Today, Brooklyn-based singer-songwriter Ana Egge releases her new single “You Among The Flowers” from her forthcoming record White Tiger out June 8 via StorySound Records.
“It was initially about an attraction and then questioning that and just exploring that little moment of meeting someone,” Egge tells Billboard about the “playful” track. “It took me to (John Milton’s) Paradise Lost for some reason — real happy stuff, right? But so much of that song was about that guitar riff that’s up front and loud and came from my obsession with playing that riff over and over and finding a melody over it.”
“You Among The Flowers” was a favorite of producer Alec Spiegelman, “who ‘really dug into it’ to create a light-spirited track that counters a darker lyrical tone” said writer Gary Graff. “The lyric video — directed by Nancy Howell and Mark Lerner — brings a whole other dimension to the track.”
White Tiger was announced at the top of April along with the release of the lead single “Dance Around The Room With Me.” UPROXX said “The spirited and vivacious track is about traversing through life deeply attuned to each cursory feeling, even the ones that seem insignificant or sting mercilessly….In it, she declares a warmly buoyant mantra: ‘Dance around the room with me / Start dancing and you’ll see / How it opens up, opens up your heart.'”
Egge is a collaborator at heart and has recorded full albums with The Stray Birds and The Sentimentals, as well as worked with highly acclaimed producers such as Jason Mercer, Joel Plaskett, Stewart Lerman, and Steve Earle.
Evident in the communical music-making of the album, White Tiger is no different,
most notably in Ana’s collaboration with producer Alec Spiegelman (Cuddle Magic), whose contributions on reeds, keyboards, and vocals, together with his wind, string, and vocal arrangements, elegantly inform the whole. Other featured musicians include singer Anais Mitchell, guitarist Buck Meek (Big Thief), Billy Strings, drummer Robin MacMillan (Aoife O’Donovan), bassist Jacob Silver (Amy Helm, Joan As Police Woman), violinist Alex Hargreaves and violist Adam Moss (The Brother Brothers).
Lead Single “Believer / Pretender”
Streaming Now Via Brightest Young Things
Virginia-based band of brothers Sons of Bill will release their fourth album Oh God Ma’am on June 29th. Today they have shared their new single “Believer / Pretender,” an opening salvo that encapsulates the approach the group takes on their latest record – blending their lyrical Americana roots with a polished, driving set of songs punctuated by crystalline guitar riffs and tasteful synth flourishes. The track is currently streaming via Brightest Young Things who declares the track to be “…an absolute stunner, a sweeping piece of ‘80s-tinged guitar rock that recalls the sounds of New Order, The War on Drugs, and even The Gin Blossoms, while still being unmistakably Sons of Bill.”
Listen: Sons of Bill – “Believer / Pretender”
“Believer / Pretender” was written after guitarist/singer James Wilson underwent surgery on his hand after an accident with a champagne glass, which almost prevented him from ever playing guitar again. “I distinctly remember the moment the words started to come together. I had just had surgery on my hand, and was deep in a moment of self-pity at a coffee shop in Nashville” Wilson writes. “When I approached the counter, I was greeted by a barista/musician with sleeve tattoos in my new home of Nashville, and wrote the line ‘Put all your secrets under your skin.’ It was this this sad feeling looking at one another– that neither of us have any depth–any meaningful internal life– nothing real to say to each other– but maybe another tattoo will convince the outside world that we have something to say– which is sadly maybe all we wanted in the first place.”
Oh God Ma’am is the followup to their 2015 album Love and Logic, which Q magazine called “a glorious sour mash of every great Americana trope of the last 50 years– think Dylan, R.E.M, Wilco, — Blended with top notes of Husker Du, Big Star, and The Replacements… A family affair welcoming one and all.” Recorded both in Seattle with west coast indie legend Phil Ek (Shins, Fleet Foxes) and in Nashville with Sean Sullivan (Sturgill Simpson) and mixed by Peter Katis (The National, Interpol) Oh God Ma’am moves beyond the galvanic americana-rock comfort zone of previous efforts, for a more elegant and restrained sound– a darker, and more complexly layered rock record that manages to be the band’s most emotionally intimate and sonically expansive.
Oh God Ma’am is currently available for pre-sale HERE.
As three sons of a venerated theology and literature professor at the University of Virginia (who also taught his sons how to play guitar and write songs), Sons of Bill were always keen to represent the american south with a slightly higher brow– an upright and literary aspect of the southern culture that rarely gets an adequate hearing in pop music. And like so many of the southern writers they grew up reading (James teaches and is currently writing a book on William Faulkner) The Wilson brothers often pull songs from the darker regions of the human imagination– slyly and earnestly scratching at their own spiritual scabs with both humor and sincerity, as a way of exploring life’s enduring complexities: faith, love, and the weirdness of time. It gives the whole record a unique atmosphere of tragicomedy– equal parts post-adolescent anxiety and old-soul humility. In search of the proper nomenclature, one critic would simply describe Sons of Bill as “metaphysical American music.”
Oh God Ma’am Track List:
1. Sweeter, Sadder, Farther Away
2. Firebird ‘85
3. Believer / Pretender
4. Easier (featuring Molly Parden)
5. Where We Stand
6. Good Mourning (They Can’t Break You Now)
7. Before the Fall
8. Green To Blue
9. Old And Gray
10. Signal Fade
Sons of Bill Links:
Website – Facebook – Twitter – Instagram – Spotify
Yes folks the Spotlight single from the 10th February for one month is Whether Blues as chosen by Val Starr.
When asked why this particular song Val contested “Because the US is so divided and so many people missing the main reason to be…i choose Whether Blues because we all just need to put aside our differences and just get along”
Any one think of a better reason to choose a Spotlight Single then post below.
Whether you’re right, or whether you’re wrong
It don’t mean a thing til’ we get along
Whether you’re weak, or whether you’re strong
We all need each other, to help us belong
Whether you’re pro, or whether you’re con
It won’t mean a thing after everything’s said and done
Whether you’re black or whether you’re white
we’re all just one people in God’s given light
Whether you’re left or whether you’re right
It doesn’t matter if we only fight
Whether you’re rich or whether you’re poor
It don’t mean a thing when you’re knockin on heaven’s door
Whether It’s mine or whether or it’s yours
It’s not what we have, it’s what it’s used for
Whether it’s false or whether it’s true
You make it better, when you say what you do
Whether you’re Arab or whether you’re Jew
It won’t mean a thing when your days on this earth are through
When negotiating the deal for the spotlight single with Val who is a pretty sharp cookie! I decided against my better judgement to do a short interview with the ever busy Ms. Starr.
First of a bit of flattery.
“Some of these questions are from readers and listeners of TMEFM Radio who are all really impressed with I always turn the blues on.”
“That is beyond awesome.”
Well that went well I will continue with the questions.
“When not working what music do you listen to? and how? spotify etc,cd/vinyl,ipod?”
“I listen to all types of music from blues to classic rock and classic r&b, from adult alternative to new age . I listen to my own radio network GotRadio.com on my computer while working or on my mobile device via the free GotRadio app (apologize for the plug! LOL)”
I decide not to mention we are advert free radio and approach this interview very carefully or it could end up like one of the adverts during Superbowl, phrase the questions with care Richard or else.
“Have you ever reached a point in your career where you felt disappointed/disillusioned . if so how did you get over it?”
“There are always times when a musician feels tired and disillusioned. Usually when you have a less than satisfactory performance, whether it be lack of attendance or just a bad night. Many years ago I went to a huge concert at the LA Coliseum. About 30,000 fans came to see the Rolling Stones. The opening act was a skinny, scrappy little black dude who came out in his skivvies. He gave it his all but the crowd booed him and threw stuff at him. This spunky little performer was Prince, who went on to insurmountable, well deserved fame. I gain strength from that moment in time, knowing that if Prince could bounce back from such a devastating performance, I could handle just about anything.”
Where is she?
WOW this cookie is old enough to have gone to THAT concert she doesn’t look it.I will not to say that with all the Political Correctness and Sexual Abuse cases on HUFF POST, we are a profit free radio and cannot afford a court case.Lets see how the wind blows Richard.
“Is there a place for Political Correctness in songwriting or should a song really tell how you feel, or how do you stand on P.C.”
“I believe songs tell a story. The story could be about personal things like love, relationships, etc, or they could be about more universal topics. I think all interesting stories deserve to be told or sung, regardless of whether they are “PC” or not.”
Right thats good open minded carry on.
“How do you feel about the Internet in the music business? Streaming,piracy,digital sales.”
“Oh don’t get me started. I’ve been to Washington DC twice, lobbying for Internet Radio rights. The royalties are way out of line for small to medium sized webcasters. Internet Radio is not unlike traditional radio, except that the delivery mechanism is different. Indie webcasters are the lifeline to continue to uphold the diversity of music worldwide. If the major labels had their way, they’d put us all out of business and then there would literally be just a handful of stations that would be exposing their music. And trust me, they wouldn’t be blues or folk stations. Indie artists, internet radio need to band together to ensure a healthy music eco-system for the future. Music lovers should know the true story. When major artists and record labels are crying foul, it is not because of internet radio. It is their own fault for not embracing the digital music business model long ago. Now they just want to blame us when the fact of the matter is, they don’t know how to sell music anymore.”
Now that’s my kind of gal, you tell ’em and tell ’em good but I think I had better change the direction of the questions, at least she didnt mentionGotRadio.com .
