Aisha Badru makes an impressive label debut courtesy of Pendulum.
The LP puts its best foot forward as the opener ‘Mind on Fire’ takes hold of the ear. With an acoustic guitar clacking out a simple rhythm Badru, uses her melodic vocal tones to hum the backing track. The minimalist arrangement sets the stage for the New York artist’s confident, energized, and sweet voice.
The American sings:
“Have you seen the girl with the mind on fire? She set out to tell the world how they suppress our desires. Said she wouldn’t back down ’till the rules were amended and she didn’t give a f**k who she offended“.
It’s a strong lyrical offering that appears to tell of a protagonist looking to reignite her personal fire and make a difference to the world. It’s the LP’s most captivating track, which helps to propel the listener through the rest of what is an enjoyable auditory experience.
‘Bridges’ and ‘Navy Blues’ also impress on the album’s top half. The latter finds Badru reflecting on a toxic relationship with an antagonist who looks to tear down the partnership all the while maintaining the pretence of love.
“you kicked me down I got back up now. The scars I wear are fading”.
The tracks instrumentation again plays its role well with the violin’s melody proving a gentle accompaniment to the singer’s journey out of her misery.
In promotional material for the project it was revealed that the musician found her producer by scouring the pages of Google. An unorthodox approach you might say, but certainly a prosperous one.
Chris Hutchison Brings the acoustic and the electronic together well, with the artificial complementing the acoustic rather than overshadowing it.
Whether it’s the futuristic distorted backing vocals on ‘Bridges’, the drip drip drip opening of ‘Fossil Fuels’ or, the piano drum combination on ‘Just Visiting’, the producer holds the listener’s attention, whilst maintaining a tranquil easy listening mood.
The second half of the nine-song set isn’t quite as strong as the first.
‘Fossil Fuels’ takes a good shot at being lyrically fresh but, stretches in trying to pair up “precipitation” and “reciprocation” as representatives for love and life. Meanwhile, album bookends ‘Splintered’ and ‘Dreamer’ fall into the well-trodden category of ‘life’s a bit crummy right now but the solution is within us if only we would wake up.’
The songs by no means make for a bad ending, but they don’t match up to the rest of the strong Pendulum.
A regular artist here at TME.fm Radio John Prine released a new album this year, here is the best review I could find. It’s followed up by an excellent biography and some tracks to listen to.
On his first album of new songs in over 13 years, John Prine baits you but good.
The opening tunes to “The Tree of Forgiveness” are presented with ragged simplicity and homey cheer. Then the veteran songsmith, from an emotive standpoint, tosses you off the cliff with works full of stark, devastating resolve. Then, just as you think his world (and, perhaps, yours) has fallen into ruin, he winds the record up with a reverie of mortality that makes the hereafter sound like a street parade.
To perhaps no one’s surprise, “The Tree of Forgiveness” enlists the help of Dave Cobb, who became the Americana producer of choice during Prine’s prolonged writing absence.
Wisely, Cobb keeps things simple, even when he invites a few friends and clients – Jason Isbell and Brandi Carlile, among them – to the sessions. Their contributions provide attractive color, but Prine’s best music has never involved fuss. He tells stories succinctly, keeping his songs focused on lyrics of Mark Twain-ish worldliness with melodies dressed by the lightest and most open of folk melodies.
So it’s business as usual to hear a back porch reverie like “Knockin’ On Your Screen Door” with its sleepy summertime candor and references to sweet potato wine and George Jones 8 track tapes masking a sheepish sense of loneliness at the record’s onset. Three songs later, though, the album heads into the abyss with “Summer’s End,” a tune whose delicacy doesn’t even pretend to hide its sense of loss. “You never know how far from home you’re feeling until you watch the shadows cross the ceiling.” The song’s resulting sadness takes hold so immediately that it’s easy to overlook how graceful and gorgeous the melodic structure is.
