The duo’s propensity for glowing chords shines on their upcoming record, though it soon becomes apparent that the expert delicacy of the couple’s guitar work only barely contains the graceful, mounting power prevalent in the meeting of Claborn and Ydstie’s voices.
“We’re processing a lot of things going on in our world right now,” reflects Kati Claborn during a respite from touring. Along with her partner Luke Ydstie, Claborn is striving to make sense of the present by looking to the past in The Hackles’ upcoming album, A Dobtrich Did As A Dobritch Should, out on Jealous Butcher Records on November 8, 2019. “We’re looking at the big picture through individual lives,” says Claborn. In an era rife with discord, The Hackles are using melodic, shimmering indie folk to chronicle means of control and autonomy through idiosyncratic narratives.
Ydstie and Claborn first met in Portland in the mid-2000s after Israel Nebeker and Ryan Dobrowski of Blind Pilot recruited additional band members to flesh out the band. Still members of Blind Pilot today, Ydstie and Claborn first met at these initial band practices, and now live in Astoria, Oregon with their five-year-old daughter. After discovering how well each of their creative processes’ enrich one another’s, Ydstie and Claborn decided to form their own musical project. “I think one of the reasons why it’s so successful when Luke and I write together is that we feel very safe and open,” says Claborn. “Both of us feel like we can throw out any idea and it’s okay. We can try anything.” Co-producer Adam Selzer expands this environment of experimentation. “Going into the mixing process, we gave Adam free reign to do whatever he wanted, and he made a lot of interesting mixing choices and added effects that had a huge effect on how the album turned out.”
Though The Hackles’ upcoming record title might at first seem imbued in mystery, the eccentric name is a nod to the life and death of 20th century Bulgarian circus impresario, Al Dobritch, who appears most markedly in “And The Show Goes On.” The chief producer of famed Circus Circus Casino in Las Vegas, Dobritch made a name for himself after escaping World War II and settling in America, eventually rubbing elbows with celebrities and marrying film star Rusty Allen. His gilded life came to a dark end when he was charged with kidnapping and, soon after, jumped to his death on the Las Vegas strip. “Dobritch went through so many crazy things in his life,” says Claborn, “And though he was able to persevere and create this incredible life, it goes to show that at the end, there are sometimes things you can’t control.”
The interwoven notions of predestined fate, as well as the hopeful antithesis of regaining power over one’s personal circumstances, stream throughout The Hackles’ upcoming release, complemented by the album’s serene sound. The duo’s propensity for glowing chords shines, though it soon becomes apparent that the expert delicacy of the couple’s guitar work only barely contains the graceful, mounting power prevalent in the meeting of Claborn and Ydstie’s voices. Similar to the tug-of-war stories that Claborn and Ydstie portray, the dynamism of the duo’s vocals never overpowers the tranquility of the chords below. Instead, both strengths support and enhance one another. “There’s a thread going through the album about the things that control us in our lives and the things that we’re able to take back,” surmises Claborn, “It’s about the impact of inevitability, the webs you can weave, and the webs that weave you.”
“Wooh Dang…an onomatopoeia for the audible reaction I had upon hearing his rambling, atmospheric folk music for the first time.” – Paste
There is a power present in the places where we’re invited to adopt the pace of nature. The same forces that patiently connect the cells of a sprig in the soil can uproot a redwood with a single winter storm. If you’ve listened to Daniel Norgren, you understand. The experience of Norgren’s music is marked by connection: the artist to the band, the audience to the music, and the body to the soul. Norgren’s latest album, Wooh Dang, out April 19, 2019 on Superpuma Records, will be his first worldwide release.