“What song by another artist (written or performed) set the standard of greatness for you? How has that song influenced your work?”
“There are so many incredible songs out there. I think there are 3 (if I may be so bold), ballads sung by female artists that I have always loved and touch my soul, “I Can’t Make You Love Me” by Bonnie Raitt and a beautiful standard (I like both Barbra Streisand’s version but Bonnie does this great as well) “Since I Fell For You”, and Of course “I’d Rather Go Blind” by Etta James. They influence me because that make me “feel” and relate. I try to create songs for people that make them feel and relate.
Gotta mention too one of my all time favs, Gary Moore’s “Still Got The Blues” The guitar brings me to tears.”
Got good taste as well as being tasty. Why are my thoughts appearing in bold print? A new WordPress App? Stop thinking of the interview scene in Basic instincts! get back to the real world boy.
“If you could do a three-song set for a global audience, what songs would you choose?”
“Haha – see above! “
Come on Richard you are losing it, concentrate.
“With whom would you like to collaborate on an album?”
“I would love love love to collaborate with Bonnie Raitt. I want more slide guitar on my next cd, and she is a master at slide guitar. And if we could do a duet. Wow! She is my idol.”
“What are your fondest musical memories? In your house? In your neighborhood
“I have a song I wrote called “Chardonnay” (I happen to like wine! LOL). It’s a lively swing number and the ladies love it. At shows, when we performed it, it became a tradition to call up my girlfriends in the audience to sing it with me. We’ve had dozens of women come up on stage at various shows. We call them the Chardonettes!”
Wow Californian ladies come in all shapes and sizes now I know where they go when filming Baywatch. Damn I cannot edit out these thoughts in bold I need a sip of water.
“How do you handle mistakes during a performance?”
“The biggest fear for a singer is forgetting the words. But with the blues, you are telling a story so if I space out, I have learned to instantly make up words and continue the story. Kind of like how rappers make up their raps.”
So she is not perfect perfect, good.
“Which European countries/cities would you like to play in? and of course why?”
“Spain (because you are there!) and I hear it is beautiful. I’d like to play in the Netherlands because we’ve gotten some good airplay there, as well as the UK. I’m ½ British and I have a lot of family in the UK that i’ve never met.”
No Richard she did not flutter her eyes when she said that, concentrate. Half British that explains a lot.
“How often and for how long do you practice?”
“Well for singing, I sing everyday, all the time. I sing in the supermarket while shopping, much to the amusement of other shoppers. Words and phrases always trigger songs in my head and I’ll bust out a song. My kids get a real kick out if it. For guitar, I try to pick up my guitar everyday. I’ve been trying to learn more lead playing. I never played lead because I always sang, and lead playing is a lead instrument, not unlike vocals. But i’m working on it!”
Now she wants to do everything, watch out boys or it will soon be a one gal band.
“Would you ever write a song praising God, you know any god or even with a religious content.”
“I’m a very spiritual person, but I’m also a believer that religion and God are very personal things. I do have one song, called Misery Train that is my first gospel based song that i’ve written. I love the feel that Gospel music portrays, but I wouldn’t presume to preach to anyone.”
You’ve raised my spirits Val and blood pressure too.
“For me, I grew up listening to and playing classic rock. But even by the time I started writing and playing in rock bands in L.A. in the 80’s, critics used to compare me to bands like Fleetwood Mac, and by the 80’s that was already passe. Growing up with classic rock, which is largely blues based, i’ve always loved the passion and the amazing lead solos that the genre provided. You can’t write a new classic rock song, because that time in space has already passed, but I found I could write new blues songs, that contained some of the elements of classic rock, and it was fresh and new and exciting. I also grew up loving musicals, so I enjoy the stories I can tell with the blues. I think people of my generation really relate to the blues. The challenge now is introducing the blues to a young audience and keeping the genre alive. That’s why programs like BITS (Blues In The School) are so important. “
We will let that plug pass to as its a great idea but no way she was playing rock in the 80’s unless she is a “Shirley Temple” No I will not think of Val dressed as a school girl a la Japanese! STOP IT MIND.Think of something different for gods sake boy.
“How do you find time to do everything you do? I mean you are a business woman, singer/songwriter,live performer,recording artist.You are a very young grandmother so there is a family, you have a husband to look after with all his washing and ironing,cooking to do,cleaning, I mean there are not enough hours in the day!”
“Hahaha. Great question and so true (except I hate to iron). I have been fortunate to be able to work out of my house for some time now. I get up early and hit the ground running. (no commute time – I just work). I’ve always been pretty much a self-starter and have the entrepreneurial spirit. I have my own little demo station with my Mac and Garage Band app right next to my work station, so If an idea for a song hits me, I just swivel my chair and start demoing.. It’s awesome!”
You are awesome.sigh. Come on Richard get this interview over and go and have a cold shower.
“OK so you are a Californian what does that mean to you?”
“Sunshine, tolerance, great music, beaches, mountains and beautiful people”
She’s gone. Heartbeat slow down please. Remember you are married to a diamond, think of Maria. Its working! I feel normal again.
No more interviews with the female artists for me. Not until I can get rid of this App that keeps adding my thoughts in bold.
Does copyright cover thoughts?
Thank you Val for wonderful honest answers and I hope the Californian half understands the English sense of humor.
Thank you John for putting up with me taking Val’s time which could have been spent watching a movie together.
After spending at week in Memphis appearing in two special showcase performances during the IBC week, being called up to do a spot at the world famous Silky O’Sulivans by Barbara Blue, visiting all the sites that Memphis has to offer, suffering with the coldest weather Memphis had for 20 years,being TME.fm Radio Spotlight Artist, Val Starr & the Blues Rocket ended a special week by reaching NUMBER ONE on the Electric Blues Chart at RMR.
Top 50 Electric Blues Album Chart for the Week of Jan 20 2018 Roots Music Report
Sacramento blues woman, Val Starr, describes her music as “songs written about love and loss, breaking free of bad relationships, and learning to live with the good ones.” All that, and more, can be found on the 12 tracks of her fourth album of all original material “I Always Turn The Blues On.” Starr is backed by the veteran trio The Blues Rocket, which includes her partner in crime, John Ellis on bass, Frankie Soul on lead guitar, and Paul Farman on drums.
The tunes run the gamut from traditional blues shuffles to bold blues ballads. Kicking off the album is a girl-power call out, ‘High Time To Go,’ followed by the easy swing of the title track featuring Todd Morgan of Todd Morgan & The Emblems on keys, while Starr spells out her love of the blues. A bumping groove underpins the life lesson ‘What Happens After Midnight (Nothin’ Good)’ that Starr wrote for her teenage sons. Bay Area guitar slinger Daniel Castro adds gritty lead guitar to the powerful anthem to social consciousness ‘Whether Blues’ and some fine pickin’ to the country ballad ‘Please Don’t Go Away Mad.’ Tim Barron joins in on harmonica for the bump and grinder ‘Bad Luck & the Blues.’ The Rockets show they know how to play authentic Chicago blues on the hot shuffle ‘Out With The Old’ and a touch of Memphis soul on the saucy number ‘The Baby Mama Song.’ Steve ‘Beer Dawg’ Wall adds angular lead guitar to the tale of a women scorned ‘Blind Eye.’ Starr shows off all her feminine wiles during the jazzy slow blues ‘Bye Bye’ and then closes out the set with a rambling blues tune about life’s up and downs ‘It’s Always Something.’
“I Always Turn The Blues On” from Val Starr & The Blues Rocket gives proof to her stature as an acclaimed female blues singer/songwriter and prominent figure in the Northern California blues scene.
Cahoone readies for first full-band tour in 5 years!
We’re very excited to announce that Sera Cahoone is heading out on tour this September! This past year has seen her touring with the likes of Tift Merrit, Son Volt and Gregory Alan Isakov but now she’s ready to strike out on with her full band in tow to support From Where I Started.
We had some wonderful press for the album including the NPR First Listen Stephen Thompson wrote up here and CBC’s First Play here. This fantastic interview on Uproxx, a glowing No Depression review, this piece on LGTBQNation referencing the interview Cahoone had with Jewly Hight for NPR’s Songs We Love, Elle Magazine’s ’10 Best New Songs’ of March and a great American Songwriter piece. Beyond that Sera’s album received high praise from the Bluegrass Situation, Saving Country Music, Curve Magazine, KEXP, Paste, The Seattle Times, Seattle Magazine, Seattle Metropolitan, Seattle Weekly and a ton more.
The world of American roots music is no stranger to Seattle songwriter Sera Cahoone. Even though her last three albums were on Sub Pop Records and she spent years at the top of the indie charts, she’s always had a streak of Americana that ran through her music, a love of the humble folk song that bolstered her art. She’s returning now to these earliest influences with her new album, From Where I Started (to be released March 24, 2017). Growing up, Cahoone first found her voice in Colorado dive bars, backing up old blues musicians at age 12 on the drums. Her father, a Rocky Mountain dynamite salesman, took the family along to mining conferences and old honky-tonks in the state. The sounds she heard there—the twang of country crooners, cowboy boots on peanut shells—have stayed with her all the way to Seattle, where she lives now, and the seminal indie rock bands she’s been a part of in the city (Carissa’s Weird, Band of Horses).
