is perfect for the sound of his well thought-out compositions on the expressions of heartbreak and hopelessness, cheating and careless liaisons.

The title track references the US learning process as well as the highway of the same number - Route 101. The highway runs from California to Washington. It alludes to not learning life lessons and then having someone move on. These themes are fundamental to the Bakersfield  oeuvre, once given the very suitable title of “misery with a beat.” Akin to what was emerging in Liverpool, London and other cities, this was music that was played in clubs for dancers who simply understood its energy and rhythm.

The instrumental Grand Ville Mix is very Buckeroos with memories of Don Rich to the fore. Owens was such an icon of that particular sound that many songs here could easily have featured on a number of his albums. The aftermath of a broken relationship is observed in Cold Coffee, Warm Beer, a seemingly familiar title but succinct in its finality. There is a harsh reality to another kiss-off song in I Didn’t Know You Could Be So Cruel. The poor choices continue as our leading man moves from one bad affair to another. Good Morning Blues has a jauntiness that belies its gloomy discord. There is more evidence of the craft that Miller brings to his writing in the recognition of many of the artifacts that are found in the second-hand outlets in the town in Discount Memories, as there is in Population 3 which consists of “the blues, your memory and me.”

There is little doubt that anyone with an affection for the clear-cut sound that the Bakersfield Sound has come to mean, which never fails to please this listener, will recognise Miller as a front runner in delivering it as it should be delivered.

Review by Stephen Rapid

Elliah Heifetz First Generation American Self-Release

 Listening to FIRST GENERATION AMERICAN you could be forgiven for assuming that the album was the work of an artist steeped in American roots music, having most likely been exposed to country and folk music by parents or indeed grandparents. However, the backstory to the album and its creator Elliah Heifetz is an entirely different matter. Although there is a strong history of folk music in his lineage, that source was East European folk music, rather than the traditional folk music from Appalachia or the like. A first-generation American born to political refugees from the Soviet Union, Heifetz was raised in Philadelphia, where from a young age he became intrigued by the sound of fiddles and banjo playing.

His transition from a lover of roots music to an actual composer came about in his student days when he wrote a stage musical titled Dust Can’t Kill Me which won awards at both the New York Musical Festival and NYC Fringe Festival. That exposure led to his employment by music publisher The Brain Music, resulting in him writing songs for television soundtracks and stage plays. A further acknowledgment of his musical talent was being named in TIDEL’s Best of Rising Country/Folk artists following the release of his 2019 EP NEW FOLK SONGS.

 For his debut full length album FIRST GENERATION AMERICAN, he engaged the current ‘go-to’ producer for roots artists, Andrija Tokic (Alabama Shakes, Jeremy Ivey, Hurray For The Riff Raff). A name that appears regularly in album reviews at Lonesome Highway, Topic records at his home studio The Bomb Shelter in Nashville and more often than not has his band of ‘A list’ players on his recordings. Contributing to FIRST GENERATION AMERICAN alongside Heifetz - who played acoustic guitar - were John James Tourville (guitars, pedal steel, fiddle), Jeff Taylor (piano, organ, accordion), Jack Lawrence (electric bass), Dennis Crouch (upright bass) and Jimmy Lester (drums). Backing and harmony vocals were provided by Jane Bruce, Nickie Conley and Maureen Murphy.

 The album touches a range of roots related bases, from the fun filled upbeat rockabilly of Modern Man to the honky tonkin’ Country Harmony, which he sings with his partner Jane Bruce. He sets out his stall from the beginning with the autobiographical and somewhat tongue in cheek title track (‘I never seen that Swanee river, never fished in a mountain stream, didn’t make a pass at the pastor’s daughter, never worked in my daddy’s jeans…..I was born in the USA’) but also displays his ability to pen contemplative songs on Living Proof, which is a heartfelt ode to his mother and Denver, which reflects on the plight of a refugee living in fear of deportation.

 Notwithstanding the lighter moments on this album, of which there are many, the lasting impression I’m left with is one of defiance and ultimately survival, often against the odds. From what must have been a daunting experience arriving from Russia and attempting to integrate into an entirely different culture, Heifetz has established himself successfully in his chosen vocation.  He can be justifiability proud of that achievement and this album.  

Review by Declan Culliton

Matt Castillo How The River Flows Self-Release

Edinburg, Texas-born country singer songwriter Matt Castillo’s third album HOW THE RIVER FLOWS has been two and a half years in the making. Not one to rush into things and somewhat of a perfectionist, Castillo has certainly has put his heart and soul into this recording. Having written the bulk of the songs for the album, he tracked down fellow Texan and celebrated producer Roger Brown to oversee the recording of the album. Based in Nashville, Brown’s curriculum vitae includes writing songs recorded by Tammy Wynette, Willie Nelson, Nanci Griffith to name but a few, alongside producing albums by a host of country artists. The recording took place at The Moose Lodge Recording Studio in Goodlettsville, Tennessee.

Nine of the ten tracks are self-writes or co-writes, an impressive co-write with Karen Staley, Cause He’s A Cowboy, is included. That track celebrates a victory by his local community in Edinburg when they defeated a plan by The Texas Department of Transport to construct a toll highway across agricultural lands. The last song written for the album is the high-tempo opener Say It. Laced with stinging pedal steel and flashes of accordion, it introduces a Texan flavour, one which reappears on a number of the songs, not least the title track. A country album wouldn’t be complete with a few ‘love found/ love lost’ and cheating songs. Neon Red Neon Blue and No Easy Way To You both tick the former box and the honky tonkin’ Leaving Brownsville Tonight caters for the latter.

Castillo’s objective was to create an album similar to the classic country recordings from the tail end of the last century, prior to much of country music crossing over to straight rock or mainstream pop. He’s done that and more with HOW THE RIVER FLOWS, delivering a suite of easy on the ear tunes which never overwhelm the listener.  So, let’s hope he gets the recognition he deserves and can continue to keep the river flowing in the right direction.

Review by Declan Culliton

Elles Bailey Shining In The Half Light Outlaw Music

Recording an album in the middle of a pandemic and while six months pregnant would have been considered unthinkable a few years back, but that’s exactly how SHINING IN THE HALF LIGHT, the third album from Bristol-based Elles Bailey came about. When the initial plans to record the album in Nashville in May 2020 were prevented by the onset of Covid, Bailey relocated to Middle Farm in Devon in December of that year, where the album was recorded over a nine-day period. The production duties were carried out by Dan Weller and the final mixing took place in Nashville by Grammy nominated engineer Ryan Smith. The players that feature behind Bailey’s inimitable vocals are Joe Wilkins and Kris Donegan on guitars, Jonny Henderson on piano, Wurlitzer, Clavinova, and Hammond. Bass and drums are credited to Matthew Waer and Matthew Jones respectively.

Never one to reinvent herself, Bailey sticks with the template that has worked particularly well in her career to date. Her signature sound has always played out like a few genres melting together. Grungy blues, high octane rockers and soul flavored ballads all feature on the ten-song collection. The lively opener Cheats And Liars aims a blow at the faceless freeloaders that ignored the plight of artists, starved of a living, during the lockdown. The equally feisty rocker Sunshine City, is a co-write with Matt Owens (Noah and the Whale) and her Bristol neighbour Will Edmunds is credited with co-writes on The Game, Stones and Halfway House.

Things do become less explosive mid-album, with Bailey pouring her heart and soul into Colours Start To Run and the gorgeously soothing ballad Different Kind Of Love.  Saving the best until last, the album closes with the title track, co-written with the celebrated Nashville songwriter Craig Lackey. It bookends an album that is both defiant and bullish and one that has arrived when the industry is finally opening up.

That eventual return to normality has given Bailey the green light to recommence her relentless touring schedule. On the strength of this album, you’d be well advised to check that touring schedule and get booking.

Review by Declan Culliton

Jason Scott & The High Heat Castle Rock Self-Release

The backstory of Jason Scott provided a wealth of ammunition to create the eleven tracks on this debut album from Oklahoma City band Jason Scott & The High Heat. That past included a Pentecostal upbringing and singing in the choir at church as a child, then spending time as a pastor, and eventually abandoning that calling for that of a songwriter and bandleader. In 2017, Scott produced and recorded a solo EP titled LIVING ROOMS, before recruiting the band members that make up The High Heat. They are Gabriel Mor (guitar), Taylor Johnson (guitar, keys), Ryan Magnani (bass), and Alberto Roubert (drums). Their sound is firmly rooted in hook driven heartland rock, with particular nods in the direction of the 80s sound created by John Mellencamp and Steve Miller.

The album’s title, CASTLE ROCK, is drawn from the town of that name where Scott moved after he left the church. Much of the album’s content examines life’s direction and choices, and the resulting outcomes.

The songs grapple between darkness and light, with as many upbeat scenes as there are ones of desperation. The despairing plight of a hopeless breadline existence emerges on the guitar propelled Quittin Time, whereas Cleveland County Line offers a happier ending with the return of a prodigal son after some wasted years and travels. A much less triumphant homecoming develops on The Stone, which finds a soldier returning from war, tortured by post-traumatic stress disorder. A woman’s honour is defended in the tongue-in-cheek country-tinged song Me And Maryanne and they rock out in fine style on the gloriously loose In The Offing.

All in all, a laudable introduction to a band well worth checking out.

Review by Declan Culliton

Kate MacLeod Uranium Maiden Self-Release

The winner of 'Best of the West 2019' award by the Far-West division of Folk Alliance International, Kate MacLeod is an artist whose style criss-crosses between contemporary folk and more traditional old-time country. A singer songwriter, fiddler, and music instructor at schools and summer camps, the Salt Lake City, Utah native’s themed album URANIUM MAIDEN packs a heavy punch.

Not having to look beyond her native Utah for inspiration, MacLeod explains ‘This recording includes historic characters of the Utah region, true stories by pioneer women, coal miners, explorers, and environmental issues.’’  Given that the album features seventeen tracks - four of which are instrumentals - it’s no surprise that the recording took six years to complete or that the songs span four decades of writing. Over twenty musicians contribute, many of which worked with MacLeod on previous recordings.