“I hadn’t nudged my way to the front of a crowd like that in over 10 years. Daniel Norgren’s voice simply beckoned my soul forward and that’s where I found myself, mesmerized in the front row. His voice beckons me there still.” – Phil Cook
“Like a long slow motion drive through a country that is both alien and familiar, ancient and brand new at once.” – Eric D. Johnson (Fruit Bats) at Talkhouse
Produced by Norgren and engineered by longtime collaborator and Superpuma Records originator Pelle Nyhage, Wooh Dang was made during the Fall of 2018 in a single room of a 19th-century textile farmhouse in the woods near Norgren’s home in Southwest Sweden. “The interior looked it hadn’t been touched for the past 80 years,” says Norgren. “I moved a lamp and it left a dark red ring on the pink tablecloth underneath…goldmine! The house was huge, full of good, inspiring mustiness, creaking wooden floors, scary old portrait paintings on the walls, and an old, black German piano which I used in all the songs.” Recorded live and entirely on a 16 track analogue rig, without guitar tuners, the album captures the close chemistry between Norgren and his band, comprised of old friends Anders Grahn (bass), Erik Berntsson (drums), and Andreas Filipsson (guitar and banjo).
“Welcoming…with a careful touch of ambiance and mystery in the playing…There’s a beauty buried deep inside in these lazy and woodsy songs just waiting for you to dig them out.” – NPR First Listen
An intertwining of analog instrumentation, live performance, and rural field recordings, Wooh Dang is rife with a deeply hopeful creative intention. It’s red blooded, alive, and coursing with equal parts adrenaline and seratonin. “Wooh Dang was a real fun album to make and to me it’s been the world for the last few years,” says Daniel Norgren. “Thanks for taking the time. I hope you enjoy it.”
North American Tour 2019 (announcing April 30)
September 18: Chicago, IL – Lincoln Hall
September 19: Louisville, KY – Zanzabar
September 20: Asheville, NC – The Grey Eagle
September 21: Bristol, TN – Bristol Rhythm & Roots Reunion
September 22: Nashville, TN – 3rd & Lindsley
September 25: Washington, DC – Black Cat
September 26: Philadelphia, PA
September 27: Brooklyn, NY – Music Hall of Williamsburg
September 28: Boston, MA – Brighton Music Hall
September 30: Toronto, ONT – Great Hall
October 2: St. Paul, MN – Turf Club
October 3: Boulder, CO – Fox Theater
October 4: Seattle, WA – Neptune Theater
October 5: Portland, OR – Revolution Hall
October 6: San Francisco, CA – Hardly Strictly Bluegrass Festival
October 8: Los Angeles, CA – Teragram Ballroom Dates not live yet – will be announced April 30
“Warm and intimate, yet elegantly constructed, psych-folk.” – Bandcamp
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
The debut album from Appalachian songwriter VIVIAN LEVA has been released today on Free Dirt Records (Dori Freeman, Anna & Elizabeth). Leva taps into the bitter-cold veins of old country songwriting, harkening back to the mountain music she was born into. Let me know if you’d like a hard copy and didn’t receive one!
VIVIAN LEVA’S VOICE IS THE SOUND OF LIVING TRADITION. Raised by parents who absorbed ancient tunes and ballads during visits to legendary old-time musicians, Leva grew up steeped in the Appalachian and country music of her Lexington, VA home. On TIME IS EVERYTHING (coming spring 2018), her label debut, Leva earns a spot in the lineage of great neo-traditional songwriters like Gillian Welch and Sarah Jarosz. And much like these singers, Leva finds inspiration in the past without being stifled by it.
“a young artist but a mature storyteller, finding inspiration in the likes of Gillian Welch and Kitty Wells.”
“age-old country aesthetics delivered with a new voice that feels mightily compelling, the simplicity of the composition belying the evocativeness that lingers long after it’s departed.”
–Gold Flake Paint
“offers rich playing (lots of good fiddling) with a focus on Leva’s songs, but even more so her terrific voice, which never falters.”
–The Vinyl District
Though still in college, Leva’s musical roots run deep. She grew up going to fiddle festivals with her parents, both acclaimed roots musicians themselves who perform as the duo Jones and Leva. Her father, James, is a respected multi-instrumentalist who learned knee-to-knee from old-time legends like Tommy Jarrell and Doug Wallin, while her mother, Carol Elizabeth, picked up bygone songs from a now lost generation of singers and recorded with the pioneering bluegrass duo Hazel Dickens and Alice Gerrard. Leva soaked up this influence at a young age, and, at age 9, began penning songs and performing with her father at venues like the prestigious Carter Family Fold.