To make From Where I Started, her first new album since 2012’s Dear Creek Canyon, Cahoone traveled south to Portland to work with producer John Askew (Neko Case, Laura Gibson, Alela Diane). Askew brought together key Portland musicians like Rob Berger (Iron and Wine, Lucinda Williams), Dave Depper (Death Cab For Cutie) and Annalisa Tornfelt (Black Prairie) with Cahoone’s Seattle bandmates – Jeff Fielder (Mark Lanegan, Amy Ray) and Jason Kardong (Son Volt, Jay Farrar). The band lays a deep bedrock beneath Cahoone’s songs, supporting her arcing vocals and innovative guitar and banjo playing. The album is driven by a strong rhythmic sensibility, owed to Cahoone’s background as a drummer for indie rock bands. “A lot of my songs start as a beat, I add guitar, then lyrics at the end,” she says. “When I write songs I usually sit at my drum kit playing both drums and guitar at the same time.”
From Where I Started plays on the rougher, darker edges of the traditional love song. Like any good country album, the songs here deal with love and loss, but Cahoone also knows how to surround loss with hope, to temper a sad song with a turn in the major key. The optimism of the love song “Up To Me,” buoyed by fingerpicked guitar and banjo, gives way to the weary resignation of “Taken Its Toll,” with its plaintive pedal steel and echoing vocal harmonies. “Ladybug,” is a poignant song that followed the tragic death of Cahoone’s cousin Tawnee.
From Where I Startedrepresents a refocusing for Sera Cahoone. It positions her as a songwriter beholden to the old country sounds she grew up with, a songwriter who’s always been able to deftly translate a personal perspective into a universal view. It’s an album about falling in and out of love, finding new hope, and learning that the best way to move forward is to remember whereyou began.
‘I’ve just recorded an album with an American band,’ said Olivia Chaney, introducing a new song on her support slot for Shirley Collins at the Barbicanearlier this year. I remember hearing that remark and thinking it’ll be interesting to hear her in a band context with some transatlantic backing.
What I didn’t expect (although it would be entirely possible to work it out) was that she’d just recorded an album with The Decemberists. In case you don’t know, they are a very popular Grammy-nominated American indie rock band from Portland, Oregon. They’ve recorded seven acclaimed albums including 2011’s The King Is Dead – which reached No. 1 in the U.S. Billboard 200 chart.
To give you an idea of the scale of the contrast, Olivia has just over 1,500 followers on Spotify, The Decemberists more than 275,000. Don’t take that as a criticism, in my book Chaney should have much, much more than that…
Her debut album from 2015, The Longest River is a masterpiece, lauded by FRUK’s David Kidman as ‘eminently treasurable’, and receiving rave reviews in The Independent and The Guardian, alongside many others. So Chaney is definitely not an unequal partner here, albeit an emerging rather than an established artist.
The collaboration came about when Decemberists’ singer, guitarist and lead songwriter Colin Meloy opened a conversation with Olivia on Twitter. Like anyone with ears to please, Colin was a fan of Olivia’s debut, and the tweet exchange led to a support slot for Chaney on The Decemberists’ tour. It was during a late night conversation that Colin suggested, “Have you ever thought of having a backing group? We’ll be your Albion Dance Band.” It turned out to be the king of offers…
The fact that Meloy knew about No Roses by Shirley Collins and the Albion Dance Bandin the first place gives you an indication of his (and the band’s) deep love for British folk rock. And that he saw Chaney in the same mould as Collins demonstrates his appreciation of her as a major talent.
The offer came good and so good. The resulting collaboration The Queen of Hearts is a towering, majestic work. It is effortlessly confident, an album that shifts from pleasure to pleasure – a consistent collection superbly arranged and played. Produced and recorded by Tucker Martine (Modest Mouse, My Morning Jacket, Neko Case) alongside Colin Meloy, it is at turns a nostalgic nod to the great British folk-rock albums of the late 60s and 70s but equally assured in a fresh, contemporary way.
The material is largely traditional, and much of it familiar to folk audiences. The Queen of Hearts, which opens the album, was learnt from Martin Carthy and versions have been recently recorded by The Unthanks and Josienne Clarke and Ben Walker.Willie o’Winsbury is about as familiar as it gets – only last year Jim Moray offered his own beguiling version, William of Barbary. So you might wonder if we need more interpretations of these trad songs. But they are sung so beautifully by Chaney, and The Decemberists bring fresh life to these age-old tales that familiarity is never an issue.
And what’s great is that (hopefully) these songs will get a much wider airing and appreciation because of their inclusion here. And it’s not just ballads that get The Decemberists treatment, a set of Morris tunes, Constant Billy (Oddington) / I’ll Go Enlist (Sherborne), has been deftly arranged by The Decemberists’ accordionist Jenny Conlee. True to their word, they sound like Prospect Before Us-vintage Albion Band. It’s two minutes of absolute, unexpected bliss.
The album is firmly in the rock end of folk often with electric guitar, drums, bass and hammond organ backing, augmented by harpsichord, accordion and violin. Sheepcrook and Black Dog positively rocks with fuzzy electric guitar a la Zeppelin’s No Quarter over which Chaney soars like Trembling Bell’s Lavinia Blackwell. Sheepcrook pushes the band into wyrd new realms, sounding like psychedelic folk legends The Trees.
The song segues into To Make You Stay making an eight-and-a-half minute psych-folk epic. Colin takes the lead vocals on this, the final track, a cover of the Lal Watersonmasterpiece from the album Bright Phoebus. And Colin is clearly having a blast singing this obscure but brilliant song. He also takes the lead on Blackleg Miner which owes much to the Steeley Span version but sounding much fresher and more upbeat here.
Another cover is a heart-stopping The First Time Ever I Saw Your Face sung by Chaney, which lays the ghost of the Roberta Flack-emoted version, with hints of the traditional Cruel Mother taking Ewan McColl’s standard back to its folk roots.
I really hope that this album is taken to heart by long-term folk fans on this side of the Atlantic because it’s nothing short of a love letter to the music and traditions we adore. The performances are passionate rather than studious, rawkus rather than reverential.
Joe Boyd, another American with a deep love for British folk (and a catalyst to the invention of British folk rock) is a fellow admirer of Chaney. ‘I’ve only heard Olivia a few times,’ says Joe. ‘But that’s enough to make me a fan.’
In his acclaimed account of his life in the music industry, White Bicycles: Making Music in the 1960s, Boyd writes, ‘Why does England hate its own folk music?… In England, the mere thought of a morris dance team or an unaccompanied ballad singer send most natives running for cover.’ It’s an attitude I’m sure FRUK readers and listeners are only too familiar with, although it’s unlikely to be a perspective we share!
Boyd later shares an anecdote about American blues legend Taj Mahal who came to receive a Lifetime Achievement Award at the Radio 2 Folk Awards, positively lapping up a performance by The Watersons, The Copper Family and various folk royalty. The unaccompanied harmonies on the traditional Thousands or More so enthralled Taj that he rose to his feet and joined in the chorus. ‘…his grin testified to the pleasure that evening’s music gave him,’ writes Boyd. ‘Perhaps it’s easier for foreigners.’
That thought might explain the alchemy of Offa Rex. Chaney is undoubtedly one of the freshest and most exciting talents of the British folk scene, but teamed up with The Decemberists might just mean this music goes mainstream (please!). Anyone who’s seen or heard her knows that Chaney is cool, and I don’t believe that The Decemberists are on a mission to make British folk cool. I think they had no idea it wasn’t ‘cool’ in the first place.
“Awake” is the first music video from Philadelphia based singer/songwriter Chad Jenkins’ solo record: VIDEO.
After graduating the University of the Arts, Jenkins abruptly stopped playing music altogether and pursued a career in television as a cameraman and producer. Some of his broadcast credits include: Hoarding Buried Alive, Entertainment Tonight, Yahoo! 365 Nights of Concerts, and the Oprah Winfrey Network. Following the death of his mother and nearly a decade removed from performing music, Jenkins wrote and produced the record: VIDEO, which includes the song and accompanying music video: ‘Awake’.
The next music video off this record is for the track: ‘Every Night of the Week’ and will be available end of summer 2017.
Tony Joe White is a genre unto himself. Sure, there are other artists who can approximate White‘s
rich gumbo of blues, rock, country, and bayou atmosphere, but almost 50
years after “Polk Salad Annie” made his name, you can still tell one of
his records from its first few moments. 2016’s Rain Crow confirms White hasn’t lost his step in the recording studio. Produced by his son Jody White, Rain Crow is lean, dark, and tough; the bass and drums (Steve Forrest and Bryan Owings) are implacable and just a bit ominous, like the sound of horses galloping in the distance, while the flinty report of White‘s guitar sketches out the framework of the melodies and lets the listener’s imagination do the rest. White‘s best music has always had more than one foot in the blues, and Rain Crow often recalls the hypnotic backwoods juke joint sounds of R.L. Burnside and Junior Kimbrough, built on a groove that travels as far and as deep as it needs to go. And White the storyteller is in great form on Rain Crow,
from the tricky family tale of “The Middle of Nowhere” and the spooky
happenings of “Conjure Child” to “Hoochie Woman”‘s celebration of a
woman who knows what to do with spice and shrimp. As for White‘s singing, that’s where evaluating Rain Crow gets a bit complicated. These days, White‘s
voice is a swampy croak that lacks the strength of his signature
recordings of the ’60s and ’70s, and occasionally he’s just hard to
hear. But if White
isn’t much of a singer at the age of 72, his half-sung, half-mumbled
vocals work unexpectedly well in context, suggesting some aging
swampland griot, and they suit the late-night vibe of the material
better than a stronger performance might. Rain Crow doesn’t blaze many new trails for Tony Joe White,
but it leaves no doubt that he’s still the king of his own swampy
sound, and he’s not getting older, he’s getting deeper.