From the opening track Now Is The Time To Be Alive, based on the journals of a man who went missing in the Utah deserts in 1935, to the album closer Every Year Among The Pines, the album finds MacLeod on a creative and questioning quest. With lyrics that often augment the mystique behind the songs, wonderful vocal deliveries, and equally impressive playing, MacLeod admirably captures the essence of the America West on URANIUM MAIDEN. 

Very much a labour of love and a life project, this album should have widespread appeal far and beyond her beloved American West. 

Review by Declan Culliton

Tim Kelly Ride Through the Rain Self Release

This album is proof positive that it’s never too late to make a dream come true or to realise a long-held ambition. It’s quite a humbling notion to think that Tim Kelly has waited a full working life, raised a family and at sixty-six years old embarked on a personal journey in recording these self-written songs. And quite impressive they all prove to be – almost as if, in finally setting them free, the waiting world gets to join the celebration. Staying committed to a day job and placing family and loved ones ahead of personal hopes and wishes is, of course, a sacrifice that any caring parent would make. However, it feels like the moment has finally arrived to in the spotlight  and he grasps it with both hands.

Tim Kelly has an expressive vocal style, warm and clear, with just enough range to never stretch beyond the resonance needed for each song. Better Man is a song dedicated to the memory of his father and it is filled with warm memories in tribute to the example he set for living an engaged life. Tim has his own son at the helm for this production and talented Ruston Kelly really adds great colour to the project. The family bond shines through in the great empathy shown and in both the delivery and treatment of these melodies and song arrangements. A real labour of love. 

River Street is a song that captures old memories and the sense time doesn’t heal the wounds of lost opportunity, ‘ You’d think I’d know after all this time; I can’t really give you what never was mine.’ The playing is beautifully restrained and the harmony vocals of Hillary Lindsey are quite superb. Leave This Town talks about changing your focus and deciding to make some life changes in search of a dream – no doubt, channelling his wish to walk in other shoes towards a new adventure. And the following song, Dream, is just that very hope brought to fruition and enjoyed, ‘When I feel the world closing in on me, I close my eyes and dream.’ Natalie Hemby sings harmony and her vocal lifts the arrangement to a higher place where the electric guitar atmospherics of Juan Solorzano  provide the perfect compliment.

Home sees Lucie Silvas taking a turn at the microphone with Tim and surfing on top of a pulsing beat with the rhythm section of Will Sayles (drums, percussion) and Eli Beaird (bass) front and centre. The studio musicians are all superb and their talents shine on the various tracks; Jarrad K on keyboards and synthesizers, complimenting the guitars of Tim Kelly and Juan Solorzano.

Old Friends follows and the sentiment is captured in the lines, ‘Time has scattered them all about, Everybody had a plan, But I’m still shuffling cards around, Looking for that winning hand.’ Again, the ensemble nails the interplay and the subtle melodies interweave on a fine arrangement.

Grandma’s House is a happy jaunt that captures youthful joys and growing up with the influence of a wise lady that loved her family, ‘ At Grandma’s house, she was Socrates, she had a cure for everything.’  On the track, The Deep, Tim is joined by his daughter Abby on vocals, who together with Ruston, join in familial unison to elevate the arrangement. It’s a song about domestic abuse and breaking free from the pain in order to survive. 

The final song, Free, is an acoustic guitar and the vocals of Tim bringing everything to a conclusion with ruminations on love gone wrong and the loneliness of feeling lost. Maybe not the best placed parting message, but it in no way diminishes from what is a superbly crafted album. One that is worthy of your attention. 

Review by Paul McGee

Joan Osborne Radio Waves Womanly Hips

With a career spanning twenty-five years and twelve albums, this is a look back at the many radio performances Joan Osborne has given. She also includes two studio demos and I’m sure that revisiting these old recordings over Covid lockdown, gave plenty of time for reflection.

Feted for her incredible vocal talents across a fluid genre range of blues, soul and RnB albums, Osborne has always delivered quality albums and enjoyed great popularity across her large fanbase.  She has also visited rock, pop and country, in addition to releasing the obligatory Christmas songs project and a covers album. Indeed, it is her ability to not only interpret other songwriters work, but her aptitude to place a completely unique spin on the songs that have separated her out as something special. 

Across fifty minutes of live studio takes, Osborne puts her unique stamp on these thirteen selected tracks and her power has never been better illustrated. There is the stunning delivery on Shake Your Hips (Slim Harpo), best known for the version that the Rolling Stones included on their legendary Exile On Main Street album. There is the incredible take on How Sweet It Is (To Be Loved by You) – the hit song written by Holland–Dozier–Holland and made famous by Marvyn Gaye. Nobody ever sung it like this however… such a soulful laid-back rendition really bringing out the core of the meaning.

Bob Dylan never sounded as good as Osborne’s take on his classic, To Make You Feel My Love, and she also turns in a stellar performance of the Sly Stone song, Everybody Is a Star to close out the album. In between, Osborne gives us two excellent demo cuts, Dream a Little Dream (2005) and Real Love (2006), while also revisiting her classic hit, One Of Us, with a stripped-down soulful blues version.  There is a band presence on most of the tracks with the time span covering radio sessions between 1995 and 2012. Jack Petruzzelli plays guitar on seven tracks, with Andrew Carillo also contributing guitar on ten tracks. Between them the rich guitar sounds add greatly to the overall dynamic. There are a number of other players involved as would be expected over the time scale but it is always the vocals of Osborne that drive the song arrangements and her classic interpretations are a real joy throughout. An excellent album.

Review by Paul McGee

Latest Album Reviews

Hank Topless Thank Your Dirty Stars Self Release

Hearing this I’m pretty sure that this particular Hank done it this way, his way. An engaging mix of edgy alt.countryeque sounds that go under the overall description of honky tonk country blues delivered, it has to be said, with no little sense of humour to alleviate the eternal themes of love, hate, lust and longing. From Tucson, Arizona he is backed here by his band The Dead Horseman who fairly gallop through these original Topless songs (bar one traditional song, the blues-based Another Man Done Gone). There can’t be that many writers whose subject matter includes a tribute to the late cult-writer Jim Carroll and his song People Who Died. But that is what Jim Carroll Blues is about - a song that got Topless himself thinking about those people close to him who died. Cut My Head Off bears a certain comparison with the likes of Junior Brown, in taking a thought to somewhere less well lit.

Topless’ connection to the darker side of country’s underbelly and the bluesier side is reflected in a trio of songs that end in the word “Blues.” So alongside the aforementioned Jim Carroll Blues there is Hard Time Blues and Skeleton’s Blues. However,  the understanding of dealing with the downside of life in as positive a way as possible is inherent in other songs too. Baby Go By finds him at a traffic light when he notices a past love and reflects on the possibilities that didn’t get to happen. As with much of the album there are sonic elements that add to the overall unsettling and downbeat nature of the writing. He uses some distorted vocal effects on certain tracks such as the public domain blues perennial Another Man Done Gone. The ghost of Waylon Jennings stands firmly behind Topless on the album’s final track Country Western Crackhead Hippy, which closes the album on something of a high - both in sound and spirit. Its long guitar fade out uses a faux radio broadcaster headline, “Georgia’s crack induced paranoia was at an all time high”, to add to its sense of dark reality over its seven minute plus length.

Topless co-produced the album with Jim Walters and they achieve an overall consistency that serves the material well and uses the rhythm section of Eric Baldoni and Dani Ponce effectively. The guitars are shared by Topless and J Clay K who is the main lead player, but with the former effectively using both baritone guitar and his talk box to give a degree of additional tones to the recordings. Pedal steel on I’m Just Too Tired was provided by Caleb Melo and Nick Coventry played fiddle on Skeleton’s Blues. Topless delivers a vocal throughout that is purposeful, if seemingly imbued with resignation and regret.

Topless is not an act that will please everyone, especially those attuned to the mainstream interpretation of country music or indeed those who like their honky-tonk straight up. However those attuned to his world view and outlook will appreciate a kindred spirit who is not bound by any conventional view of country music. Not that Topless doesn’t appreciated the past, as witnessed by his online covers of songs by Ernest Tubb and songs like Behind Closed Doors and Night Life. But his view is that what’s been done has been done and in his particular case he wants to take it some place a little different. He is also a renowned performer who works solo or with his band, and has doubtless built some notoriety and a solid following locally in his Loser’s Lounge gigs in Tucson and in the surrounding regions. 

Hank Topless is his own man and there are those who will thank their lucky stars that they have THANK YOUR DIRTY STARS to help that deal with their own blues - country or otherwise.

Review by Stephen Rapid

Cody Jinks Mercy Late August

With ten previous albums to his credit, it’s remarkable to consider that the Haltom City, Texas modern country outlaw Cody Jinks is still releasing his music as an independent artist, through his own label Late August Records. It’s most likely a testament to a maverick who likes to do things on his own terms and is knocking out a good living doing so.

There are no surprises on his latest album MERCY. Recorded at Sonic Ranch Adobe Studios, Tornillo, Texas with his core players, it shifts between classic outlaw country ballads and excursions into hard-nosed Southern Rock. The musicians that worked on the album are Jinks’ touring band of Chris Claridy (guitar), Joshua Thompson (bass), David Colvin (drums), David Harakal (keys), and Austin ‘Hot Rod’ Tripp (steel guitar and dobro). All but one of the twelve tracks are co-writes, the exception being How It Works. Celebrated artists in their own right, Kendall Marvel, Ward Davis and Josh Morningstar all lent a hand with the compositions.