Traditional American music was an early influence on her songwriting. Her time at music festivals (she’s never missed a Clifftop) regularly landed her in jams with roots music heavyweights like Dirk Powell, Caleb Klauder, and Pharis & Jason Romero. “The biggest part of traditional music has always been the community,” she says. “It’s really special that you can travel almost anywhere and share tunes with a group of people that you’ve never met.” In this spirit, she joined The Onlies, a young stringband that won the coveted traditional band competition at the 2017 Clifftop festival in West Virginia. Add to this performance resumé teaching stints at The Swannanoa Gathering, The Big Sur Fiddle Camp, and Centrum’s “Voice Works” and her roots music bonafides are obvious, but it’s Leva’s songwriting that’ll bowl you over.
The sonic and lyrical palette of Time Is Everything, which was recorded at Joseph DeJarnette’s Studio 808A in Floyd, VA, is influenced in equal parts by classic storytellers like Kitty Wells and Texas Gladden, the harmony singing of the Stanley and Everly Brothers, and the pop sensibilities of Mandolin Orange. Leva’s writing effortlessly shifts between archaic ballads, classic country and honky tonk, and the best of contemporary Americana. For her first solo record, she enlisted the talents of multi-instrumentalist RILEY CALCAGNO (The Onlies) as well as other top notch collaborators (Jack Devereux, Eric Robertson, Nick Falk, and Joseph “Joebass” DeJarnette) to add fiddle, banjo, pedal steel, and percussion to the album’s tastefully minimal production, imbuing each story of love and heartbreak with a hearty emotional punch.
The album’s title didn’t come easily until she noticed a lyrical through-line: the passing of time. “The phrase ‘Time Is Everything’ encompasses the main theme of all of the songs,” she says. “It’s really about how everything in a situation can seem right but it all comes down to timing. That’s especially true in a relationship.” The tasteful Americana rendition of the title track, a co-write with musical partner Riley Calcagno, exemplifies this ephemeral longing. However, stories of wandering eyes or missed connections also show up in the straight-ahead honky tonk of “Why Don’t You Introduce Me As Your Darling,” the country shuffle of “Bottom of the Glass” (a song she wrote at age 14), and the old-time stringband-influenced “No Forever.”
The album features eight originals plus a cover of Paul Burch’s plaintive waltz “Last Of My Kind,” and a re-composed version of Virginia ballad singer Texas Gladden’s “Cold Mountains” with a new chorus written by Leva and Calcagno.
For Leva, the kernel of a song often appears spontaneously—a story from a TV show, a new guitar tuning. “If I specifically sit down to write something, I usually don’t like it. But I play around with different starting places.” Once the scene is set, however, the song is often complete in less than an hour. “It’s always hard to express real feelings without being overly sentimental, to balance a specific story and the universal.” Rest assured, this album strikes the balance perfectly.
It’s rare to find such a mature and confident voice in a young artist—someone whose music springs so organically from a grassroots connection to the traditional music community in which she was raised. Time Is Everything is indeed a bold statement from this rising star of deeply rooted American music. Vivian Leva is a voice that deserves to be listened to in the coming years.
Recommended If You Like: The Head and the Heart, Lumineers, Fleet Foxes, Vance Joy
… And I’m too afraid to be alone
At its core, attraction is a wondrous thing. How many stimuli have that kind of physical and emotional control over the individual? To be moved so vividly by someone else that your behavior changes in their presence; to feel that strongly about another human being; it’s natural, and yet it often feels totally unnatural. Attraction is as powerful as it is beautiful, an overwhelming sensation that Driftwood capture perfectly in their new song “Too Afraid.”