But there has also been a mischievous slant to some of Prine’s music that regularly runs hand in hand with homespun, but very pointed social commentary. Case in point is “Lonesome Friends of Science.” It’s partly a slow-poke country rebuke of fact-denying politicos, but it’s mostly another worldly washing of hands, much in the way the classic “Fish and Whistle” was four decades ago. “The lonesome friends of science say the world will end most any day. Well, if it does, then that’s okay, ‘cause I don’t live here anyway.”
The mood is gloriously reprised for the album closing “When I Get to Heaven,” a view of the afterlife both affirmative in its abounding sense of forgiveness but ripe with show biz panache. “As God is my witness, I’m getting back into show business, open up a nightclub called The Tree of Forgiveness and forgive everybody who ever done me any harm.” But Prine saves his prime agenda for the pearly gates to the end as a chorus of laughing children and kazoos ring out. “This old man is going to town.” Sounds like heaven to me.
Artist Biography by Jason Ankeny
One of the most celebrated singer/songwriters of his generation, John Prine is a master storyteller whose work is often witty and always heartfelt, frequently offering a sly but sincere reflection of his Midwestern roots. While Prine‘s songs are often rooted in folk and country flavors, he’s no stranger to rock & roll, R&B, and rockabilly, and he readily adapts his rough but expressive voice to his musical surroundings. And though Prine has never scored a major hit of his own, his songs have been recorded by a long list of well-respected artists, including Johnny Cash, Bonnie Raitt, Kris Kristofferson, George Strait, Bette Midler, Paul Westerberg, and Dwight Yoakam.
John Prine was born October 10, 1946, in Maywood, Illinois. Raised by parents firmly rooted in their rural Kentucky background, at age 14 Prine began learning to play the guitar from his older brother while taking inspiration from his grandfather, who had played with Merle Travis. After a two-year tenure in the U.S. Army, Prine became a fixture on the Chicago folk music scene in the late ’60s, befriending another young performer named Steve Goodman.
Prine‘s compositions caught the ear of Kris Kristofferson, who was instrumental in helping him win a recording contract. In 1971, he went to Memphis to record his eponymously titled debut album; though not a commercial success, songs like “Sam Stone,” the harsh tale of a drug-addled Vietnam veteran, won critical approval. Neither 1972’s Diamonds in the Rough nor 1973’s Sweet Revenge fared any better on the charts, but Prine‘s work won great renown among his fellow performers; the Everly Brothers covered his song “Paradise,” while both Bette Midler and Joan Baezoffered renditions of “Hello in There.”
For 1975’s Common Sense, Prine turned to producer Steve Cropper, the highly influential house guitarist for the Stax label; while the album’s sound shocked the folk community with its reliance on husky vocals and booming drums, it served notice that Prine was not an artist whose work could be pigeonholed, and was his only LP to reach the U.S. Top 100. Steve Goodman took over the reins for 1978’s folky Bruised Orange, but on 1979’s Pink Cadillac, Prine took another left turn and recorded an electric rockabilly workout produced at Sun Studios by the label’s legendary founder Sam Phillips, and his son Knox.
In 1998, while Prine was working on an album of male/female country duets, he was diagnosed with squamous cell carcinoma, with the cancer forming on the right side of his neck. Prine underwent surgery and radiation treatment for the cancer, and in 1999 was well enough to complete the album, which was released as In Spite of Ourselves and featured contributions from Emmylou Harris, Lucinda Williams, Trisha Yearwood, Patty Loveless, Connie Smith, and more. In 2000, Prine re-recorded 15 of his best-known songs (partly to give his voice a workout following his treatment, but primarily so Oh Boy would own recordings of his earlier hits) for an album called Souvenirs, originally issued in Germany but later released in the United States. In 2005, he released Fair & Square, a collection of new songs, followed by a concert tour. Two years later, alongside singer and guitarist Mac Wiseman, Prine issued Standard Songs for Average People, a collection of the two musicians’ interpretations of 14 folk and country classics. In Person & on Stage, a collection of performances from various concert tours, appeared in 2010.