With his hectic touring schedule, each of his albums are loaded with material that begs to be played live. MERCY is no exception with explosive rockers like Hurt You and the aforementioned How It Works being definite crowd pleasers. However, for me, it’s the more relaxed country ballads that excel on the album. The title track, Nobody Knows How To Read and particularly Dying Isn’t Cheap are out of the Merle Haggard school of songwriting, and perfectly suited to Jinks’ chiselled vocals. Equally memorable is the timeless I Don’t Trust My Memories Any More. Awash with aching pedal steel, it’s a perfectly tailored country song.

Cody Jinks continues to be one of, if not the, most successful independent country artists, regularly selling out arenas and headlining festivals. He has also released Certified Gold and Platinum singles without being played on country radio. With that profile, he must surely be under the radar of the major labels.  It remains to be seen whether he’ll continue to do his own thing independently. Either way, don’t expect any major change in musical direction. MERCY is typical of Jinks handiwork and if it rocks your boat check out ADOBE SESSIONS from 2015 and I’M NOT THE DEVIL from the following year. Both are stonewalled Outlaw Country classics.

Review by Declan Culliton

The HawtThorns Tarot Cards and Shooting Stars Mule Kick

Nashville based husband and wife team The HawtThorns’ second album is released on their own independent label Mule Kick Productions, the label that has also supported recordings by Lonesome Highway favourites Side Pony, Rosie Flores and Andrew Leahey and The Homestead.

The HawtThorns are Johnny Hawthorn and KP (Kirsten Proffit) and this record follows on from their 2019 release MORNING SUN. KP was formerly a member of the three-piece California band Calico, alongside Jaime Wyatt and Manda Mosher. Johnny’s background includes three solo albums, stints in bands Wet Sprocket, Toad and Everclear, as well as production duties on numerous recordings.

TAROT CARDS and SHOOTING STARS remains true to the musical template of their debut album, drawing on the West Coast influences of their previous life in California.  Their relocation to Nashville in 2020 also infiltrates the album’s direction, with splashes of southern soul and gospel evident.

Stand out track Let’s Get Together sounds like a song you’ve known all your life. Showcasing KP’s crystal clear soulful vocals, it reads and sounds like the definitive song to exit Covid, and moving on to more hopeful and positive times. A similar ray of hope emerges on Keep It Alive and the laid-back acoustic The One That Got Away features layered vocals by the duo, before they sign off with the similarly paced When Georgia Cries.  The ‘love lost’ catchy opener All The Right Reasons (not to be confused with The Jayhawks song of the same name) also impresses and the one cover included is Neil Young’s Lotta Love, which gets a funky makeover, entering Fleetwood Mac territory. 

Like so many other albums these days, TAROT CARDS and SHOOTING STARS has been placed in the ever-expanding Americana pool. For me, it is more of a mainstream radio friendly recording and a most impressive one at that. With a slick production, intricate arrangements, strong material and KP’s heavenly vocals, it’s another step in the right direction for a band that has all the attributes for a rapid rise up the industry ladder.

Review by Declan Culliton

Terry Klein Good Luck, Take Care Self Release

My introduction to the music of Texan Terry Klein was his 2019 album TEX. An album packed with memorable songs, it spent quite a lot of time in my cd player that year and featured in the best of year-end at Lonesome Highway. That album and its predecessor GREAT NORTHERN were produced by Texan troubadour Walt Wilkins in Austin. On this occasion, Klein hooked up with Nashville based songwriter, musician and producer Thomm Jutz at his home studio in Nashville, and together they recorded and mixed the album over a four-day period in October 2021. No stranger to classic singer-songwriters, in a previous life Jutz was a touring guitar player with Nanci Griffith, David Olney and Mary Gauthier.

In a similar vein to TEX and very much in the style of the celebrated Texan songwriters, GOOD LUCK, TAKE CARE is essentially a collection of ten stories, both from brutally honest personal experiences and episodes created by observations. 

The forthright and self-deprecating opener 60 in a 75 (Sixty In A Seventy Five) describes the aftermath of a panic attack experienced on stage by Klein during a live show and the subsequent long drive home after the gig.   (‘I try to listen to some music but it’s Twist and Shout, that’s a little too much and the sun’s in my eyes’). The track also signals a change in direction from his previous recordings. Gone is the polished production, replaced by a looser, rootsier, rawer sound. That high octane treatment also surfaces on Salinas, which was brainstormed following a road trip through the Salinas Valley while driving in California from Berkeley to Los Olivos.

Closer to the temper of TEX are the tracks What You Lose Along The Way and The Goldfinch. As much a poem put to music, the former is delivered as spoken word, recalling experiences and lost friends from previous decades. The latter, featuring Thomm on a mid-30s Epiphone guitar, was inspired by the novel of the same name by American author Donna Tartt. Elsewhere, very much a song of its time The Salt, a co-write with Allan Emmer, was written at the height of the pandemic in Spring 2021. The inescapable mental pressure that lands unannounced is the focus of the song.  (‘Some days you float some days you fall some days you can’t let go. It’s not so much the bitter tears as the salt they leave behind’).

The album’s title is also a reminder of the thin line we walk between darkness and daylight and the often-unexpected hurdles that life presents. It also offers a suite of unhurried and intimate songs that draw the listener in with their candour, from an artist at the top of his game.

Review by Declan Culliton

Sophie & The Broken Things Delusions Of Grandeur Petaluma

Growing up on a farm in rural mid-Atlantic Maryland, Sophie Gault’s ‘go to’ music was the more raw and seedy sounds of Lucinda Williams and Steve Earle. Fast forward to the present and Grammy award winning producer Ray Kennedy, who worked with both those artists, is singing the praises of Sophie Gault, having mixed and mastered DELUSIONS OF GRANDEUR, the first full album from Sophie & The Broken Things.

Gault’s artistic journey kicked off strumming a guitar as an early teenager, eventually progressing into songwriting. A summer spent in Nashville during her college years led to her relocating to Music City in 2014. A chance encounter with Julie Miller, an artist much revered by Gault, at Americana venue Bobby’s Idle Hour, led to the band name The Broken Things, borrowed from the title of Miller’s 1999 album. Coincidentally, Steve Earle appears on the song Strange Love, from that album. A self-titled debut EP from Sophie & The Broken Things followed in January 2020.

The overall mood of their latest recording DELUSIONS OF GRANDEUR is one of deep thinking and the musical sketches are decorated by Gault’s pristine vocals, supported by slick guitar riffs and breaks from Jules Belmont. Angling towards a mix of country and Americana, ballads such as Dashboard and the ‘bust up/make up’ Trouble - a duet with Logan Ledger - are finely honed. Echoes of Lucinda Williams are present on the opener Golden Rule, which features splashes of hazy guitar, all in the right places, and adding a melodic intensity. The location on the up-tempo ‘love lost’ track Churches and Bars is surprisingly not Nashville, but Oneonta, New York, which can also boast numerous churches and bars per square mile. She pumps it up on Heavy Metal, a co-write with Michael Davis Thomas and there’s a sense of torturous reflection and reconnection on Moving On.

A new name to me and one that I’m well impressed by, the album is packed with well-constructed songs presented by a genuine country voice and backing players to match. Lazy comparisons are often made to the early work of Lucinda Williams by reviewers, however, in this case, that comparison is spot-on. Highly recommended.

Review by Declan Culliton 

Eric Brace & Last Train Home Everything Will Be Red Beet 

Eleven songs and forty-six minutes of listening pleasure. Eric Brace and his merry band of musicians have been producing music of real quality ever since they first appeared with their debut album, back in 1997. Since then, a further ten albums have been released, including this gem. It’s been an interesting twenty-five-year career, with the band having stepped away from playing together for a period of time (ten years), while they settled into different lives in separate locations around America. 

Between 1997 and 2008, they released six albums, three EPs, and a live concert DVD, while touring steadily across the USA and throughout Europe. While they slowed the pace, and limited touring had continued, there were no further recordings until 2019. Brace had moved to Nashville in 2004 and was collaborating with songwriters Peter Cooper and Thomm Jutz for a number of years. When he reached out to the old band members and expressed a wish to revisit the original spark from their Washington DC origins, the results were captured in the superb, DAYTIME HIGHS AND OVERNIGHT LOWS, their tenth album that was released in 2020.

Having gotten the old groove back, Last Train Home decided to keep the momentum going and here we have another lockdown gem. Produced by Eric Brace and Jared Barlett, the album features seven songs from the pen of Brace (including one co-write) and four cover versions. The eight musicians who feature, are Brace (acoustic guitar, lead and harmony vocals), Jared Bartlett (acoustic and electric guitar), Jim Gray (bass), Martin Lynds (drums), Scott McKnight (guitars and keyboards), Dave Van Allen (pedal steel and dobro),  Chris Watling (accordion and saxophones), Kevin Cordt (trumpet) and Bill Williams (acoustic guitar, banjo, harmonica, ukulele and harmony vocals). And what a sweet sound they all make when they come together in celebration of their continuing journey and  success. 

Everything Will Be is a title that captures the essence of just letting things take their own course and seeing where the dice fall. After all these years to be back together making music that resonates with the times is more than I’m sure any of the band could have expected. And what of their eclectic mix? So many fine players, so many diverse instruments and a melting pot that is what Americana/Roots music is all about - defined in the joy of ensemble playing on these songs. 

Opening with the title track and a positive message about grasping life’s precious moments, the bright arrangement and superb guitar work of Bartlett drive the song to a fine conclusion. It sets a marker for the rest of the album with the warm vocals of Brace taking front and centre. The Country vibe on Lily Of the Day (Thomm Jutz & Craig Market) is framed by the considered pedal steel of Dave Van Allen and the piano of guest player, Kevin McKendree. Tomm Jutz adds some very tasty acoustic guitar licks on this song about the passing of time.

Language is a love song about communication and the easy way that words can be misconstrued. There are some subtle strings, courtesy of David Henry, and some restrained saxophone and trumpet parts. Better Days recounts the feeling of early lockdown and a return home from a cancelled Irish tour with Tomm Jutz. It captures the sense of community in the East Nashville neighbourhood where Brace lives. The easy interplay among the band is a real joy and the melody stays with you after the song has faded.  If I Had a Nickel is another great band workout, this time with a jazzy swing and the horn section swapping parts with piano on a jaunty trip  that looks at old father time, ‘We can’t make the moment stay, Just turn and watch it go.’