As a professional musician and proud student of
the American songbook, Trapper Schoepp is acutely aware of clichés. That’s not
to say he shuns them completely, of course, just that when he uses them he does
so knowingly, and so he readily admits that his latest album, Rangers & Valentines, out April 1 on Xtra Mile Recordings, is founded on
a big one. “They always say that songwriters who come off their first few years
of touring are going to make their road album,” Schoepp says, “and yeah, this
is a road album.”
Not that the songs are all literally about Schoepp’s experiences. Recorded
after years on the road behind Run Engine
Run, his 2012 album for the Los Angeles indie label SideOneDummy, Rangers & Valentines compiles
stories about men and women “who are on the road and on the move,” Schoepp
says. Along the way they endure chaos, war, natural disasters and other
Jack Ingram left the country mainstream after 2009’s Big Dreams & High Hopes,
an album that failed to deliver on either despite two singles that
became hits. Despite “That’s a Man” and “Barefoot and Crazy” cresting
into the Country Top 20, the album sealed his fate in Nashville, so he
wound up wandering the Americana back roads before resurfacing in 2016
with Midnight Motel on Rounder. The very title of Midnight Motel suggests a bleary pit stop, a place where you stay when you’re waylaid from your planned path. That sensibility infuses Midnight Motel,
a record that lingers upon the unplanned moments, moving slowly through
a series of laments and fireside tales, including a spoken salute to
the late Merle Haggard. This isn’t a sentimental story: it’s about a promoter who tried to run a game on Hag and Ingram. Such sly humor is a good indication of the sensibility behind Midnight Motel,
a record whose heart lies in the tattered corners and slower numbers
but also surfaces on ragged singalongs and the easy-rolling numbers that
give the album a lift. Midnight Motel is an album that asserts Ingram‘s
strengths as a songwriter — nothing here has an eye on the charts but
they’re all accessible, waiting for the right bit of polish — but the
charm of the record is how he leaves loose ends hanging, suggesting that
his story began long before this album and will continue long
Individually, Tiffany Pollack and Eric Johanson are both powerhouses in the Louisiana music scene – she as an established jazz vocalist and he as a rising singer and blues-rock guitarist. Together for the first time here, they create a New Orleans flavored rue guaranteed to have you yearning for more.
The musical meeting didn’t happen by chance. When Tiffany reunited with her biological family about a decade ago, she discovered that she and Eric were cousins, and their mothers have been pushing for them to work together ever since.
A native of the Big Easy and adopted at birth, Pollack began working professionally since her teens after a neighbor, Louisiana legend Russell Batiste, invited her to sing backup in his band. Her journey included several stops, including P.H. Fred’s The Round Pegs, The Consortium Of Genius a pair of jazz ensembles and an ‘80s metal band while raising a family and first studying mortuary and then opening a business.
She walked away from the funeral industry a few years ago, and has been dividing her time between two jazz groups: The Dapper Dandies and her own Tiffany Pollack & Co. This release is her first album.
A native of Alexandria, Eric began jamming in the Crescent City at age 15, but immigrated for a while to New Zealand after losing everything he owned to Hurricane Katrina. He returned stateside in 2010 and spent time in the bands of Cyrill Neville, Terrance Simien and Corey Henry’s Treme Funktet before fusing funk, blues and rock and making his debut as a bandleader with the well-received CD, Burn It Down, on Whiskey Bayou Records in 2017. He’s been touring recently in support of Tab Benoit, who produced.
Pollack and Johanson penned seven of the 11 cuts here. They’re backed by John Gros on keyboards, producer Jack Miele on bass, bass guitar and percussion, Phil Wang on bass, Brentt Arcement on drums and keys with Sean Carey providing backing vocals. Harp player Jumpin’ Johnny Sansone and the 504 Horns both make single-cut guest appearances.
The title tune, “Blues In My Blood,” opens the action. It’s a slow blues that opens acoustically with both a Delta and gospel feel that gives Tiffany plenty of space to show off her warm, powerful alto voice. It builds in tension throughout and gives Eric room to deliver a burning, but brief electric solo. The feel and tempo continues with Johanson at the mike and Sansone making haunting runs on the reeds for “Memories To Forget,” which recounts walking away and turning his back on his one true love.
A step-down run on acoustic guitar kicks off “Keep It Simple” before the action heats up for a driving, stop-time electric blues with Tiffany urging a lover to stop changing his mind and making things more complicated than they should. The mood turns somber as she delivers the acoustic dirge “Michael.” Based on her former job, it’s tribute to a strapping 19-year-old who lays dead on her mortuary table.
The duet, “Diamonds On The Crown,” powers out of the gate with loosely veiled statements that speak out against war, poverty and the world’s current state of affairs, before covers of the Rolling Stones’ “No Expectations” and Nina Simone’s “Do I Move You?” The blues-rocker, “Slave Of Tomorrow,” finds Johanson wondering if he’s to blame or “if the world’s half-insane” before the true blues love song, “Get Lost With Me,” brightens the mood. Two more covers — Joni Mitchell’s “River” and an interesting take on Pete Seeger’s warhorse, “If I Had A Hammer” – bring the disc to a close.
Available through iTunes, Amazon, Spotify and other outlets, Blues In My Blood is rock-solid. The mighty Mississippi and hints of the past flow throughout as Pollack and Johanson deliver material with thoroughly modern themes.
Everyone knows at least one of them – the one who makes it look easy. The athlete who can effortlessly succeed at any sport, the friend who can quickly produce the best meal out of seemingly nothing, the music fan who can quickly and completely dissect any new song or album. We mere, flawed mortals may at times resent those talents, but we know that, behind all that “easy” success, there’s most likely years of hard work and learned failure that’s brought out and honed that talent for us to enjoy. Adam Carroll is that guy. Through six previous studio albums, Carroll has made the job of being a singer-songwriter seem effortless and tossed off, but if you’ve ever picked up a guitar or a notebook, you know that ain’t the case. Now, on his seventh album, I Walked In Them Shoes, Carroll reminds us how deceptively difficult, but still rewarding, a musician’s life can be.
The lead track, “Walked In Them Shoes” (written with Brian Rung and Paul Cauthen), is THE story of the modern-day road musician. Like most Carroll songs, it’s simple guitar and vocals – he even continues his habit of mentioning the song’s title at the beginning of the recording. We’re told about the travel conditions – “Stuck in a Detroit diesel/Pretty sure it’s a Silver Eagle/The heat’s been off for about a hundred miles.” But the effort is worth it, at least somewhat: “Well sometimes it’s gold, or so we were told/But we go the extra mile.” It’s the workaday life that thousands of musicians are living, but few express it so plainly and concisely.
Carroll is not the most overtly political of songwriters, but he sees wrong where there should be right in “Storms”, noting that one’s (mis)fortunes are often simply a function of geography: “Well I pray for Puerto Rico/While I’m in bed safe and warm/And when I lay down to go to sleep/They’re still struggling with that storm.” On a more personal level, “The Last Word” (written with Dustin Welch and Halleyanna Finlay) asks why we shout when we should be listening: “If we’re always trying to write the end/We’ll never look back on the time we did spend.” We lose too much when we fight.
Road and touring songs form the core of I Walked In Them Shoes. “Crescent City Angels” (written with Michael O’Connor and Carroll’s wife, Chris) expresses a love of New Orleans, warts and all. “My Only Good Shirt” follows producer Lloyd Maines (and his clothes) through the high and lows of his career – “I’m not Viva Las Vegas/But I’m Motel 6 famous.” And “Night At The Show” follows the emotional swings of an evening at the local honky-tonk, from musician to fan to lonely drinker: “You were the best friend to that kind/(Which is my kind)/That I’ve ever known.” This song is a tribute to Kent Finlay, long-time owner of Cheatham Street Warehouse in San Marcos, Texas, who was the patron saint of Texas songwriters and passed away a few years ago.
The musical adornment is pleasantly sparse on the album. “Caroline” features some fantastic pedal steel from Lloyd Maines, and “Cordelia” rides a bed of harmonium, which was provided by engineer Pat Manske during the original recording of the song but played by Carroll (at Maines’ insistence) on the final cut. That’s it for studio trickery on the album, leaving the songs to sink or swim on their merits. And swim they do.
I Walked In Them Shoes was produced by Lloyd Maines and recorded, mixed and mastered by Pat Manske. Carroll (vocals, guitar, marmonica, harmonium and keys) and Maines (pedal steel, rhythm and slide guitars) are the sole musicians of record on the album. Carroll, who isn’t known for his frequent release of new material, has promised a second album this year, a collection of songs written and performed with his wife, Chris. If you like I Walked In Them Shoes, keep that on your radar.
Nominated for four Blues Music Awards, including “BB King Entertainer of the Year,” powerhouse, soul-blues singer, Sugaray Rayford will release Somebody Save Me on March 1, 2019 via Forty Below Records and produced by its founder, Eric Corne.
I’d say somebody got smart by choosing this fierce vocalist and performer, Sugaray Rayford, and letting him loose on 10 original new blues, soul and rock n’ roll tracks, written by Corne. Vocalists like Sugaray Rayford don’t come along every day. He’s raw talent with a voice like a canon, but with pure groove and emotion. Rayford has the capacity to caress slow songs like a modern day Teddy Pendergrass or grab the wheel of an up-tempo number and steer it home with soulful command.