Opening Dates for Jack Johnson and Playing Summer Camp, Mountain Jam, and Pickathon Festivals this Summer
“The lovechild of Mitch Hedberg and John Prine…”
– The Stranger
Portland, OR-based singer-songwriter John Craigie shared “Scarlet,” the lead single from his new full length Scarecrow. The completely analog album, out 4/21, was recorded live to a 2 inch tape, mastered to tape, and cut straight to be pressed to vinyl.
“These are songs written for last year’s No Rain, No Rose, but were cut from the album because they’re slower and softer in feel than the rest of that album,” Craigie explains. “They are sort of homeless songs, which is one reason why I used the name Scarecrow. They are songs that are out alone in a field.”
The Vinyl District shared “Scarlet,” along with an essay from Craigie about his love for vinyl. “I have always loved records as a whole,” he writes. “Even when I was a kid it was very important for me to hear the whole record, in order, from start to finish. I liked going through the journey, some songs good, some songs bad. Seeing where the artist would place the ‘hits’ vs. where they would place the deep cuts. What songs they would open with, and which songs they would close with.”
Craigie’s music is connecting with both audiences and various famous folks. Fellow troubadour Todd Snider notably hand-delivered a gift on-stage, and action hero Chuck Norris remarkably sent Craigie fan mail. Most notably, Craigie caught the attention of Jack Johnson, when his 2016 live LP Capricorn in Retrograde… Just Kidding… Live in Portland landed in Johnson’s car stereo during a California coastal road trip. Immediately becoming a fan, Jack reached out and Craigie soon found himself opening for him. This spring Craigie will play three amphitheater shows with Johnson. Other upcoming tour stops for Craigie include headlining shows in New York, Philadelphia, and Boston, and festival performances at Summer Camp, Mountain Jam, and Pickathon.
Craigie truly has a unique live performance; between nearly each song of the set, there’s a “bit” he’s written that thematically leads into the next track. This moved Seattle weekly The Stranger to dub him “the lovechild of John Prine and Mitch Hedberg.”
Craigie recently released his second live album LIVE – Opening for Steinbeck, a perfect example of his craft. Featuring his wry observational humor interwoven in both story and song, The Bootcalls the album “a prime example of how Craigie mixes comedic tales and his musical storytelling in his live shows.” Stream Live – Opening For Steinbeck on Spotify and Apple Music, or purchase the CD here.
Most people who know Phil Madeira know him as one of the most seasoned players in Nashville. Since his arrival in 1983, Madeira has seen success in a plethora of different ways. He has quietly released five solo critically-acclaimed records and has shared the stage with Neil Young, Sheryl Crow, Leon Russell, and Jack White. If you can think of it, Phil Madeira has probably lived it; but that’s what most people don’t know about Phil Madeira – his own story – and he’s finally ready to tell it.Released on April 6, Providence is a rare look at the man behind the music, a chance for listeners to get to know Madeira’s own stories, after having spent decades helping other songwriters and musicians tell theirs. Click here to read Madeira’s interview with Rolling Stone Country + watch the video for “Gothenburg,” a song that celebrates his family’s immigrant experience.
Comprised of 10 songs, Providence gives listeners a closer look at Madeira’s life and the inner conflict of being raised in New England, yet feeling an undeniable attraction to the music of the South, “It’s an album full of love songs to where I’m from and where I’ve come to.” Songs like “Rich Man’s Town” reflect on his childhood in Barrington, a suburb of Providence, Rhode Island. Others, like “Dearest Companion” with the words “We’re Dixon and Mason, lost in translation. If love ain’t frustration, I don’t know what is,” make the connection between where he was raised and Nashville, his home of over 30 years.
Independently produced, the album is a complete change from anything he’s ever done, “I don’t know what happened, but I fell in love with piano again.” The record straddles his iconic Americana style and jazz, more specifically, a sixties jazz piano style. Made at Nashville’s Sound Emporium Studios, the live album features “three quarters” of The Red Dirt Boys, with Chris Donahue on bass, Brian Owens on drums, and Madeira providing lead vocals and piano. Will Kimbrough (also a Red Dirt Boy) lends guitar work on one songs, and jazz icon John Scofield adds guitar to another. Touches of brass and reeds round out the sound, but it all hinges on the trio of Madeira, Donohue, and Owens.