The Six O’Clock Train and the Girl With Green Eyes is a cover of the original John Hartford song. It captures that fleeting moment when you are waiting for a glimpse of a distant fantasy; the girl that you would like to have the courage to speak with and not feel nervous and self-conscious. Next Time looks at the lack of contact that many felt during Covid distancing and meeting up with old friends again, after the long separation. It’s thoughtful and restrained melody is perfect for the wistful sentiment, ‘The wonder of it all, will make me wonder if I’m dreaming.’   

East Nashville Highball is a giddy instrumental with the ensemble really displaying their adept skills on a range of instruments, pedal steel to the fore, coupled with electric guitar and harmonica, plus feel-good saxophone and trumpet solos.  In the Dark is a memory song for an old friend that highlights some fine harmony vocals and the sentiment, ‘ so much to say, I wish that  you would stay.’ Warm keyboards and an easy backbeat set the tempo.

I’m An Old Cowhand (From the Rio Grande), is a cover of the great Johnny Mercer song which has been a popular favourite of many artists over the generations. This has a big band feel and some tasty jazz rhythms, merged with a superb guitar break. The plaintive sound of pedal steel, banjo and harmonica also makes its way into the mix and a time-honoured whistling part to honour the old image of cowboys on the silver screen.

The final song, When I’m Dead and Gone (Gallagher/Lyle) is perhaps a strange choice, given the large number of deaths in the USA during the Covid pandemic (fast approaching the one million mark). It was always an up-tempo song, despite the subject matter, and Brace does it justice by ending things with a band sing-along, brass playing free and the rhythm section driving everything along at a pace.

One thing that you can be certain of with a Last Train Home album, is that a good time will be had by all. The musicians are of the highest calibre and with years of playing together, their spontaneity is clearly evident in the way in which they complement each other. A very worthy project and filled with great moments.    

Review by Paul MCGee

Jason Baker Liberty Self Release

Written, performed, produced, recorded, mixed and mastered by the artist himself, this is a fine example of the D.I.Y. ethic that has gained such a powerful momentum during the Covid pandemic experience of the last two years. 

Jason Baker is a songwriter & performer from Burlington, Vermont. Given that he only started recording in 2018, there is already an impressive output with three full length albums to choose from. He also plays as part of a folk trio named Folk Talk Trio, and they have two releases of their own, in the last two years.

He namechecks, among others, Dar Williams in his credits on this four-track EP. Whether he simply drew inspiration from her work or whether he attended her music workshops is not clear, but either way, it’s a good indication of what to expect here.

Baker writes with a clarity that balances serious content with almost humorous delivery in his strong vocals and guitar style. The title track speaks of living your dream and being true to yourself; something we would all aspire towards, even if the reality of attainment can be somewhat challenging at times.

River Of Truth draws from the book of positivity and speaks of making a difference in the planting of community seeds to watch them grow. Being constant and letting the ripples of the pond spread wide. Again, the message is one of being true to your beliefs.

The Game Is Over takes a view on the avarice and greed in the world. Where the few get richer and the many continue to endure daily hardship and struggle. Baker uses the game of Monopoly as his metaphor; with the mentality of ‘winner takes all’ an indication that perhaps all this will to win is perhaps a weakness.

Opening track, The Bigotry Blues, uses clever juxtaposition of words to aim some well-directed blows at the malaise of increasing bigotry that has crept into our views and our societies. No doubt, sparked by the Trump years in power, Baker warns of the threat imposed by mass-hypnosis and the dangers of a movement growing out of activities that nobody predicted, ‘They want war and they want it now, Hating everybody is their sacred cow, Guess we should have known from the war drums drumming, But I swear I did Nazi (sung as: not see) see it coming.’ Very clever, and the message is lightened by the use of kazoo and ukulele as Baker’s weapons of choice. An interesting new artist for me and I look forward to hearing more.

Review by Paul MCGee

Clever Hopes Artefact Self Release

This is a debut album from actor/director and songwriter, Andrew Shaver (acoustic guitar/vocals), and Eva Foote (acoustic guitar/vocals). They first met on the theatre production of the musical, Once, (Glen Hansard), after which they formed Clever Hopes. Their collaboration on this very rounded and impressive project, delivers ten tracks that play out over a very generous and engaging fifty minutes.

Recorded over a few days at Union Sound Company in Toronto, the musicians played live in the studio, something of a rarity in these times of remote recording and e-mailed music files. The organic feel of that experience is reflected in the flow of these songs and the interplay among the ensemble is beautifully captured. The album was produced and mixed by Matthew Barber, who also contributed on Farfisa organ and vocals. The other musicians involved were Noah Reid (keyboards/vocals), Justin Rutledge (guitars), Kev Foran (brass), Joe Glass (guitar/pedal steel/mandolin/vocals), Steve Zsirai (electric/upright bass) and Marshall Bureau (drums/tambo).

The opening song, Interference, is wrapped in a sweet pedal steel melody and sets the tone for the album theme, which examines a doomed relationship, and the realisation that there will always be a disconnect in communication when two people are pulling in different directions. The Other Side has an addictive beat and a nice melody, while capturing the feeling of being far apart from someone, both physically and emotionally. The inclusion of horn sounds on the arrangement is a nice touch and heightens the sense of confusion where distance leads to anxiety overload. Shaver spent time in Australia during the break-up of this relationship so, no doubt, this gets channelled.

Shadow Waltz has some great pedal steel parts from Joe Grass and a slow tempo that reflects upon events that are sometimes outside of our control, ‘All the scars that shift between us, Like the glass at our feet, I touch your hand and you’re drifting away from me, I’d take your hand but you’re already out of reach.’

Made You Mad is a standout track with a look into the details that dissect a relationship. The co-vocal of Eva and Andrew is perfectly aligned as they trade lines on what drove each other crazy, ‘For every time I made you dinner, For every time I made our bed, There were a hundred thousand little things, That I know I should have said.’ The song arrangement is very addictive and reminds me in some ways of Lloyd Cole and the Commotions at the height of their power as it builds and plays out.

Corner Hotel recounts an experience of ships passing in the night and missed opportunities to connect over time and place. It’s a great premise for a song and skilfully delivered, both in the subtle musical touches and the vocal restraint.  Now We Burn has such an atmospheric dynamic to the mood of resignation, ‘There’s a relief that comes, When something is broken, And all the hardest words, Are finally spoken.’ It reflects the nadir of the relationship journey as it winds its way towards inevitable breakdown. 

Gravel Rash Stare has a great RnB groove, the keyboard and horn sounds capture the sense of memory and regrets, ‘I’m old enough to remember what it was all for, But I’m young enough to remember wanting more.’  As debut albums go, this one is as good as I’ve heard in a long time. Full credit to Eva Foote for playing the role of break-up partner in these songs and sprinkling them with magic dust in her vocal delivery and guitar parts -  a perfect foil when the original protagonist has already left the ring.

Review by Paul MCGee

Steve Dawson Gone, Long Gone Black Hen

With a measure of humility, Steve Dawson intends to release three albums over the forthcoming year. Call it a result of Covid productivity while under lockdown. He has always been a busy guy, whether as a musician, a producer or a label owner. Steve is usually found with his hands on a new project and turning water into wine with his magic touch.

The ten tracks featured here are full of genre fluid treats, from the opener, Dimes, with its RnB feel and soulful backing vocals from Allison Russell; to the swing Blues of King Bennie Had His Shit Together, and that’s only the first two tracks! King Bennie Nawahi was a steel guitar player from Hawaii with a very colourful life story, captured here as a tribute to his exploits. Bad Omen follows and is a deeper blues workout with great atmospheric feel.  Steve on vocal, Weissenborn and electric guitars; Jay Bellerose on drums and percussion; Jeremy Holmes on bass and Kevin McKendree on atmospheric organ.

The title track has Steve on vocal, acoustic guitar and pedal steel, while the seemingly contra-sound of Ben Plotnick on violin and viola, together with Kaitlyn Raitz on cello, works perfectly as a harmonious whole. The mark of a creative mind who uses musical intuition to break new ground. I Just Get Lost has an acoustic intro that blends into something approaching a Little Feat workout, with multi-instrumentalist Dawson finding subtle rhythms inside shifting melody lines. Kulaniapia Waltz is an instrumental tune that channels all that is best in the sweet groove of a Hawaiian melody, played on a different range of instruments, including pump organ and ukulele.

Skeletons In A Car is a true story of some guys who thought that getting wasted on the prairie at night was a cool idea – until they flipped their car. The atmospherics are captured with taut playing; Weissenborn guitar and organ swells, complemented by the upright bass, and twin drum sound, all laced through with the vocal acrobatics of Allison Russell (always worth the entry fee on her own).

The inclusion of a cover of the Faces, Ooh La, seems a strange choice, but it is given a laid-back acoustic treatment that works really well. Almost like the way in which the original should have been recorded in the first place! The almost-Gospel delivery is reminiscent of a deep south revival experience with National slide guitar, organ and soulful vocals lifting the arrangement to a sweet spot.

Cicada Sanctuary is an instrumental with Steve on acoustic guitar, confirming that all those years of isolated practice do pay dividends in the long run. He is such a gifted musician and his dedication to the craft brings its own reward. Closing track, Time Has Made A Fool Out Of Me, is a perfect coda to all that has gone before; a reflective moment to understand that ‘time is not a circle, It’s a line.’ 

The interplay between these top-drawer players is just sublime. Hats off to Jay Bellerose and Gary Craig (drums, percussion), Jeremy Holmes (bass), Chris Gestrin (Mellotron, pump organ), Kevin McKendree (organ, piano), Gerry Cook (baritone sax), Dominic Conway (tenor sax), Malcolm Aiken (trumpet) and Fats Kaplin (fiddle). Of course, all led by the vision of Steve Dawson. Roll on the next two scheduled releases.