Oh am I falling for your lies again Falling for your lies again
But you look so damn good
If I look into your eyes again Look into your eyes again
Well it feels like going home
Listen: “Too Afraid” – Driftwood
City Lights – Driftwood
.A song about falling uncontrollably hard for someone else, “Too Afraid” focuses on the fatal attraction experience: “Sometimes there are women that strike your fancy to the point where you lose a bit of yourself,” explains Joe Kollar (vocals/banjo).
It’s also easy to lose oneself in Driftwood’s music. The band pulls upon a pastiche of warm American roots and folk influences, landing somewhere in-between The Head and the Heart and The Lumineers in terms of sound, while offering a fresh, if not timeless perspective on the individual experience through harmonious music and lyrics. The group’s instrumental arrangement – which consists of Dan Forsyth on guitar and vocals, Joe Kollar on banjo and vocals, Claire Byrne on fiddle and vocals, and Joey Arcuri on bass – might be considered ‘traditional,’ but they wield their instruments with polished grace. In a music landscape where electric so frequently replaces acoustic instrumentation, Driftwood’s music provides an anchor to a past that is still very much the present.
“Too Afraid” opens with a sweetly seductive interaction between fiddle and bass, where the fiddle plays a hypnotic, repeating arpeggio sequence over punctuated bass hits. The combined effort is light, yet incredibly evocative: In a sense, it’s the perfect backdrop for a personal story. “Oh am I falling for your lies again,” sings Kollar as the verse opens. His words are raw and humble, his demeanor vulnerable as he places this interest over himself. That elevation of another, and the subsequent submission and reduction of oneself, becomes especially resounding in the chorus and second verse:
But I’m too afraid
Yes I’m too afraid to be alone
You talk like you should be my friend Talk like you should be my friend So tell me what it is that you want
Oh am I losing all my lines again I’m losing all my lines again But you look so fucking good
In his explanation of this song, Kollar notes that “Too Afraid” is, for him, about “the power of a beautiful woman,” but the song is obviously so much more than that. “I’m too afraid to be alone,” he sings. Sometimes we know something is bad for us, but we want it anyway. Loneliness is one of the hardest to cope with – so perhaps that special someone isn’t right for you, but at least it’s something. Rather than explore the intricacies of that mess, Driftwood stick to the surface and leave the diving to the listener.
“I think everyone knows someone (close or distant) that makes them weak in the knees and maybe act differently as a result,” says Kollar. Those who have known love, and perhaps more so those who have known a truly fatalattraction, can easily relate to Driftwood’s lilting melodies and uncertain, scrambling lyrics. It doesn’t matter who you are, or how confident you might appear. Every Samson has his Delilah.
‘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.
Grew up in Maine. Lives in Texas. Writes songs. Makes records. Travels around. Tries to be good.
Slaid Cleaves lives with his wife of 21 years, Karen Cleaves, in the Hill Country outside Austin, Texas. While Karen books the shows, the flights, the hotels, and the rental cars; designs, orders and sells the CDs and T-shirts, pays the band, updates the web site, answers fan questions, does the taxes and makes dinner, Slaid writes his little songs (and fixes things around the house). They travel around the world together while Slaid plays for fans far and wide and gets all the glory. If it wasn’t for Karen, Slaid would be carrying all he owned in a shoe box, scrounging around for a happy hour gig.
SLAID CLEAVES – ‘GHOST ON THE CAR RADIO’ (OUT JUNE 23 on CANDY HOUSE MEDIA,
both on CD and on 140 grms vinyl)
Now twenty-five years into his storied career, Cleaves’ songwriting has never been more potent than on his new album ‘Ghost on the Car Radio,’ out June 23.
‘Ghost on the Car Radio’ is Cleaves’ first release since 2013’s ‘Still Fighting the War,” which was praised as “one of the year’s best albums” by American Songwriter and “carefully crafted…songs about the struggles of the heart in hard times” by the Wall Street Journal. The New York Daily News called his music “a treasure hidden in plain sight,” while the Austin Chronicle declared, “there are few contemporaries that compare. He’s become a master craftsman on the order of Guy Clark and John Prine.”