If Madeira has proven anything to the world, it’s his ability to bring people together in whatever capacity he’s working in. Though he didn’t intend on the “feel good” record having one overarching theme, he says the most important message is evident in the last track, “Gothenburg”, the Swedish city from which his maternal grandparents immigrated to America from. “It’s a reminder that most of us are immigrants. Most of us picked out a city and trusted that the community was going to embrace us, which is what Nashville has been to me.” Just like Nashville embraced Phil Madeira, Providence embraces the ultimate universal truth – we all have our differences but are, inherently, the same.<
As an instrumentalist, playing electric guitar, lap steel, accordion, dobro, or a Hammond B-3 with icons like Emmylou Harris, Buddy Miller, Sixpence Pence None the Richer, Mavis Staples, and Garth Brooks — to name a few. As a producer, producing tracks for Keb’ Mo’, Emmylou, The Civil Wars, Humming People, The Band Perry, and the 2012 release of Americana Paul McCartney covers, Let Us In: Americana. As a songwriter, with a cut list that includes Alison Krauss, Amy Grant, Toby Keith, and The Civil Wars’ 2014 Grammy-winning single, “From This Valley.”
About Phil Madeira:
The last of three children, Madeira was born in Rhode Island to a Baptist minister and a church pianist. He’s lived and breathed music since he can remember, but that didn’t always coincide with his religious family. By high school, he had joined the school band and eventually began to write songs and dabble in piano. From then on, Madeira continued on his own path. He left Rhode Island for Taylor University, a conservative, religious school in small town Indiana, to study art. He continued to write and play songs in his free time, but everything changed when he met popular Christian guitar player Phil Keaggy. “When I met Phil, he said, ‘I think you’re gonna be in my band someday,’ and sure enough, three years later, I was playing with this guy.” He joined Keaggy’s band in 1976, but after recording just one record, the band broke up. Five years later, he made the move to Nashville and was immediately embraced by the Christian world, but always knew that he belonged elsewhere. In the early nineties, Buddy Miller hired him for studio work, which eventually led to him joining Miller’s band and finding his place in Americana.
In 2008, Madeira joined Emmylou’s famed band “The Red Dirt Boys”, a group with alumnus like Ricky Skaggs, Sam Bush, Al Perkins, and Buddy Miller himself. During the first campaign for Barack Obama, he became disheartened with the political climate and approached Emmylou with an idea. “I went to Emmylou and said, “You know? I want to do kind of a Gospel record. I want to do a record that says God loves everybody.” Shortly after, the two began working on what would become Mercyland: Hymns for the Rest of Us. The critically-acclaimed album, released in 2012, featured an all-star track listing – beginning with The Civil Wars’ “From This Valley”. The album featured songs from the likes of Shawn Mullins, Buddy Miller, Carolina Chocolate Drops, Mat Kearney, Amy Stroup, John Scofield, Emmylou, and Madeira himself. The same year, the Americana Association asked Madeira to perform Mercyland at the legendary Downtown Presbyterian Church, as part of the AmericanaFest. A second volume was released in January 2016, that included Americana staples Will Kimborough, The Wood Brothers, John Paul White, and The McCrary Sisters; as well as newcomers like The Lone Bellow and Humming People, among others.
The British Three-Piece release the New Single 23rd March
Performing Live at:
Live at Leeds, Leeds, 5th May
The Great Escape, Brighton, 18th May
Bushstock Festival, Shepherd’s Bush, 23rd June
Glas-Denbury Festival, Devon, 6th July
110 Above Festival, Leicestershire, 4th August
‘Tors have a wonderfully fresh, entirely natural, feel.’ – Clash
‘Tors’ music is of the soul, of the earth, we can hear it from the first note.’ – Earmilk
‘Tors feel really familiar when you really dig in, but it might just be because I can’t stop listening to them.’ – Ear To The Ground
Tors return with their highly engaging folk-based harmonies on the second single ‘We Say No’ off the upcoming EP ‘Wilder Days’, following their sold out UK tour with Tom Walker at the end of 2017. The title-single ‘Wilder Days’ gained attention from Alt Press, Earmilk and more.