Review by Paul MCGee

Latest Album Reviews

Whitehorse Strike Me Down Six Shooter

Fans of the Canadian Americana duo may be surprised by the direction taken in this latest offering, their second album within a year. However, there were always of hints of this in the past, particularly on Luke Doucet’s solo material, released before he formed Whitehorse with his wife Melissa McClelland in 2011. Miles away from their folky origins and even their recent lock down live shows, this album is a kaleidoscopic collection of indie pop rock, a fusion of spacey vocals, synths, fuzzy guitars and disco.

Why So Cruel, one of the catchier songs, shamelessly steals Blondie’s bass riff from Heart of Glass in this 80s pop song of heartbreak, powerful lead vocals courtesy of Melissa, and Luke’s White Falcon guitar makes its presence felt. More shades of Blondie in Play it Safe, heavy with electric organ (played by Melissa), pounding drums, layered vocals, and sounding like the 90s. Please, Maria gives Luke the chance to do a Marc Bolan vocal and guitar tribute, while Sometimes Amy is straight 80s indie pop.

Mazzy Star fans may (or may not) like the only cover on the album - a very different interpretation of Fade Into You. The title track, which closes the album, shows just how good the two harmonise together, on top of a maelstrom of electric organ, drum machine, thumping bass and echoey sustained guitars.

Check it out and make your own mind up!

Review by Eilís Boland

Few Miles South Wiregrass Self Release

Californian, classically trained singer and musician, Tori Lund met songwriter, producer and engineer Blake English in LA when she had become disillusioned with a potential opera career. She had already taken a few tentative steps into singing with a country band for fun. The two began to write songs together for other people, but soon realised that they could perform them themselves and so, Few Miles South began just five years ago. They eventually packed up and moved to Blake’s home state of Georgia, where he now has his recording studio, and where they co-produced WIREGRASS. Their previous two recordings were more classic country orientated, infused with blues and southern rock, whereas this EP comprises five original progressive bluegrass/country tracks.

The lyricist of the pair, Lund definitely has the country ‘twang’ in her powerhouse vocals and she knows how to use it. English is a multi instrumentalist, playing mainly guitar and mandolin here, as well as harmonising with Lund throughout. The barnstorming opener Grand Ole Time hits one like a hurricane thanks to English’s hugely impressive guitar and mandolin picking, but also due to the phenomenal fiddling of none other than Michael Cleveland, arguably the best bluegrass fiddle player alive today. Cleveland, ten times voted IBMA Fiddle Player of the year, plays on four of the five tracks here, sometimes harmonising, other times weaving under and over and through the melody like a whirling dervish. The only downbeat number, the bluesy atmospheric Wiregrass (a type of grass that grows all through the Southern states) is a song of hopelessness, the deft instrumentation evoking the sultry humid heat of their Georgia home base. Test Of Time is a celebration of steadfastness in love, with the masterful lyrics ‘I’ve loved you long enough to know that hearts will rust, but what’s inside my heart will stand the test of time’. The trial of finding affordable and safe accommodation for a band on the road is immortalised in $40 Room, featuring drug pushers and bed bugs among other delights. The mandolin-led Let Me Come Back Home finds the protagonist begging their partner to take them back after a breakup. And then it’s all over, far too soon. I’m off to check out their back catalogue and will be eagerly awaiting what emerges next. Highly recommended.

Review by Eilís Boland

Paul Sherry Let It Flow Self Release

Fans of Ireland’s über talented blues rock singer/songwriter and guitarist Grainne Duffy will immediately recognise the name of her band member and husband, Paul Sherry, who has finally decided to step forward into the spotlight with the release of his first solo album. There’s clearly more to Sherry than guitar duties, as he has penned and sings lead on all ten songs in this collection.

There are two well defined styles on the album, with ‘the A Side’ consisting of heavy rock numbers, while ‘Side B’ comprises quieter, more acoustic songs. 

Title track Let It Flow kicks off the album deceptively quietly with acoustic guitar strumming and Sherry’s husky voice, and then suddenly the listener is transported into heavy roots rock stylings with drum kit, electric guitars, bass, keys and backing vocals. This Springsteenesque sound accompanies the subsequent four rockers, with Circles, Truth and Why exploring the theme of searching for truth and meaning in life. Accompanied throughout by producer Ronan Morgan on drums, guitar, piano and bass, they are also bolstered by the presence of bassists Ronnie O’Flynn and Paul McCabe, and guest Nicky Scott (Van Morrison) on upright bass. Grainne, of course, contributes backing vocals, most notably on the rockier numbers.

The mood changes somewhat on Reflections, which runs into the very interesting instrumental track, Reflection part 2, which acts as a bridge into the B side. On the evidence of this beautiful  evocation of tranquillity, Sherry would have a future in ambient relaxation music if he ever gives up the day job! The peaceful atmosphere continues with Sail On, the boat on the serene sea after the storm introducing the theme of redemption, which fuels the remaining tracks. ‘This storm will pass, as this boat and I sail on’. Seasons expresses faith and hope in the cyclical nature of the elements, while Love and Light continues in this optimistic vein. The country flavoured Better Days  is a wish for hope and moving on after the bad times.

You can catch Paul on the road in Ireland currently as he tours this new album. Check him out.

Review by Eilís Boland

Carson McHone Still Life Loose

The 2018 album CAROUSEL, from Austin, Texas, singer songwriter Carson McHone, gained many plaudits, not just from ourselves at Lonesome Highway, but on both sides of the Atlantic. Rolling Stone, Wide Open Country and Uncut all heaped praise on both McHone’s fine vocals and the depth of her songwriting. That album was produced by Mike McCarthy (Patty Griffin, Jack Ingram, Lee Ann Womack), who had initially invited McHone to his studio to record all the songs she had written up to that time, stripped back to vocals and acoustic guitar.  Over the following twelve-month period they considered which songs from that collection would make the album and subsequently re-recorded them at Quad Studios in Nashville. The result was a fusion of sorrowful ballads and more up-tempo honky tonkers.

For STILL LIFE, McHone has turned the heat up a number of notches. This time around she hooked up with the multi-talented and hugely experimental artist and producer, Daniel Romano.  The resulting eleven tracks were recorded with the input of only two other players, the multi-instrumentalist Mark Lalama, who plays piano, accordion and organ, and David Nardi, who contributes saxophone. The impact of both players, and particularly the wizardry of Nardi, is standout throughout.

The album explodes into life with the opener Hawks Don’t Share, evoking the sound of mid-80s Maria McKee at her raunchiest. Tracks of a similar rocky persuasion include both the title track and Someone Else, the former complete with swirling keys and crunching guitars, and the latter featuring splashes of piano and timely handclaps. Despite the full blown and intricate arrangements on both tracks, McHone’s sweeping vocals remain out front and crystal clear. Also leaving a deep impression is the mid-tempo Fingernail Moon, boosted by a 12-string jangly guitar break and soaring layered backing vocals. There are also contrasting moments of calm on offer, with tenderness embedded on both the unhurried and intimate Sweet Magnolias and Trim The Rose.  The hushed quality of the closing and shortest track Tried is conveyed with only vocal and acoustic guitar and is a fitting finale to an ambitious and powerfully emotive record.  

If CAROUSEL was a gateway album for McHone, she’s simply knocked it out of the park with STILL LIFE, forging a thrilling dynamic with Romano and generating a lusher and bolder musical direction than on her previous albums. If there’s any justice, it will open the doors to an altogether more widespread audience and transport her from ‘one to watch’ to ‘one that has arrived.’

Review by Declan Culliton

Massy Ferguson Joe’s Meat & Grocery North & Left

Seattle based roots rockers Massy Ferguson stick with their tried and trusted musical template on JOE’S MEAT & GROCERY, their sixth full length album. Frontman and bassist Ethan Anderson once more shares the songwriting duties with guitarist Adam Monda, the other two band members being Tony Mann (keyboards) and Dave Goedde (drums). The album’s title references the family store run by Monda’s grandfather in Wenatchee, Washington State, back in the early 1900s. With one foot in the past and one foot in the present, the twelve tracks that feature have a timeless quality to them, ignoring any populist political comment, and instead, simply addressing everyday issues facing the blue-collar man in the street and the girl next door. Very much in that vein of hopelessness and anguish are the hook-laden Save What Couldn’t Be Saved and the raging Leave If You Want To.

In customary Massy Ferguson fashion, the songs crackle with energy and no more so than on I Don’t Know Why and Miles Away, which, like the less beefy Off To See Rose, had me hitting the repeat button.

Flag carriers for the classic alt-country genre of the 1990s, this is uncomplicated high energy rock and roll from a tight and well-oiled machine, who are fully aware of what they do particularly well and seldom stray too far from there.  

Recorded at MARS Studios, Bothell, Washington and produced and mixed by Ken Stringfellow, JOE’S MEAT & GROCERY will capture your attention and hold it from start to finish. Another impressive album from a band that seldom disappoints.

Review by Declan Culliton

Dean Owens Sinner’s Shrine Eel Pie/Continental Record Services

Five thousand miles may separate Edinburgh, Scotland, and Tucson, Arizona, but the desert cries and Tex Mex melodies are captured to perfection by Scottish singer songwriter and the occasionally nomadic Dean Owens, on his latest album.  A passionate and prolific writer, Owens’ fascination with the New Mexico desert and its history of displacement and immigration previously surfaced on the album BUFFALO BLOOD. That project was recorded by the band of the same name, Buffalo Blood, a collaboration between Owens, husband and wife team Neilson Hubbard and Aubrey Spillman, and Joshua Britt.