This is the case on Somebody Save Me. Sugaray Rayford has the vocal chops to die for, but he’s got something else—it’s called star power and charisma. And there’s no way you can manufacture any of that with auto-tune or Pro Tools. This guy’s got ‘It.” See if you don’t agree by clicking the first track, “The Revelator.”
Opening with a heavy downbeat and bass line not unlike some 90’s hip hop, this song takes off as Sugaray blasts the R&B-soul-blues track with his dynamic and spirited voice. He grabs this song with both hands and digs deep. He’s feeling it–and the groove. And so was I. This is a song I want to see Sugaray perform live. You’ve got the soul factor with the backing singers (wah-oo wah-oo) and some kind of stellar trumpet solo—then the song glides back to that heavy base line.
It’s more than great vocal chops. Sugaray throws his larger than life personality into the track and takes control from the front seat of that song.
“Time To Get Movin’” is a rocking blues number with plenty of social commentary. It’s an up-tempo song with great rhythm and catchy guitar riffs. Sugaray gets behind this song with his old school voice and passion. This is one tight band that includes guitarist Rick Holmstrom, bassist Taras Prodaniuk, drummer Matt Tecu, keyboardist Sasha Smith, guitarist Eamon Ryland and the horn section from Late Night with Conan O’Brien. A couple of nice harp riffs fill out the track courtesy of Eric Corne. This is yet another song that’s perfect for a vocalist like Sugaray.
There are some soul songs on the album like “You and I,” complete with the insanely tight horn section that creates a good platform for Sugaray–he sinks his teeth into this soul blues tune as well. You can just hear who Sugaray is when you listen to this track and others on the album. With some strong backing vocals, this is a classic up-tempo, soul/R&B tune with groove.
“I’d Kill For You Honey” is a standout track on the record with swampy groove and slide guitar. The drummer, Matt Tecu, locks it down tight with some great rhythm. This band boasts outstanding musicianship. Sugaray is in good company and he kills it on this one. He growls, he sings softly with plenty of body and soul, and works his magic on an already stellar tune.
With almost a Zydeco rhythm, “Sometimes You Get the Bear (And Sometimes the Bear Gets You)” is another standout, with a swampy, lively feel that shifts mid-song into a blues shuffle, complete with classic blues guitar riffs. Sugaray’s magnetic vocals could almost overpower a song or a band, but he works it like the seasoned pro that he is.
The title track “Somebody Save Me” is a vintage soul crooner and Sugaray’s deep, soulful voice is a touch of velvet. I could do without the effects on the organ solo but those don’t detract from this being a deeply moving song. Sugaray sings it not just with controlled vocal power but with enough emotion to get you out of your seat and into the arms of your Honey on the dance floor.
The album closes with a winner, “Dark Night Of The Soul,” a hot, slower soul-blues number with sultry horns and backing singers. Sugaray is right on time with his phrasing and vocal punch. It seems that he’s in his element, steering this track into the pocket of rhythm.
Sugaray is a singer to be reckoned with–authentic, gutsy, and with vocal chops you just have to be born with and hone. He’s the real deal.
The concept of this collection of songs is inspired by the home of the blues, the Crossroads in Clarksdale, Mississippi. Leslie Bixler (aka Miss Bix) spent several months there soaking in the culture and learning the blues from the founders themselves. This is a rare find, 12 songs that pack a punch, in a conceptual flow, reminiscent of days past, when albums told a story.
Leslie Bixler and co-producer Ralph Carter (previously with Eddie Money and Sugaray Rayford), who brings bass, percussion, guitar and keys to many of the songs, are joined by John ‘JT’ Thomas (keyboardist with Hornsby), Gary Mallaber (drummer previously with Van Morrison, Steve Miller and more), blues guitarist extraordinaire Franck Goldwasser (aka Paris Slim), sax man Bill Bixler, and harp player RJ Mischo.
The songs reflect the culture that permeates the south – ‘Voodoo Man,’ ‘Black Widow,’ ‘Slave To The Grave’, and ‘Crazy ‘Bout You’ all have the smoky sensuous sound of the bluesy south. At the same time, Bixler creates a sound and voice that is all her own, and each song tells a different story. The Hendrix inspired ‘You’re A Child’ harkens back to the excitement of early rock days, and features the amazing RHCP drummer, Chad Smith, with whom Leslie worked on the children’s album “Rhythm Train.” The opening track ‘Follow Me Down’ draws the listener in with a trance-like psychedelic groove and from there the excitement builds.
Artistic influences like Sheryl Crow, Bonnie Raitt, Peter Gabriel, Sting, John Mayer, and many others weave together in this altogether new package. Hints of Motown are perceptible in the R&B feel of ‘Baby Come Back’ and the ending cut is a sensitive homage to the muse herself, that never ends, in ‘All The Time.’ The title cut ‘We Don’t Own The Blues’ is a playful look at the nature of love and heartbreak, and is destined to become a blues classic, as is the romping ‘If You’re Doing What I’m Thinking.’ The vocal stylings of the heartbreaking ballad ‘It Wasn’t Me’ are beautifully framed with the gorgeous keyboard virtuosity of John ‘JT’ Thomas.
Josie’s Country-Rock vocal style, combined with the skillful musicianship evident throughout the CD have prompted a number of listeners on ReverbNation to ask the question, “were these recordings done in Nashville?”.
The CD was in fact produced and recorded on Long Island at “Melts In Your Ears Studio” and mixed at “Workshoppe East”, both located in Huntington.
Can’t Go Home contains 10 tracks of original music in which Josie covers a wide range of subjects related to the human condition. The title track contemplates the loss of one’s past. Other tracks cover themes such as Infidelity (Dignity), Infatuation (Crush), Relationships (Good People, Bad Love), Drug Addiction (Mother’s Love), Long Island Living (Kit House) and even Political Partisanship (Two Trains). Two Trains was co-written by Mike Nugent, the CD’s producer, and is the only co-write on the CD.
The very active live music scene on Long Island, and the abundance of local talent continues to inspire Josie as a songwriter and performer.
Josie enjoys creating images and telling stories through song and often says, “hooks are everywhere, you just need to listen”.
Josie will tell you that she’s been singing every day of her life — around the house and everywhere she went since childhood. She can remember her mother saying to her, “Please, try to pipe down, just for a little while”.
Luckily for local musicians, Josie is quite active on the Long Island music scene. She runs several open mics: at Urban Coffee in Greenlawn on 2nd and 4th Fridays and at the Park Lounge in Kings Park on 3rd Fridays.
Additionally, once a month she hosts a Singer-Songwriter night at Urban Coffee. Josie performs with her husband Frank Bello as “Duo Bello” at many festivals throughout the Island including their annual hosting of the Long Island Fall Festival Acoustic Stage. She is honored to participate in the LI-based group OOMPA (Organization of Open Mic Performing Artists) and recognizes all the talent and support their membership provides to open mics and musical charitable events throughout the Island.
Josie’s music is available on most digital distribution platforms such as iTunes and CD Baby. A hard copy of the CD can also be purchased at CD Baby. Here’s the link: https://store.cdbaby.com/cd/josiebello
After seven years of fronting the popular Appalachian stompgrass band, The Wild Rumpus, at countless festivals, concerts, and clubs including Merlefest, Bristol Rhythm & Roots, and the Americana Music Association, as well as writing nearly all of the songs for their three studio albums, Andrew Adkins has now firmly established his own voice with the release of his fourth solo album, Who I Am, on Mountain Soul Records.
The album features an all-star lineup of West Virginia musicians, Chris Stockwell (dobro), Johnny Staats (mandolin), Ammed Solomon (drums), Clint Lewis (bass), Bud Carroll, Ron Sowell (guitar), as well as Mira Stanley, Chuck Costa, Cara May Gorman, Stephen Struss (of The Sea The Sea) and Annie Neeley on harmonies and background vocals.
Andrew has a voice that is both real and comforting, taking listeners through his songs that are filled with the highs and lows of life and love. I challenge anyone who listens to this album to not find a phrase, a lyric or even an entire song that doesn’t bring up a memory, or at the very least, the sense of being able to identify with Adkins and his songwriting.
After my first listen, I was immediately drawn to the songs,“Fragile Heart”, “Praying for Rain” and “Every Monday Morning“. Sometimes its lyrics that draw me in, other times its a melody or the beat. The first line of “Fragile Heart” hooked me immediately, “There was a time I gave my love away free. Gave it to a girl who never loved me”. I can’t imagine there isn’t someone out there that hasn’t felt this way, especially in their youth. Unrequited love is a powerful thing, and Adkins sings about how it shaped his fragile heart. Most importantly this song is one that people can relate to and that’s what’s great about this record. It’s full of real and relatable songs, that capture emotions or stories that people have most likely lived themselves.
“Praying for Rain” is another song on the album with lyrics that I immediately thought could have been pulled from my own head. “Well, sometimes I wish it was raining…. to match my mood”. There have been many days in my life that a sunny day is just too much and I long for a rainy and cloudy day to match how I’m feeling inside. In “Praying for Rain”, the song reflects on love that was lost. With amazing lyrics like “I don’t need you, but I want you. Pretend I don’t care, but I do. You’re the sweetest poison that I’ve ever tasted…”
If you’re wanting a lighter song that won’t give you all the feels, may I recommend the song, “Every Monday Morning“? It’s got an upbeat tempo, which I love, and when the first notes of the stand up bass hit, you can’t help but tap your feet. The song has a definite old school/ Rockabilly feel to it and nicely balances some of the softer, more emotional songs on the album.