Matt and Theo; two brothers that make up two thirds of Tors, started out their musical careers writing tracks featuring in critically acclaimed Channel 4 Drama – Skins. Alongside Tors, Matt writes music for multiple big-time Japanese and Korean pop bands, and has also written chart hits in Italy and Poland. In addition, he’s written a song that is currently being supported by Radio 1 – ‘Better’ by Declan J Donovan. Additionally, Tors have made a massive impact with the likes of BBC introducing, 6Music and Radio X and with streams amounting totally over 2million so far, they’re ready to make waves with the release of their new single ‘We Say No’, recorded naturally in their Dad’s old shed in Devon.
‘We Say No’ holds the bulk of the melancholic presence in Tors’ upcoming EP. The single’s tempo is much faster than its counterparts, and with use of offbeat guitar throughout, it exposes a sense of urgency that embraces aspects of songwriting similar to that of The Mystery Jets. However, the choruses bring back those same stylistic Indie-Folk Tors harmonies and excellent use of toms, creating thistle-thick texture from the 3-piece.
Tors are named after a collection of different rock formations in Devon, where Matt and Theo Weedon (frontmen of Tors) hail from. The brothers, who started the band together, are grandsons of the late Bert Weedon, a famous guitarist during the 50’s and 60’s, and writer of Play In A Day; a book which has been credited by Eric Clapton, Paul McCartney, John Lennon (to name a few), for their guitar abilities.
Tors have a big year ahead of them, where they are scheduled to play The Great Escape, as well as a number of U.K festivals this summer; they are sure to turn heads and prick ears in 2018.
“’We Say No’ is about depression and overcoming what can feel like a tidal wave of anxiety; the idea that there is worth and light in the struggle itself. As a band we’ve been knocked back enough times that building ourselves back up turns into it’s own little art form, it’s like breathing, you have to get deflated to let the air in again.” – Tors
Songwriter. Guitarist. Bluesman. Interpreter. Performer. Over 50 years later, Chris Smither is truly an American original.
Call Me Lucky is his latest studio album of brand-new originals in six years, featuring his long-time producer and multi-instrumentalist David Goodrich, drummer Billy Conway (Morphine), Matt Lorenz (aka The Suitcase Junket), and engineer Keith Gary. The four musicians went in to the session to record ten songs. What they ended up with is a double-album offering commentary on the human condition in the way that only Chris Smither can. These songs pull deep from the soul and make for the kind of reflection that come when facing a higher power or natural disaster. From the opening track of “Blame’s On Me” to “Lower the Humble”, Smither raises his own bar when it comes to his songwriting.
Reviewers including the Associated Press, NPR, MOJO, and The New York Times agree that Smither remains a significant songwriter and an electrifying guitarist – an American original – as he draws deeply from folk and blues, modern poets and philosophers. And with Call Me Lucky Chris Smither keeps doing just that.
Chris Smither’s 18th album in his 50 plus year career finds him embracing his roots from Boston’s rich music scene through his collaboration with some of its finest players. That includes his longtime producer, David “Goody” Goodrich, Matt Lorenz (the amazing one man band, aka The Suitcase Junket) and Billy Conway (Morphine). For ‘Call Me Lucky,’ Smither has worked up a two disc collection which features one disc of mainly originals and a couple covers; and a second disc of reworked/rearranged songs from disc one, plus a “surprise” cover.
Not only has Chris been known to be a favorite go-to songwriter for people like Bonnie Raitt, The Dixie Chicks, Diana Krall, John Mayall and others, he’s also known far and wide for his astute song interpretations. Oftentimes, it’ll be halfway through the song before the familiarity of the tune will hit. This time around is no different with Smither’s covers becoming something completely of their own, especially his take on Chuck Berry’s “Maybelline.”