Readers who are familiar with Owens’ work will, no doubt, have savoured his three DESERT TRILOGY EPs, released during 2020 as a prelude to SINNER’S SHRINE. Following two unprecedented years of setbacks, cancellations and uncertainty, this album, recorded at WaveLab Studios in Tucson prior to lockdown, finally sees the light of day. The production duties were overseen by Owens, with the exception of one track, La Lomita, which was co-produced with Joey Burns. Thirteen musicians contributed to the eleven tracks that feature, including the aforementioned Joey Burns - who plays multiple instruments - and his Calexico musical partner John Convertino, on drums and percussion. Paul Niehaus (Lambchop, Justin Townes Earle, Laura Cantrell. Iron & Wine) adds his magic on pedal steel and Grant-Lee Phillips, an occasional touring partner of Owens, adds harmony vocals. Various trumpet inclusions come courtesy of Jacob Valenzuela.

From the minimalist Companera to the more fully blown The Hopeless Ghosts, the album captures both the beauty and peril of scorching deserts and border crossings, where many have perished seeking fortune or freedom. New Mexico, previously included on Owens’ debut album, THE DROMA TAPES, gets a dramatic makeover and the final and uplifting track After The Rain, is a remake of a previously unrecorded song written some years back. The silky voiced Gaby Moreno adds vocals on one of the standout tracks, Land Of The Humming Bird and the Ennio Morricone inspired Here Comes Paul Newman pays homage to the low-budget Spaghetti Westerns, so popular in the 1960’s.

Notwithstanding the musical quality on offer, and as was the case with his DESERT TRILOGY EPs, plaudits are due to Owens and his team once more for the stunning artwork and packaging.  SINNER’S SHRINE is an album that is loaded with positive energy and one to put on the headphones, sit back, and be transported to sun kissed sands, burning skies and spacious landscapes, courtesy of one of the finest Americana artists this side of the pond. 

Review by Declan Culliton

Red Sammy Vultures Self Release

This band name serves as the performing platform for Adam Trice, a native of Baltimore, Maryland. His debut album surfaced in 2007 and with this new release he marks up another milestone in his consistently strong output over nine previous albums.

The band name, Red Sammy, was taken from a character in a Flannery O’Connor short story (Red Sammy Butts) and Trice has also been creative as a bard; releasing a book of poetry, together with an EP of five songs, some years back. Another previous release saw Trice recording with a string ensemble called, Some Charming Trespassers.

So, with a literate background in the arts, it’s fair to say that his tenth album has been keenly anticipated by his fan base. Trice doesn’t disappoint across the eight tracks included here, and the relatively short playing time, just shy of twenty-eight minutes, certainly leaves the listener wanting more.

Red Sammy is comprised of Bruce Elliott (electric/slide guitars), Greg Humphries (bass/backing vocals), David Pearl (drums, percussion/backing vocals), with Trice leading proceedings on acoustic/electric guitar and main vocals. He recorded the album over the recent Covid lockdown and the mood is both reflective and studied. The opening song, Kerouac Revisions,  is a mid-tempo rumination on isolation during the pandemic and looking back on the days of socialising with friends before everything became turned around.  

Heart is more acoustic-based with a melody that tickles the senses as Trice looks back over old memories and the passion of heart-felt emotion. The quiet calm of Gonna Be Alright is a song to soothe the anxieties of those who feel vulnerability in uncertain times, ‘Don’t feel ok, but it’s gonna be alright.’ The ensemble playing is understated and tastefully in sync with these songs, while Trice sings in a vocal style that reminds me, at times, of Jesse Malin.  

The Weight the Kids Must Carry is one of the highlights here with a slow groove, atmospheric guitar lines and a reflection on the pressures of living in times that are filled with uncertainty, job losses and concern for the future. Equally, Lyin‘ Low, has a sense of what gets lost and sometimes feeling like things are in slow motion. Far from being weighty songs however, there is a light touch to the production and the vocal sway of Trice is comforting as he spins out these vignettes of everyman cares and concerns.

In Balance is another fine song, repeating the lines, ‘We hold ourselves in balance, We hold ourselves,’ almost like a prayer, looking at trying to centre ourselves and walk a straight path through the changes.  I Can’t Put You Down looks to a relationship and the need for communication, with lovely guitar melody complimented by subtle bass and drum rhythms. The band really brings these gentle observation songs to life and the colour displayed is very easy on the senses. 

Final song, God Is Good and So Are His People, is just Trice and an acoustic guitar reflecting on the plight of the dispossessed and the down at heel. It is a wry commentary on the fractures in society that continue to go untended, despite these times of seemingly reaching out to each other for solace and support. This is a fine album and one that will have you eagerly exploring the back catalogue of  Red Sammy releases. Enjoy the journey.

Review by Paul McGee

Pete Kavanagh Join Up the Dots Self Release

The opening track, To Hold the Red Rose, is a perfect barometer for this very enjoyable and very accomplished debut album. It’s a song about unwavering love, with the line ‘ we walk together down destiny’s road,’ perfectly capturing the sentiment. It’s equally a song about family and belonging, with the reflection that ‘we stand together through all that life throws.’

The second track, Hold On, references the album title in the lyric and it captures the quiet desperation that grief can bring. Pete lost his Father in 2019, and his original recording of this album was put on hold while he took stock and grappled with the reality of bereavement. The words, ‘travelling through time, lost in a dream’ and equally, ‘Gone to ground, Feels like I’m losing the plot,’ sum up the sense of unreality that life can sometimes deliver while we are busy making other plans. 

Returning last year to complete the album during lockdown, Pete recorded at Arthouse Studios, Naas, Co. Kildare. He co-produced the project with Hally (Ronan O'Halloran), who mixed and mastered the nine songs, in addition to providing some guitar and vocal parts. All songs were written by Pete and he leads proceedings from the front with stellar performances throughout, on a selection of acoustic guitar, bass, piano, synthesiser and main vocals. 

He called upon a fine array of musicians to assist in the grand design, with featured players like Lenny Cahill contributing on five tracks, playing a selection of piano, bass, drums, mandola, hammond organ, and adding some backing vocals. In addition to Barry Mulrennan, (bass on three songs) and Patrick Hopkins, (percussion on three songs), another seven musicians added rich playing on a variety of electric guitar, mandola, banjo, dobro, drums, bass and backing vocals.

Just prior to the album launch, the song Mercy was released as a single and the public reaction was uniformly positive for an important song that highlights much of what took place at the Golden Bridge orphanage, ‘Children do the work and the nuns get the money, Mercy. Little fingers bleed on your sacred rosary beads, Mercy.’ It deals with the harrowing issues of institutional abuse of innocent children over many years in Ireland and it really scores in terms of focusing upon the key moral hypocrisies. 

Another fine song, Can You See Me, deals with more personal challenges with the lines, ‘It’s said that everything comes in threes, This second blow has got me on my knees,’ hinting at the inner storms that were raging. The haunting harmony vocals of Pam Kavanagh add great nuance and the beautiful arrangement has an atmospheric melody that lingers.

Getting Things Done is clever and includes a number of business cliches and corporate-speak;  ‘Keep a tight ship -Don’t show your cards too soon, Take one for the team-Push out the envelope.’ It ends with the observation that a price has to be paid when you, ‘Manage expectations and channel that rage.’ The sweet sentiment of love-song, Say You Will, is  wrapped in a superb arrangement with fluid guitar, gentle keyboards and an easy back beat. Have the joys of love ever been reflected more eloquently? Sweet Friend is a song about loss, and a family that has to endure, ‘You have to take hold of the reins, Learn to live with the pain.’ Pete is a very astute lyricist, and in looking at the grief of living with bereavement he ruminates, ‘Hold your head high and believe, In all you give and receive.’ 

In the song, Ashes, there is the sense of trying to relate with someone who suffers from autism, or perhaps, locked-in syndrome; ‘I reach out to know her, To unlock the doors-To let in the light and shut out the night.’ So beautifully observed and a sentiment captured superbly.

Final song, Tonic For A Troop, is everything that anti-war emotions should highlight, with the lines, ‘You never forget the taste of sand, Or the stench of burning flesh caused by your hand.’ Such a succinct summary of the senseless waste – ‘Out in the dark with your hate and your gun, You’ve got to be sure you get the job done.’ 

This debut album ranks right up there beside the best of new Irish talent over recent decades. Pete lives in Co. Kildare and can be found on the local circuit now that music has returned to our venues once again. Do yourself a favour and catch him in a live setting – once you have familiarised yourself with the great gifts that this album has to offer. A real keeper.

Review by Paul McGee

Marla and David Celia Indistinct Chatter Elite

The album, Daydreamers, appeared back in 2018 and marked a striking debut for this talented duo who are based in Toronto, Canada. David Celia met Marlene Winkler (Marla) while sharing some gigs as solo artists in Germany and out of their collaborations blossomed not only a romance but also a sweet synergy in singing and writing together. Marla was based in Berlin, where her developing career led to David producing her debut album in 2015. He had already pursued a successful music career as a solo artist with four previous releases. Their union has led to plenty of media praise for the sweetly delivered harmony vocals and song writing talent. The main direction of the songs featured here leans very much towards a wish for utopian dreams and peace among humankind. Yes, it may sail close to those naïve ideals of 1960s hippy culture, but when was it ever considered bad to have aspirations and dreams? I recall a certain songwriter who once sang about ‘Imagine all the people living life in peace.’ Hmmm…

All twelve songs were written and produced by Marla and David, and they recorded at both Organica (Toronto) & Czernyhood Studio (Heidelberg), quite a feat during lockdown to access different studios on different continents. David plays guitars, bass, keyboards, drums and sings, while Marla plays acoustic guitar, cello and sings. Their vocal harmonies are really enjoyable and the song arrangements are light, bright and sprinkled with interesting little twists and turns along the way. Clowns Everywhere, kicks things off with a gentle melody, dreamy Folk improvisations and a message about the rampant materialism of our societies, where over-production of goods is choking the planet. What If? poses the question about our need to fight with each other and dreams of ‘No war, no hunger, No killing, no slaughter.’ 