If you’re looking for a well-rounded album, filled with phenomenal songwriting and musicianship, then you’ll want to pick up Who I Am .
Based in Germany after being discharged from the Army more than 25 years ago, Big Daddy Wilson has made a name for himself as an acoustic bluesman in the past, but delivers a set of sensational soul blues here in an album recorded stateside under the direction of Grammy-winning producer Jim Gaines.
Born Wilson Blount in Edenton, N.C., he grew up in poverty, sang gospel in church and listened to country on the radio. His first exposure to the blues didn’t happen until adulthood in Europe, where he’s made his home since marrying a German woman.
Once a shy man who penned poems on the side, he quickly realized that he’d “found a part of me that was missing for so long in my life.” Influenced by fellow ex-pats Champion Jack Dupree, Louisiana Red, Eddie Boyd and Luther Allison, he started putting his words to music and putting them on display at jams, where he quickly won over audiences with his tunes and powerful, warm baritone voice.
Now in his early 60s, he began a recording career in the 1990s and has at least a dozen releases to his credit, both as a leader and in acoustic partnership with Doc Fozz. He’s been associated with the Ruf imprint for the past three years, joining Vanessa Collier and Si Cranstoun for Blues Caravan 2017: Blues Got Soul and the CD/DVD solo release, Blues From The Road.
Wilson hooked up with Gaines, a 1999 Grammy winner for his work with Carlos Santana and recorded this triumphant homecoming at the legendary FAME Studios in Muscle Shoals, Ala. Featuring an all-star lineup that includes Laura Chavez and Will McFarlane on guitar, Dave Smith on bass, Steve Potts on percussion, Mark Narmore and Rick Steff on keys, Brad Guin on sax, Ken Waters on trumpet and Mitch Mann on backing vocals, this disc swings from the jump.
Big Daddy penned ten of the 12 cuts here. You know you’re in for a treat from the opening phrases of the slow-blues shuffle “I Know (She Said),” which describes love at first sight and the realization that it would be eternal after “one smile, one word, one simple dance.” The theme runs powerfully throughout, continuing with the medium-fast “Ain’t Got No Money,” which states: “I’m a full grown man with strong loving arms” and everything else he needs.
“Mississippi Me,” a keyboard driven ballad written by Sandy Carroll, keeps the refrain going with images of the wind blowing through the willows in Tupelo before the band gets funky to deliver “Tripping On You.” This time, the love bug’s bitten Wilson so deeply that it’s akin to dreaming, singing and dancing in the rain.
The message shifts slightly for “I Got Plenty (Money Don’t Grow On Trees).” This time, Big Daddy sings praises for all the good folks he encounters every day. He cautions not to worry about what other people say in “Hold On To Our Love” before “Deep In My Soul” reveals that all of his tunes come from a life that’s included picking cotton and a hard-scrabble existence.
That song sets up the bittersweet material that follows. “I’m Walking” finds Wilson tired of fussing and fighting with his missus along with what he terms her “nasty” ways – so much so that he’s heading for the door. He recognizes his lady’s torment in “Crazy World” and vows to stay , but quickly discovers he doesn’t what to be the “Redhead Stepchild” after realizing that there’s “too much salt in my gravy” and that she’s there when he returns home after a hard work day.
What’s to blame? “Voodoo,” he says, still in love and deeply confused, before bringing the album to a close with a brief acoustic refrain of the traditional gospel tune, “Couldn’t Keep It To Myself.”
Available through most major retailers, Deep In My Soul is a welcome return home to someone who’s been away far too long. If you like old-school soul blues, you’ll love this one. It makes your heart sing then tugs at your heart strings!
A decision taken after much difficulty. So many great albums have been sent to us lately the choice was hard almost cruel.
Why did “NEVER GOING TO LOSE” get it’s nose in front and get in the list?
Songs being “Radio Friendly” helped.
Sean is a great guy but then so are the other artists.
You listen to a track from “NEVER GOING TO LOSE” and you think “that’s good”, listen to them all and they all sound good.
Listen to “NEVER GOING TO LOSE” again the songs sound different, you check to see if you are playing correct song, yes you are. There is so much going on during a song that it’s a different song the second,third… play.
Sean makes magic, magic music, that’s how he won the race.
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Music Review: Kinky Friedman – ‘Resurrection’
Richard Marcus November 1, 2019 Comments Off on Music Review: Kinky Friedman – ‘Resurrection’ 89 Views
After a 40 year hiatus Kinky Friedman proves with the release of his new album, his second in as many years, Resurrection, he’s back as good as he ever was. While last year’s release, Circus of Life, was a great reintroduction to Friedman, this album is even better.
Friedman’s fans are legion, and it turns out worldwide. When he was doing a book tour in South Africa in 1996 he met Tokyo Sexwhale who had been imprisoned on Robben Island with Nelson Mandela. Sexwhale reported Mandela listened to Friedman’s song about the Holocaust, “Ride Em Jewboy”, for three years while in jail.
Which may go a long way to explaining why the opening track on the CD is about Nelson Mandela. Of course there was lots to admire about Mandela, but finding out he was listening to your music on Robben Island is bound to make an impression. That being said, the song, simply titled “Mandela”, is a wonderful homage to a great man and acknowledges the sacrifices he made in the fight for freedom.
Starting with that track the entirety of Resurrection shows Friedman in fine form as both a songwriter and a performer. His raw and occasionally raspy vocals are the perfect antidote to the gleam and polish of what the majority of country music had descended to. No over produced dreck from Friedman, just real songs about the life, regrets and hope.
Take the title track, “Resurrection”, where he ruminates on those who’ve fallen by the wayside, those who clawed back from addiction to die clean and free, and those, like him, who have been given second chances. There’s nothing maudlin or sentimental about this song. Life is what it is and Friedman loves all his broken and beautiful friends and appreciates the chances he’s been given.
One thing Friedman isn’t as sure of is the state of Nashville today. In “Me and Billy Swan” he laments how the places and folk which gave Music Row its character are now gone: “Now the cranes block out the sky/And Captain Midnight sighs/As a piece of Nashville dies/A piece of Nashville dies.”
Friedman doesn’t rage against the inevitable, or even wax nostalgic about how things used to be better when he was young. He’s simply telling us how it was, and sometimes progress that smooths out the rough edges isn’t necessarily a good thing.
Country music, like its cousins rock and roll and the blues, needs to be rough to be effective. On Resurrection, with the help of some friends including Willie Nelson singing backup on the title track, Kinky Friedman proves he not only understands that idea but can deliver on it.
This is a great album of music from one of the great survivors of the 1970s Outlaw Country music scene. Heartfelt and thoughtful, Resurrection from Kinky Friedman will warm the hearts of anyone who loves the strength and beauty of a good song.
John McDonough is a singer/songwriter from Austin, Texas whose shows span five decades of hits combined with unique originals. John’s acoustic guitar work, passionate vocals, and personal lyrics result in a modern singer/songwriter/pop sound rarely heard.
John has spent the last 22 years playing in and around Austin while co-producing and self-releasing seven CDs of original music. He has played to the rowdy crowds of 6th street, the dinner crowds of Austin restaurants, and everything in-between. Eight years ago he decided to retire from practicing psychotherapy and focus solely on music. In that time he has written and recorded four new CDs, played over 400 gigs, performed in ten major music festivals as a solo artist, eight times appeared and performed on local radio, and embarked on successful tours through the midwest and southwest. His previous two releases, ‘Dreams and Imagination’ and ‘Surrounding Colors’ both received great reviews and airplay all over Europe and the United States, and both releases spent six consecutive months on the Americana Music Association Record Chart in the United States. He has drawn comparisons to Elton John and Harry Chapin for his vocal style and abilities, while Austin radio host Stephen Rice has compared John’s emotional storytelling to the songwriting styles of James Blunt and Damien Rice.
The Infamous Stringdusters received the Bluegrass Album of the Year Grammy for 2017's Laws of Gravity. That album followed Ladies and Gentlemen, in which the band collaborated with a stellar group of women singers. The creative roll continues with Rise Sun, a musically potent meditation on the journey from darkness to light.
It is a 21st century pop music cliché to say that nobody makes album-length musical statements anymore, but that is an easily debunked myth, with artists ranging from Drive-By Truckers and Jason Isbell to Radiohead to Kendrick Lamar making records that reward sustained beginning-to-end listens.
Rise Sun easily joins the ranks of Isbell's The Nashville Sound and Lamar's To Pimp a Butterfly as a album that rewards the time a listener is willing to put into it. Nearly an hour long, Rise Sun sprawls but rarely feels self-indulgent. Extended introductions and fade-outs create effective transitions from one song to the next, giving the album a seamless flow that gently guide listeners on the journey. Solos give the band members the chance to display their extraordinary musicianship, but always in service to the song.
In making an album with this kind of ambition, the members of the Infamous Stringdusters (Andy Falco - guitar, Chris Pandolfi - banjo, Andy Hall - dobro, Jeremy Garrett - fiddle, and Travis Book - double bass) do not seem to have concerned themselves much with recording any specific song that explodes all over radio or YouTube. Even after listening to the album several times, and thoroughly enjoying it, I wasn't feeling an earworm. Like so many A&R reps of the past and present, I wasn't "hearing a single". At the same time though, the album, filled with songs that weave together elements of folk, country, rock, gospel, and pop, was sinking deep into my musical heart and soul, where I think it has found a permanent space.