Recorded at Goody’s Blue Rock Studio just outside Austin in the Texas Hill Country, it’s clear the atmosphere was relaxed. Every player on the album wore different hats during the making of, with the drummer playing the guitar and the engineer jumping on keys. With ‘Call Me Lucky’ being his first new material in six years, it’s clear he used that time to rest and reflect for this project. The highlight of the album, “The Blame’s on Me,” find Chris’ delivery, from vocals to guitar, as if he were urgently conveying his message, but in the most laid back manner. It’s truly a special talent of his that continues to make an impression.
In total, Smither’s performance is energized and right at home, sounding like an inspired musician with still much left to do and say.
Often folk singers will perform with a certain place in mind. No other genre is quite so aware of its geographical heritage. A regional accent, a political stance, a particular choice of instrument or a way of describing a landscape: all of these can signify, with varying degrees of subtlety, a sense of location or sometimes dislocation. But there are other, equally valid, subjects for artists to tackle, and one of these is what we might call the human condition, or more specifically the nuance of human interpersonal relationship. With quiet but noteworthy ambition, the latest album by Hannah Read, her second, attempts to reconcile both of these strands. While this may not be unique, Read’s methods are all her own, and the results are fascinating.
Read is Scottish, but lives and works in the United States. Way Out I’ll Wander was recorded in two separate winter sessions, a year apart, in New Hampshire and upstate New York. And as I have suggested, location is important. The rural, mountainous areas where Read worked provide a link, perhaps a subconscious link, to the landscapes of her homeland. This allows her to perform in a way that recalls the musical heritage of both of her homes, and that acknowledges the shared aspects of that heritage as well as its differences. And just as importantly, it allows her to approach lyrical subjects of her songs – people and relationships she has known, shared pasts – with enough distance to make for clear-eyed, objective portraits, painted with affection and skill.
With that in mind, the opening track, Moorland Bare, is something of an outlier in that its lyrics are not Read’s own but are taken from a poem by Robert Louis Stevenson. Stevenson was another Scot who spent some time in upstate New York, and for whom the idea of home was powerful and complex. Moreland Bare, then, makes a natural and excellent scene-setter, with its darkly romantic recollections of the Scottish heaths. But more than that, it is a stunningly performed piece that instantly showcases Read’s ability to command the terrain of a song. The gentle but bittersweet strum of acoustic guitar carries a voice that is remarkably clear but full of transatlantic ghosts: there are echoes of both her adopted homeland and her place of birth in every phrase. Amongst other things, it is an apposite reminder of the borderlessness of art.
It is followed by the first of the detailed character sketches which are to become a trademark of the album. Ringleader shows Read at her darkest and most ambiguous. Its message is potent but enigmatic, revolving around the idea that the worst human behaviour is entrenched through generations, feeds off weakness, and is incredibly difficult to change. As if to let the gravity of this song sink in, Read follows it up with a short instrumental interlude led by her unhurried, melancholy fiddle, and owing as much to modern chamber music, jazz or film scores as to folk. Indeed, an important feature of the whole record is a tactful use of a wide range of instruments: Read’s fiddle and guitar (along with the guitar work of Jefferson Hamer) is brilliantly underpinned by the upright bass of Jeff Picker. This makes up the album’s musical core, but there are various other flourishes throughout – woodwind, saxophone, lap steel, piano – which are knitted together wonderfully by co-producer and engineer Charlie Van Kirk.
I’ll Still Sing Your Praises is one of the most personal, most powerful and rawest songs here. To a minimal musical backdrop, Read sings with fondness, resignation and sadness of the end of a relationship set against the opposed territories of city and countryside. The song’s final line ‘You’re no longer the one that I call home’, is a microcosm of the album’s theme of belonging, and how the deeply human need to belong with another human is entwined with the more abstract idea of belonging in a certain place.