Paranoia vs Miracles carries a message of care, that we value each other and get away from placing ‘quantity over quality.’ The equally apposite, Mama Nature, looks at the price paid for our self-serving indulgences and the way in which nature is reacting through weather extremes and global warming. Goodbye is a song that reflects on the high cost of automation with the words, ‘Goodbye to small businesses, you’re cut off at the hand, These machines are faster and deliver on demand.’ The song also laments at the replacement of manual skills with the lines, ‘Goodbye fixing anything, no one’s got the time, It’s quicker to replace it for a dollar and a dime,’ particularly ringing true.

There is a lovely Spanish love song, Cuenta Conmigo (Count On Me), which highlights the beautiful vocals of Marla and the lines, ‘Count on me, Along the way, I am part of you.’ The message in Struggling With the Yin-Yang is how conflicted we can be in trying to reconcile opposite forces in our lives and the song arrangement shakes things up with some interesting rhythm and jazzy tones. Another song, This Train, is a peek through the window at the monotony of daily routine and being on auto pilot while following prescribed rules. 

Both Colours Of the Rainbow and Little Bird highlight the natural paradise in nature that surrounds us and how it’s taken for granted. The simple joys of living in the moment having been lost over time. Also, on Childhood Dream there is a prayer to the past and to those hopes we had when the world was new to our eyes – the sense of wonder that fuelled youthful dreams. 

Final song, Love Of Life, is the badge that David and Marla proudly wear – to experience the world and not be fearful. Making a joyful sound is the preferred path and having compassion is the way to break down the barriers that we have erected between ourselves and our nations. As contemporary Folk artists, this duo have released an album that is thought provoking without coming across as lecturing; more a gentle prod in the direction of best choices when it comes to relating and thinking.

Review by Paul McGee

Latest Album Reviews

Erin Rae Lighten Up Thirty Tigers

Jackson, Mississippi, born Erin Rae has been an integral part of the East Nashville music community for several years, and LIGHTEN UP is her second solo recording following her fine debut album PUTTING ON AIRS from 2018. In a previous life, she fronted the indie-folk band Erin Rae and The Meanwhiles, whose studio album SOON ENOUGH was released in 2015, having been recorded live over a two-day period.  Its core sound was very much Laurel Canyon country folk of the purest kind, introducing a singer possessing a striking vocal range.  PUTTING ON AIRS followed suit, while also further reinforcing her reputation as a songwriter of note.

Her somewhat more experimental latest album was recorded at California’s Topanga Canyon. Jonathan Wilson (Father John Misty, Roy Harper, Conor Oberst), who oversaw the production, invited Rae to his Wilson's Five Star Studios to record in February 2021. Cramming on the music of a diverse range of artists, including Kevin Ayers, Scott Walker, Judee Sill, Feist, Gene Clark, and Jesse Winchester, drew Rae out of her comfort zone, the result being this twelve-track album that embodies a range of styles from baroque pop to indie rock, together with some country folk inclusions. It’s also a change in her songwriting direction, abandoning the self-analysis of her previous work and replacing it with more positivity and an endorsement of simply accepting the hand that one is dealt.

Awash with silky strings, the Scott Walker influence is unmistakable on the quite beautiful Cosmic Sigh. The radio friendly True Love’s Face, flirts with the U.K. glam rock sound of the early ‘70s. That decade is also brought to mind on the vibrant Candy and Curry. Written at the onset of the pandemic, Rae’s unhurried layered vocals on this song reflect the slowing down process of that time and the scope for personal reflection. From a likewise similar comes the contemplative Drift Away. The self-explanatorily titled Lighten Up and Try was co-written with close friend and neighbour Andrew Combs.  Modern Woman, the first single from the album, celebrates the advancement in what is considered ‘gender normal.’  

Like so many others, the pandemic presented Rae with the opportunity to wind down and reflect. She put that period to good use, resulting in an album of musical styles from different times and locations, lyrically impressive, beautifully arranged, and presented by the possessor of a unique voice.  Lovers of Rae’s previous work may not have seen this coming, I certainly did not. But rest assured, with one song tumbling effortlessly into the next, this is a standout album, very much of its time.

Review by Declan Culliton

Rob Aldridge & The Proponents Mind Over Manners Self-Release 

The second album from Muscle Shoals, Alabama rock band Rob Aldridge and The Proponents is a fusion of southern rock, riotous blues and hook-filled soul. Uplifting and charged as the album may be, the release of the twelve-track collection follows a challenging period for the band. The album was recorded in Green Hill, Alabama, with Aldridge co-producing with Jay Burgess (The Pollis).  Following that, tragedy struck the band in April 2021 with the sudden death of bass player Stone Anderson from an accidental drug overdose. A long time and close friend of Aldridge, his passing was a major shock to his bandmates and the Alabama music community.

 The band line-up that featured on this recording is Aldridge (vocals, guitars), Rob Malone (guitars), Nick Recio (drums), and the late Stone Anderson (bass). Guests included The Pollis keyboard player Clint Chandler, cellist Caleb Elliott and violinist Kimi Samson.

 While many recent albums were fuelled by the pandemic and Presidential matters in the U.S., the album’s title and the opening track were derived from the Black Lives Matters Movement. Rather than jump on the bandwagon and decry the movement based on the riots that occurred, Aldridge addresses the issue by asking ‘If you’re being honest with yourself about the history of racism in this country, how can you blame them for rioting?’ It’s a less muscular and more minimalist track than many of the fully blown rockers which follow. Twangy guitar riffs and smooth country grooves impress on Twisted Blanket, alongside the more classic rockers Explaining To Do and Loneliest Of Company.  It’s not all blood and thunder and also noteworthy are the more chilled and gentle shuffles that surface on Mean Grass and Devil On Sunday.

 If fellow Southern Rockers Drive By Truckers and the more polished sound of Tom Petty rock your boat, this will be right up your street. Maximum volume advised.

Review by Declan Culliton

TK & The Holy Know-Nothings The Incredible Heat Machine Mama Bird

Another album released in late 2021 which we are only now getting around to review comes courtesy of this expansive hard-edged country album from TK & The Holy Know Nothings. In describing their sound as “psychedelic doom boogie,” frontman Taylor Kingman has created yet another sub-genre in the rock and roll field. It may be simpler to brand their sound as simply ‘good time rock and roll,’ and this eleven-track album is certainly packed to the gills with down to earth rockers and some smouldering and less rugged ballads.

The five-piece band consist of Portland locals and working musicians Jay Cobb Anderson (lead guitar, harmonica), Tyler Thompson (drums), Sydney Nash (keys, bass, slide guitar, cornet), Lewi Longmire (bass, guitar, pedal steel), and bandleader Kingman. THE INCREDIBLE HEAT MACHINE more than lives up to its title, by dishing up a potent serving of high energy tunes. Given that the album was recorded live, with zero overdubs, over a two-day period in the cowboy town of Enterprise, Oregon, it’s safe to say that their sound is especially suited to a live setting.

Their weather-beaten vibe never sounded better than on the opening bluesy stomp Frankenstein or the toe tapping barroom romp and ‘morning after the night before’ Bottom Of The Bottle. Laid Down and Cried and Serenity Prayer both breeze along with a slow rolling country groove and the free-flowing John Prine sounding Hell Of Time showcases Kingman’s ability to pen an aching ballad alongside the more high-spirited inclusions.

This is blue-collar raw country rock of the highest level by a group of players that sound like they were having a blast in the studio. No nonsense lyrics, and hook packed songs played with maximum verve and gusto are the perfect combination for a late night show in a packed barroom. This is precisely what we can expect when these boys play Kilkenny Roots Festival in May of this year. 

Review by Declan Culliton

The Delines The Sea Drift Décor

 The fourth album from Portland, Oregon band The Delines continues where they left off in 2019 with their U.K. AMA chart topping album, THE IMPERIAL. That record explored loneliness and isolation in an urban environment, whereas on this occasion the stories that unfold from the pen of Willy Vlautin take place along the Gulf Coast states of America.  The twelve songs, which read like chapters from a hardboiled noir novel, once more optimise the cinematic story writing of Vlautin and are brought to life by the soulful vocals of Amy Boone.

 The Delines are Amy Boone (vocals), Willy Vlautin (guitar, vocals), former Richmond Fontaine bandmates Sean Oldham (percussion, vocals) and Freddy Trujillo (bass, vocals), and Cory Gray (trumpet, keys). The string arrangements were performed by Kyleen King, Patti King and Collin Oldham. Another essential cog in the well-oiled Delines wheel is John Morgan Askew, who, having previously produced their earlier albums, was once more at the controls.

 The challenge Boone presented to Vlautin for this album was to recreate the combination of naturalism and charm so central in the songwriting of Tony Joe White, an artist much loved by them both. Vlautin has achieved that goal and more, adding his customary dark undertones to the tales. On the opening track Little Earl, we hear of a younger brother, bleeding and crying in the back seat of a car following an abortive robbery at a mini-market. Later on, and equally unsettling, is the image of an abused woman retrieving her belongings from her former partner’s house in This Ain’t No Getaway. She may or may not be the ‘loved up’ party in gentler times on a previous heartfelt track Hold Me Slow or even might feature in the brooding All Along The Ride, where a couple’s relationship comes undone during a car ride.

 The trumpet and the string arrangements lend an emotional warmth to a number of the tracks and also included are two trumpet-led instrumentals, Lynott’s Lament and The Gulf Drift Lament, written and performed by Corey Gray. The former is positioned mid-album, akin to an intermission and a pause for reflection. The latter is an atmospheric curtain closer, creating an image of rolling credits as it bookends the album.

 Thankfully Amy Boone has returned to better health following the horrific injuries she sustained when she was struck by a car back in 2016. She is simply glowing on this suite of songs, pouring her heart and soul into each and every track and bringing to mind, alongside her masterly bandmates, the celebrated country soul of her beloved Dusty Springfield and Bobby Gentry.  