While the instrumentation of Rise Sun is rooted in the bluegrass of Bill Monroe and Flatt and Scruggs – as well later innovators like the Seldom Scene -- the album only occasionally hints at the traditions of the genre: a high lonesome vocal here, a certain banjo or guitar lick there. The Infamous Stringdusters have built their career on respecting the past while moving the music forward and Rise Sun is another bold step in that direction. Having said that, "Long Time Going" feels like a solid relatively traditional bluegrass tune.
While their respect for tradition is evident, it's clear that the Infamous Stringdusters, who co-produced the record with Billy Hume, don't subscribe to the ragged-but-right aesthetic that is sometimes associated with roots music. Rise Sun is a beautifully played and produced record, with every note in place, even when the band is jamming.This kind of precision can be a recipe for sterility, but the album generally avoids this, maintaining an engaging feel that nicely evokes the excitement of the Infamous Stringdusters' concerts.
Rise Sun is an album about the light and how to reach it. From the handclaps and stomping gospel of the opening title track through to the closing "Truth and Love", the Infamous Stringdusters are traveling the highways and chasing the light, both physical and spiritual.
You can't seek the light without acknowledging the darkness, which the Infamous Stringdusters do throughout Rise Sun. Hints of damaged relationships crop up, as do allusions to a world slightly off-kilter. Even "Wake the Dead", where the pursued light is primarily carnal in nature ("Go all night til there's nothing left / Have a little fun with no regrets"), ominously notes "Like some kind of zombie freezing cold / I think we all better check our pulse."
In the end though, light prevails in the luminous closing track, "Truth and Love". "Seek the truth / Find your love," the lyrics note, as the album closes with the gentle suggestion, "Let the light shine from your soul." In some contexts, this sentiment might sound trite. Heard at the end of Rise Sun, it feels like an epiphany, simple yet profound.
When a musician is as good as Richard Thompson, he's going to stand out from his accompanists no matter who they happen to be. But one of the many pleasures of Thompson's albums from 2007's Sweet Warrior onward has been the way he's grown into the fruitful working relationship with his rhythm section of drummer Michael Jerome and bassist Taras Prodaniuk. They rarely do much to call undue attention to themselves, which is as it should be with a good rhythm section, but Jerome is a drummer who can add color, shade, and depth to a song while holding down the backbeat, and Prodaniuk defines "in the pocket," keeping the low end solid while filling out space that allows Thompson to take flight when he solos (and reminds us all that he is arguably the finest guitarist alive). If you want to fully appreciate the sound and feel of Thompson's electric trio at work, 2018's 13 Rivers captures the interaction between these players beautifully. Thompson produced the set himself, and he and engineer Clay Blair have done an unusually fine job of capturing the nuances of the performances, both as individuals and as a group. They know how to make use of the studio, but they also know this band can make its own magic and the effect here is crisp, natural, and transparent. Hearing Thompson and his band dig into these songs is truly satisfying, and as usual, he's left us no doubt that he's a master tunesmith, in particular in the troubled introspection of "The Storm Won't Come," the edgy contemplation of the unreliable inner voice in "The Rattle Within," the toxic certainty of "You Can't Reach Me," and the uncomfortable obsession of "She Was Meant for Me." The wit that usually dilutes the darker moments on a Thompson album is, for the most part, conspicuous in its absence on 13 Rivers (though it's briefly evident on "O Cinderella"), but it does give this set a thematic consistency that's effective, and Thompson's vocals are superb throughout, making the most of his dour but incisive stories. 13 Rivers isn't an unusual Richard Thompson album in most respects, but it is one that makes the most of his craft as a guitarist, songwriter, and bandleader. Not many artists continue to create bold, compelling work that doesn't sound like it's treading creative water after a half-century, but 50 years on from Fairport Convention's debut LP, 13 Rivers is striking music from a musician who remains fresh, contemporary, and peerless.
Easy Money picks up where Old Man Luedecke's award winning, and most successful release to date, Domestic Eccentric (2015), leaves off: four years farther down the road, dreaming about his ship coming in, still a parent but now grappling with the newness of middle age, dad jokes, love for an abiding partner, the death of a parent, along with some calypso-feeling local Nova Scotia history thrown in for good measure.
Composition and recording were both begun at the Banff Centre's songwriter-in-residence program. It was there that Luedecke met the album's producer Howard Bilerman of Montreal's famed Hotel2Tango studio where the album was eventually recorded. The two hit it off when Luedecke composed "Easy Money" on the tracking floor on the first day of the program. Desperate for something worthy to use in his recording time, Luedecke channeled a traditional Christmas number he knew from a Harry Belafonte record and sang largely improvised verses into a winning tune that is sure to be a modern classic: Oh yes I need it, Oh yes I want it, I dream about easy, I dream about Easy money." Don't we all.
The further nine new original compositions and two covers run a modern storytelling line from the fifties folk and calypso boom into the everyday of tangible middle life. Guest appearances by long-time collaborator and Grammy award-winning Tim O'Brien, Afie Jurvanen of Bahamas, and Fats Kaplin (Jack White, John Prine) add piquant accents to the impeccable playing of Luedecke and a crack Montreal studio band of Mike O'Brien, Joshua Toal and Jamie Thompson.
The album begins with three upbeat incantations of what is surely the beginnings of a mid-life crisis (Dad Jokes? Wakeup Call, come on!) then moves to 2 songs musing about death; both inspired in part and in different ways, by the passing of Luedecke's father, the passing of Leonard Cohen and current politics and the death of truth. There are two island-themed numbers that imagine a laid-back life in the local un-tropical paradise of the Canadian Maritimes. Then comes a country song with killer fiddling and harmony singing by Tim O'Brien, a dance number of frightful worry and then a cover of Nana Mouskouri's French language cover of Bob Dylan's topical apocalyptic plaint, "Hard Rain's Gonna Fall". This is followed by a traditional sea shanty about a mermaid and a shipwreck. The album closer, "'I Skipped a Stone", is the most beautiful song about hoping your wife will pick up the phone. The song is made all the sweeter by the special appearance of Bahamas' playing and singing, to close out Luedecke's sixth full length studio album.
One of the virtues of the Record Company's 2016 debut album, Give It Back to You, was its simplicity and the band's stripped-down approach, so it's a bit curious that their second long-player, 2018's All of This Life, is an improvement because there's a bit more gingerbread. But on their second turn at bat, this band have managed to fill up their sound a bit without cluttering their surroundings, and the additional harmonies, keyboards, and guitar overdubs on All of This Life put muscle and not fat on the frames of these songs. Give It Back to You was also flawed by a certain lack of originality in their songs, and if All of This Life still follows plenty of well-established blues and roots rock templates, at least this time the influences appear less obvious, and the performances are strong enough that the energy and commitment pull these tunes over the finish line when all else fails. (Though stretching the moody "You and Me Now" out to nearly six minutes was not one of this group's better ideas.) And just as on the debut, All of This Life leaves no doubt that the Record Company know their stuff and work together well; Chris Vos' guitar work is both inspired and concise, bassist Alex Stiff and drummer Marc Cazorla give the music a strong and soulful foundation, and the vocals are full-bodied but generally stop a few notches short of histrionic. Give It Back to You suggested the Record Company had potential they hadn't tapped just yet, and All of This Life shows that they found at least some of it, and it's an honest step up for the band.
The 19th Bruce Springsteen album has been heralded as a dramatic break from tradition. So dramatic, in fact, that in the interviews accompanying its release, Western Stars’ author has felt impelled to reassure fans that he’ll be back recording and touring with the E Street Band later this year. It’s hard to miss the hint of “normal service will be resumed as soon as possible” about that announcement, balm for Boss fans horrified by how far Western Stars takes their hero from either of his standard musical styles.
There’s not a hint of the E Street Band’s booming Sturm und Drang, nor the stripped-back earthiness of his previous solo albums here: they’re replaced by luscious orchestrations, heavy on the strings and French horn, cooing female backing vocals, guitars that shimmer and quiver with tremolo effects, mournful pedal steel. It’s not founded in country music so much as a distinctive musical hybrid that flowed out of Hollywood’s recording studios in the late 1960s and early 70s, which stirred Nashville with west coast folk-pop and ambitious, sophisticated arrangements: the grownup American pop of Glen Campbell’s collaborations with Jimmy Webb or Harry Nilsson’s covers of Everybody’s Talkin’ and I Guess the Lord Must Be in New York City.
This is clearly a departure, although there’s a sense in which it’s entirely in keeping with Springsteen’s approach. His sound is almost invariably based in burnished nostalgia. The E Street Band and The Ghost of Tom Joad alike are rooted in the music that flourished in the US when Springsteen was about 12 years old: the former an amplification of pre-Beatles American pop – both the echoing drama of Phil Spector and the blare and honk of Dion and the Belmonts – the latter a take on the early 60s folk revival, with particular reference to Bob Dylan in young, keeper-of-the-Woody-Guthrie-flame mode. Western Stars simply shifts its backwards gaze on a few years, to the stuff that would have dominated mainstream taste during Springsteen’s late teens, at a time when it might have been hipper to dig Jefferson Airplane – but what budding young artist could fail to have his head turned by such consummate examples of the songwriter’s craft?