Alexander is another of the ‘character’ songs, though this one is much fonder. Here, a softly distorted electric guitar gives the song a welcome warmth, while the chorus – simply the name ‘Alexander’ sung like a charm – is open-ended and generous-hearted, a reminder that simply speaking a person’s name can be an act of kindness. She Took A Gamble rests on a cat’s cradle of intertwined guitars and an innovative vocal performance that, in terms of melody at least, recalls early Joni Mitchell. Lyrically, Read focuses on small but important details that anchor the song in a time and place – hermit crabs in the sucking tide, ropes clinging to stones – before zooming out to view the wider picture of interconnected lives and difficult decisions.
This juxtaposition of fine details and grander, more universal ideas is a technique that can yield heartbreaking results. The album’s title track is a case in point. After a graceful fiddle intro, Read sets the scene with needle-sharp descriptions of cold air and snow on fallen trees, before the sadness at the song’s heart hits her – and the listener – in a slow wintry sweep, and a heavy freight of grief is lightly but devastatingly revealed. And it works with the happier songs too. Boots describes the unknowable point in a relationship when things change, in this case for the better. But once again it is in the minutiae the song’s power builds: the clothes on the floor, light falling on a cheekbone. Before you realise it you are caught in the small, perfectly formed world of the song’s narrative.
Final track Campsea Ashe (presumably the name refers to the Suffolk village) is perhaps as close as Read gets to straight Americana – and maybe its position on the album is a nod to the direction (musical or geographical) in which she is moving. But there is more to it than that: here the lyrics deal as much with time as with place, hinting at yet another dimension to the already enviable talent on show in Read’s songwriting. Way Out I’ll Wander is a fine achievement: listening to each of its songs is like watching the snow settle in an exquisitely crafted snow globe, revealing an image of pristine clarity.
Hannah will tour the UK in April supporting Kris Drever, see dates below.
Hannah Read Tour Dates
APR 12 | Brewery Arts Center
APR 13 | Leeds College of Music
APR 14 | The Met
APR 15 | Memorial Hall
APR 16 | Nettlebed Folk Club
APR 17 | St David’s Hall
APR 19 | Colchester Arts Center
APR 20 | Union Chapel
APR 21 | Wem Town Hall
APR 22 | The David Hall
SOUTH PETHERTON, UK
APR 23 | Guildhall Theater
APR 24 | Philharmonic Town Hall Music Room
Ed Romanoff is a chronicler of American experience whose voice recalls the gritty baritone of Leonard Cohen and the wit of Guy Clark. The New York singer-songwriter pens wise, big-hearted, occasionally whimsical, usually melancholic tunes about lonely souls and romantic dreamers.
Ed Romanoff’s second album ‘The Orphan King’ was produced by Simone Felice (The Lumineers, Bat For Lashes) and includes contributions from Rachael Yamagata, Kenneth Pattengale of the Milk Carton Kids, guitarist Cindy Cashdollar (Dylan’s Time Out Of Mind), The E Street Band’s Cindy Mizelle, and multi-instrumentalist Larry Campbell, along with Larry’s wife and duo partner, Teresa Williams. Together, they forged rootsy and eccentric arrangements for Romanoff’s gritty, literate and personal songs that evoke a gothic car chase across some mythic American plain.
“A great sense of melody and lyrical style…. brilliant!- Larry Campbell
A SINGER-songwriter whose roots lie in Counties Fermanagh and Monaghan has released her second studio album, called ‘The Offering’.
The new recording from Clara Rose is a collection of 10 songs that bring the listener on a journey through folk rock, blues, funk, soul and contemporary folk.
Although Clara Rose now lives in County Meath, she has plenty of local connections.
Her grandmother, Elizabeth Monahan (nee Gunne), was born on the shores of Lough Erne and spent many summers rowing across to Trannish Island with her father to tend their cattle there.
Clara’s musical influences have come from a varied background.
Her grandfather, Eamon Monahan, worked as a musician until his retirement.
He performed across Monaghan and Northern Ireland with his show band, ‘The Northern Airs’.
Clara’s mother, Elizabeth Monahan (nee Deery), is a fantastic singer and songwriter and toured with many bands.
Her father Alan Monahan is a gifted guitarist and vocalist.
‘The Monahan Family’ have toured as a family playing shows in Germany and more recently, a mini-tour of Northern Italy.