Essential listening and one that will be playing in the listener’s subconscious long after the final track.  

Review by Declan Culliton

Heather Sarona Head Above Water Self-Release

Hailing from the Uwharrie Mountains in North Carolina, a part of the world steeped in the culture of folk music and bluegrass, Heather Sarona has been playing guitar and singing ever since she chanced upon an old guitar of her dad’s in their attic. However, despite her early calling, she only began performing live in 2016. A pointer towards the progress she has made since then was her selection as a showcase performer at the World of Bluegrass Music Festival in both 2020 and 2021. HEAD ABOVE WATER is her debut album and follows on from the release of WALTZ, her three-track EP in 2017.

The recording was the first time that Sarona collaborated with other musicians in a studio setting. She assembled a group of like-minded players for the recording which included Andrew Marlin (Mandolin Orange, Watchhouse), Libby Rodenbough (Mipso), Sarah McCombie (Chatham Rabbits) and Lizzy Ross (Violet Bell). They collectively contribute to some perfectly tailored songs including the Nanci Griffith sounding I’ll Be Lost and the deeply melodic title track.

To simply classify Sarona as a bluegrass artist hardly does her justice, her talent reaches well beyond that. The nine self-written songs on this album, which visit topics such as vulnerability (Window To Break), fulfillment (All I Need), and re-birth (For Me), are expressed by vocals that combine pain, confusion and regeneration in equal measures. 

Sarona modestly describes the project in simple terms ‘I just wanted to have some music out there if people ever looked up my name.’  I expect that she will be well pleased by the positive feedback this ‘easy on the ear’ album will undoubtedly generate. 

Review by Declan Culliton

Sterling Drake Roll The Dice Self-Release

There has been a noticeable increase in the number of artists recording classic country-styled albums in recent times. It’s hardly an avalanche, more like a steady trickle, but most encouraging, even at that, for lovers of that genre.

One such artist is country crooner Sterling Drake. He was born and reared in Florida, but lived a large portion of his life in the Mission Mount of Montana. His seven track EP/mini album ROLL THE DICE, released late last year, is the perfect fusion of western swing, honky tonk heartache, and dance hall treasures.

Like many of his generation, for the recording process, Drake sought out a number of Nashville stalwart players to feature on the album. Tommy White of The Opry Band plays pedal steel. His previous employers include Vince Gill, Dolly Parton, Glen Campbell, Alison Krauss and Jamey Johnson, to name a few, and his playing on the album is a delight. Another high-profile contributor is Grammy winning session player Charlie Mc Coy, who plays harmonica. 

The toe tapper opener and title track is classic Western Swing. Dreamy pedal steel, and uplifting upright bass kick in, followed by Drake’s slick vocals, with backing vocals from his girlfriend and member of The Meyerband, Mary Meyer. Come Stay With Me which follows, is a duet with Meyer and is simply gorgeous, an album highpoint for me.  The bittersweet Best Of Tennessee echoes Glen Campbell at his most country and Until I Forget recalls Willie Nelson at his most laid back. The love lost closer Honest Summers Wage transports us back to the classic country and western sound of former times.

 Drake’s songs, performed by others, have previously featured on a of number occasions on the Billboard charts. An artist fiercely devoted to vintage country music, ROLL THE DICE should establish him as another name bringing classic country to a younger and wider audience. Watch this space.

Review by Declan Culliton

The Remittance Men Scoundrels, Dreamers & Second Sons Blonde On The Tracks

This is essentially a project fronted by the album’s producer Andy Santospago, and guitarist and singer/songwriter Tom Robertson. It came to life over a two-year period when they recorded the tracks at Woolly Mammoth Studios in Massachusetts with engineer Dave Westner. A number of talented artists in their own right were brought in, including Eilen Jewell, Kris Delmhorst, Mark Erelli and Danielle Miragila, all adding their vocals to certain songs. Zachariah Hickman, Joe Kessler, James Rohr, Shady Hartshorne among others also bring their individual skills to the recordings.

 The band/project name interestingly was a term once widely used, around the turn of the last century for “an immigrant living in Canada on funds remitted by his family in England, usually to ensure that he would not return home and become a source of embarrassment.” Fair enough, as it sets the tone for these Americana character tales implied by the title. Robertson has a suitably ragged and roughhewn voice to give these songs a sense of place, time and personality, to suit the intent.

 Often the titles give a clue to the content as in A Room In Birmingham England, 1919, Lonely & Silent, Hacienda Santa Rosa or 1973 (Life On The High Seas). The latter is about a much-travelled ship’s cook in the merchant marine, whose life was one of constant change. All Robertson’s lyrics are convincing word pictures that are bolstered by the arrangements and instrumentation to deliver a rounded picture. He also possesses the kind of voice required to pull off this sort of vividly portrayed country/roots influenced sound.

The album contains two covers in Down South written by Tom Petty, which stands up well against the original, and the album’s closing track Nobody which was written by Tim Gearan, another noted Boston area singer/songwriter. Both songs fit in well with the overall scheme of things both in sound and content.

 As this was a debut album, I had no expectations but was pleasantly surprised by The Remittance Men and their joint project. I believe the two key members here have worked together previously on a Santospago project and this collaboration sets the scene for further work. From the picture on the website, it looks like Robertson might well sailed with Captain Ahab in another life. But it is a look that fits with the mood of this seductive music. These Remittance Men are no source of embarrassment and should be widely welcomed.

Review by Stephen Rapid

The Cactus Blossoms One Day Walkie Talkie

 This latest release from the Cactus Blossoms is a further progression from their last album, 2019’s EASY WAY, and further broadens their musical vision without moving away from the key elements of sibling harmonies and melodic song arrangements that have been an essential element of their sound. It was recorded by Alex Hall, using his mobile studio in a basement in Minneapolis. That space was owned by Page Burkam, one of the two brothers who make up the Cactus Blossoms. The other brother is Jack Torrey, who has professionally used that surname since he first played solo gigs.

The first single and opening track from the new album is Hey Baby and you immediately find yourself in familiar territory which anyone who has appreciated the band’s forte in the past will recognise. However, one immediate difference to the sound is the additional use of keyboards throughout the album, which have been there in the past but are more prominent and considered this time out. There are 60s and 70s references that are melded with the raw live sound captured in that basement using a consistent assembly of players that had the solid and muscular rhythm section of drummer Jeremy Hanson and Phillip Hicks on bass. Another long-time contributor was brother Tyler on electric and baritone guitars. Keyboards duties were handled by Hall and Torrey. The most recent single Everybody features the vocals of Jenny Lewis who adds an effective duality to the song. It has a slow soulful-sounding sadness that ultimately acknowledges that despite everything that is going on, everyone is trying to do what’s right. Having been fortunate to be able to listen over a period of time, I can say that this is a satisfying progression from their previous work. It maybe isn’t a true capture of their onstage presence, but it gains by keeping that essential spark while adding a certain subtletly to the sound. There is a sense of assuredness that is balanced, on occasion, with some darker seams. Ballad Of The Unknown paints a picture of harsh loneliness and cruelty. The baritone guitar manages to echo that feeling. On many of the songs the steel guitar effortlessly blends with the keyboards to create a mood of reflection and possibility.

There is a temptation to mention all eleven tracks, as the album has a depth and continuity that should be heard in context. Of course, there are tracks (mentioned above) that have an immediate likeability that on initial hearing makes them stand out, but further listens allow each track to standout in its own space. But it is the fundamental element of the two leads vocals that provides them with their recognisable sound.

As with previous albums, it is Torrey who writes the majority of the songs with Burkam co-writing three of the titles as well as one solo composition. All show that in the time since the last album, given the degree of uncertainty both at home in Minneapolis and in a broader context of the pandemic, the duo took time out, and took stock of the options. Once they felt that their creativity was returning, they began to meet and share ideas which became the songs here on the album. Another decision was to work with the touring players and record in a way that was reflective of their live shows. ONE DAY can last a lifetime.

Review by Stephen Rapid

Police Dog Hogan Overground Self-Release

 For those not acquainted with this band, they are a seven member UK group formed in 2009, who are releasing their fifth studio album. It was co-produced by the band and George Murphy (who also engineered and mixed). The songs were all written by the band with one co-write and with such a wide range of players they cover all the required bases. Guitar, fiddle, mandolin, accordion, banjo, electric, acoustic and steel guitars all sit over the solid bass and drum base, and there are also guest cello and violin parts. That range of instruments allows them to turn their hand to folk, roots, and Americana influences. There are moments throughout that have you thinking “that’s a little like,” but I will allow those comparisons to be made by the individual listener. They range from the more poppy cuts like Might As Well Be Love to the folkier Disappear. The lead singer is James Studholme but several others also join in by adding backing vocals to the recordings.

Two other songs are titled as per two previous albums and may have been around the time when those albums were recorded. They are Westward Ho! and From The Land Of Miracles. Barcelona has a feel that befits the title and like some other tracks has an uplifting outlook. Love’s many vicissitudes are contemplated in the different perspectives of such material as I Need Your Love, Funfair On Shepherd’s Bush Green and Kathleen O’ Hare. Here Comes The Crow sounds like a nightmarish lockdown encounter with that symbolic bird, yet delivered with a quiet restraint. Room In That Bottle has a message of love and hope and to “try to find comfort where you can,” possibly the overall message of the music here. It is something that is echoed in the thought given to the music and also to the cover presentation.

 Police Dog Hogan has delivered an accomplished, faceted and varied fifth album that marks progress, confidence and capability. In many ways, it seems a very UK approach to the context that Americana has in terms of gathering together disparate elements. There are obviously the inclusion of elements of American music, but there is also a strong undercurrent of the music from the British Isles that was part of the foundation for some Stateside’s musical roots. Yet they have put these together with their own vision which looks forward rather than backward. Overground, in terms of media recognition, may well be a place where Police Dog Hogan hope find themselves in the very near future.

Review by Stephen Rapid