Certainly, there’s a real and rather affecting love evident in the way Springsteen channels the sound on Western Stars. There are moments of transcendent loveliness – not least the shivering instrumental coda of Drive Fast – but he’s also unafraid of its occasional tendency towards schmaltz. Quite the opposite. Listening to There Goes My Miracle or Sundown, on which he slathers on the high-camp strings and transforms his voice into a croon, denuded of the usual Springsteen grit, you get the feeling he’s having a whale of a time: an artist always held up as the apotheosis of honest, blue-collar heartland rock revelling in artifice, in much the same way as he audibly delighted in telling audiences at his Broadway residency that the character of Bruce Springsteen was a Ziggy Stardust-ish construct who had never done anything. It helps that the songs are strong enough to withstand the treatment, seldom slipping into pastiche. The only real misfire is Sleepy Joe’s Café, which feels a little round-edged for its own good, not aided by an ingratiatingly perky accordion: the E Street Band could have turned it into something more driving and potent.
“It’s the same sad story, going round and round,” Springsteen sings on The Wayfarer and listening to the rest of the album’s lyrics, you take his point. If the sound of Western Stars sets it apart from Springsteen’s earlier solo albums, the words pull it closer. Like Nebraska or The Ghost of Tom Joad, it offers a selection of bleak narratives and lingering pen-portraits, and, like Nebraska and The Ghost of Tom Joad, it seems a product of its era. The former album’s cast of conflicted cops and desperate criminals undercut the gung-ho triumphalism of Reagan’s America, while Tom Joad’s illegal immigrants and drug runners did the same for an era of record highs on the Dow Jones index. Western Stars, meanwhile, is populated by characters past their best – the title track’s fading actor, reduced to hawking Viagra on TV and retelling his stories for anyone who’ll buy him a drink; Drive Fast’s injured stuntman recalling his youthful recklessness, the failed songwriter of Somewhere North of Nashville and the guy glumly surveying the boarded-up site of an old tryst on Moonlight Motel – all of them ruminating on how things have changed, not just for the worse, but in ways none of them anticipated.
It adds up to an album that manages to be both unexpected and of a piece with its author’s back catalogue. Normal service may well be resumed in due course, but Western Stars is powerful enough to make you wish Bruce Springsteen would take more stylistic detours in the future.
Lukas Nelson & the Promise of the Real kick off Turn Off the News, Build a Garden with "Bad Case," a pop tune powered by an incandescent jangle of riffs that evokes memories of the Byrds, or perhaps R.E.M. It's an appropriate opening salvo for a record that is lithe and bright, functioning in some ways as the flipside to the group's 2017 major-label debut for Fantasy. Where that eponymous album tilted toward burlier Americana and weathered country, Turn Off the News, Build a Garden is relaxed and open-hearted. Working its way through rockers made to bask in the sunshine, Turn Off the News has its share of barbed protest -- most evident on the second version of the title track, an acoustic rendition which ends with Nelson cussing -- the record winds up delivering on its title promise by offering organic music designed to be a sustainable resource. Taking advantage of the opportunities that have come their way since they teamed up with Neil Young -- opportunities that included contributions to Bradley Cooper's Oscar-winning 2018 remake of A Star Is Born -- the Promise of the Real do sound bigger than they did in their earliest days, and they sound wilier, too. Unlike a lot of Americana bands, Nelson and co. have omnivorous tastes and a sense of humor, a combination that results in slow-grooving R&B numbers, sun-kissed pop, rangy rockers, and a persistent good vibe. In troubled times, the band have managed to deliver an album filled with optimism, and that's a remarkable feat.
A national treasure, singer Delbert McClinton shows no signs of slowing down, sounding as energized and relevant on his latest project as he did over forty years ago on classic albums like Genuine Cowhide and Victim of Life’s Circumstances. He had a writing every song, typically in conjunction with his regular guitarist, Bob Britt, and his outstanding keyboard player, Kevin McKendree. The trio also served as co-producers on the sessions, done at McKendree’s Rock House Studio in Franklin, TN.
Than band swings like crazy on “Mr. Smith,” with Joe Maher on drums and Glenn Worf on bass setting the pace, with McClinton’s animated vocal perfectly framed by a robust horn section consisting of Jim Hoke and Dana Robbins on sax, Roy Agee on trombone, and Quentin Ware delivering a memorable trumpet excursion. The horns are replaced by the violin master Stuart Duncan on “No Chicken On The Bone,” the swinging pace continuing, but in a darker vein as McClinton expounds on his latest fascination. “A Fool Like Me” finds him trying to curtail a budding romance, adding the telling admission, “How could I love somebody, who would fall for a fool like me”. The dazzling arrangement includes stellar work by McKendree on piano, Britt on slide guitar, and a closing solo by Hoke on clarinet that injects some New Orleans-style seasoning.
“If I Hock My Guitar” has a swaggering strut with McClinton professing his love for the blues to the bitter end, then he recalls his glory days on “Can’t Get Up” before fessing up to the fact that there is no escaping the aging process. Both tracks feature a scaled-down band consisting of Maher, Britt, and McKendree on piano and organ. Hoke adds his baritone sax on the former track. Yates McKendree adds his guitar to “Loud Mouth,” a rocking tune that once again explores the folly of human existence.
The small group establishes a late-night mood as McClinton issues a clear warning to a troubling woman from his past on “Lulu”. The mood grows even darker on “Temporarily Insane,” a haunting recollection on life’s wrong turns, McClinton’s weathered tone conveying the anguish with every note. “Down In The Mouth” is brief, muscular Texas-style shuffle recounting the emotional carnage of lost love, with James Pennebaker guesting on guitar. Dennis Wage takes over on piano, Michael Joyce handles the bass, and Jack Bruno, a regular in McClinton’s band, is on drums for “Ruby & Jules,” a detailed portrayal of a roadhouse love affair. The trio stick around for the laid-back “Let’s Get Down Like We Used To,” with Pat McLaughlin joining Britt on guitar. Hoke switches to accordion, adding a Tex-Mex touch to “Gone To Mexico,” as McClinton looks to escape life’s heartache. “Any Other Way” finally finds him happy, radiating in love’s embrace. Robbins contributes several smoky tenor sax statements.
The final piece, “A Poem,” is a minute long proclamation from McClinton, accompanied by Britt and McKendree, offering one final summation on the human experience. McClinton has always been one of the best at revealing life’s most intimate moments and feelings in his songs. As a coda, it stands in stark contrast to the other thirteen tracks that are brimming with spirit, humor, and outstanding musicianship. It is always a treat to get a new one from McClinton. Tall, Dark, & Handsome is one of his best……making it highly recommended!
Growing up in the heart of Appalachia, Trae Sheehan was surrounded by the sounds of honest, integrity driven music. At twenty-one years his songs span lifestyles and cultures unseen by most in a lifetime. With an understanding and empathetic tone, Trae delivers a sound that can only come from the deep roots of an old West Virginia soul.
There are a fair number of bluegrass bands that can make me dance in my seat and cry within the space of a couple of songs. But Balsam Range, while doing just that with the new Mountain Home Music Co. release Aeonic, is the first to send me to the dictionary.
Aeonic, it turns out, is Greek for something that endures. And Balsam Range clearly has done that over a high-profile career that has made the band one of the best and most consistent in the business.
Aeonic is everything we’ve come to expect from a band that features an IBMA award-winning vocalist, Buddy Melton, exquisite harmonies, and solid pickers on every instrument, every song. And it’s expertly produced by the band, providing one of the few exceptions to my rule that bands shouldn’t produce themselves because an outside ear can identify issues that the insiders won’t.
Aeonic is solid from the opening mandolin riff of The Girl Who Invented the Wheel to the closing notes of George Harrison’s iconic Beatles song, If I Needed Someone.
There are a handful of songs that are made for radio, including the bouncy Get Me Gone and the previously mentioned Girl Who Invented the Wheel. And there are a handful of tender, thought-provoking ballads and religious-tinged songs that, to me, are the heart of this project.
The most powerful of these, Angel Too Soon, is hard to listen to with dry eyes, but I can’t stop myself from going back to it time and again, and I find myself singing the chorus as I move through the day.
Writers William M. Maddox and Paul W. Thorn tell the heartbreaking tale of a young girl who dies, the worst nightmare of parents everywhere. These lines are so devastatingly beautiful that I simultaneously wish I’d never heard them AND wish I’d written them:
“Today would have been her birthday,
so her mama made her favorite cake.
She wasn’t there to blow out the candles,
But daddy lit ‘em anyway.”
Nearly as powerful, and just as honest, is Help Me To Hold On, a song about those who are marginalized in America. Writers Milan Miller and Thomm Jutz focus on a homeless man who is “sad as sad can be” and a 17-year-old girl contemplating suicide after dealing with “bad choices and a bad man.” It’s effective without being preachy.
Still, I have some reservations about Aeonic, which, frankly, probably says more about me than about Balsam Range. The band has performed at such a high level for so long that a few good but not great songs here have a certain sounds-like-I’ve-heard-them-before sameness that makes them all run together. And while Melton is an outstanding vocalist worthy of his trophies, the band has three other outstanding singers – Caleb Smith, Tim Surrett and Darren Nicholson. I long to hear more of them out front, especially Nicholson, whose voice is a secret weapon.
Overall, though, Aeonic is a winner, proving that Balsam Range hasn’t only endured but thrived. You should own this record.
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