Clara has an All-Ireland Medal for Sean-Nos singing at the age of 12.
With Irish traditional music being her influence at this time she then began to explore other influences and through her teens was a member of some ‘all girl rock bands’… the kind who never played a gig but practised every weekend.
In Maynooth University, while studying music, she was a member of the Classical Choral Society, The Maynooth Gospel Choir and formed her first blues band, ‘Jungle Train’, who did play gigs!
She began writing and performing her own music in university.
Her style developed and she began to play solo gigs on the Dublin Music Scene (Whelans, ‘The Ruby Sessions of Doyles) and Monaghan (McKenna’s Brewery).
As she developed as a songwriter/performer, this lead to the creation and recording of her acclaimed debut album, ‘A Portfolio’ which she independently released in 2010.
The album saw her embark on a nationwide tour with her band as well as achieve national and local radio airplay, TV appearances and critical acclaim.
Clara Rose is a featured artist on the 2013 album release from Irish Blues Harmonica legend, Don Baker, ‘My Songs, My Friends’.
She features alongside Sinead O’Connor, Finbar Furey, Mick Pyro, Liam O’ Maonlai, Brian Kennedy and Paddy Casey, among others.
Clara and Don formed a collaboration and recorded an album together, ‘Baker Rose’ (2016) and went on a national theatre tour.
In 2017, Clara Rose became part of a stage show called, ‘Ladies in the Blues’.
There are four women backed by a top-class band who tell the story of the blues through the female voice.
2018 promises to be an exciting year for Clara Rose as she releases her new album, ‘The Offering’.
It was produced and recorded by Gavin Glass in Orphan Recordings.
It features stellar performances from The Clara Rose Band – Sean Beatty, Tony McManus and Michael Black – aided by the musical professor Gavin Glass and guest appearances from vocalists Elizabeth Monahan, Claire McLaughlin and Paula Higgins.
The Barcelona-born folk singer/songwriter breathes pensive lyrics accompanied with warm guitar chords on her new single, combining feelings of melancholy and optimistic anticipation. The new single contrasts with her previous EP ‘Broken’ which’s songwriting was influenced by London’s greyness and conceived in the loneliness of her cupboard-sized bedroom.
Blanca (Odina) who hails from Tarragona; just outside Barcelona, gets her name from ‘Mount Odina’ in northern Spain where her grandparents are from. The name reflects the rawness of her music; it keeps her linked with her roots, this shines through in ‘Nothing Makes Sense’.
The New Single from the upcoming EP ‘Nothing Makes Sense’Released on 02/02/18 via AntiFragile Music
“Odina is delicately raw… her minimalist musings express an emotional core” – The 405
“A bedroom pop artist” – Clash
“Simple and effective pop balladry” – The Line of Best Fit
“This song will make you feel all the feels” – Wonderland
Complete innocence echoes out the voice of the young Spanish artist. Influenced by Keaton Henson and Bon Iver amongst others, 2016 saw the release of Odina’s debut EP Broken, a project conceived in the intimate space of her small London bedroom that has managed to amass over a million streams on Spotify.
Her new single ‘Nothing Makes Sense’ taken from her upcoming EP of the same name, is one of auditory intimacy. Blanca (Odina) breathes ‘Nothing Makes Sense’, and it feels so intensely personal. It amalgamates feelings of melancholy and optimism, the latter brought on by the warmth of the reverberating clean guitar chords, which accompany her vocals.
Laura Marling-esque melancholic honesty shines through this single, until brass accompaniment during the bridge following Odina singing ‘nothing makes sense at all…’ offers listeners a thick texture of hope and acceptance that ‘nothing makes sense’.
Odina is a project that started not only at a point of emotional vulnerability; the breaking of a relationship, but also at a point of “exile” when moving to a different country; from sunny Barcelona to the rainy streets of London.
‘This song is about feeling confused, about overthinking life, death, and everything else. It tries to look at some questions to which there are no answers, while at the same time arriving at the realization that there will never be an answer to them, and coming to accept that.’ – Odina
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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