Described as “terse, clear and heartfelt” (NPR Fresh Air), Cleaves speaks to timeless truths in his songs. “I’m not an innovator. I’m more of a keeper of the flame,” he says.
“I think of songs as the whiskey of writing. Distilled down to the essence, powerful, concentrated, immediate. You can take it all in and really feel it in just seconds,” says Slaid Cleaves.
We’re excited to be working with Charlie Whitten, whose new EP Playwright is coming out August 25th. The whole thing is phenomenal, a quick 4-song EP showcasing a moment in time for the young songwriter. The songwriting on each of these tracks is wonderful and points to Whitten’s budding brilliance but the up-tempo, jaunty, pining of “Since She’s Gone”, with it’s duality of heart-break and acceptance is really impressive.
Whitten grew up in Charlotte, NC and was born in Charleston, WV. He’s released a few pieces under his own name but says he “enjoys being sideman just as much as a singer-songwriter.” Pretty obvious that he enjoys it when you can catch Charlie playing guitar for Jake McMullen and Becca Mancari, and while he just returned from touring for two months with Andrew Combs as his bass player. He’s also played and sang with Molly Parden, Erin Rae McKaskle, Caleb Groh, Chrome Pony, and his current side project, Stationwagon; a band of tall songwriters and friends featuring Mark Fredson, Pete Lindberg, Andrew Hunt, Brett Resnick. You can hear bits a pieces from his heroes Jim Croce, Don McLean and Harry Nilsson in his songs. There’s a bit of Rayland Baxter in his arrangements as well.
Sweat flies and floorboards tremble – Union Duke is a Toronto folk quintet with an explosive live show. Bridging soulful indie rock with bluegrass and country, the group belts out soaring harmonies with three, four and even five voices. The songs are irresistible, the perfect fit for the heatwave of the dance hall or the cool breeze of the park. These five guys have been making a commotion in one way or another since they were kids, and years of making music together have brought them to this: a heartbreak of twang and a bootshake of rock and roll. Union Duke is two fifths city, two fifths country, and one fifth whiskey.
For their third record, Golden Days, Union Duke recorded live off the floor to capture the raw, joyful energy of their concerts. Then they brought in Grammy award-winning mix engineer Mark Lawson (Arcade Fire, Basia Bulat, Timbre Timber) to bring the mixes to life. Golden Days will take you back to your warmest memories: nights by the lake, passing a bottle around the fire, or singing with your friends at the top of your lungs. It also looks forward, reaching for those long, lazy summer days that will keep you going through the winter. It’s a record of pain and struggle, lessons learned – and of laughter between friends, tenderness between lovers. One minute you’re following banjo music rambling down a country lane. The next minute you feel the pulse and pound of the amplifiers.
The band works hard, travelling back and forth across the country playing to fans young and old from coast to coast. They’ve played sold out shows where crowds know all the words. They’ve performed at countless festivals including TURF, Mariposa, and Summerfolk, topping the list of must-see acts. Their enthusiasm is infectious, and they leave every audience smiling – maybe the golden days aren’t so distant after all.
We are very excited to announce that The Reasonant Rogues music video for ‘Long Way to Galway’ premiered today on The Boot! The song was inspired by a train trip the duo took through Eastern Europe and eventually all the way to Galway.
American folk music has always had a populist perspective, a vision of music made by the people, for the people. Asheville, North Carolina roots band The Resonant Rogues know this well, for they’ve traveled the byways and highways of America, even crossed the water to Europe and the Mediterranean with instruments and songs in tow. Anchored by the songwriting duo Sparrow and Keith Smith, the Rogues have shared songs with train-hoppers in New Orleans, busked on the streets of Budapest, learned Turkish Romani dance in Istanbul, and marched in protest in the hills of Appalachia. Throughout, the stories they’ve heard and the people they’ve met have fueled their music, which abounds with influences like Eastern European Romani brass bands, New Orleans street jazz, old-time stringbands, Woody Guthrie anti-fascist folk, French jazz manouche, and Middle Eastern rhythms. It’s not easy to pull off such a bold combination of genres, but The Resonant Rogues learned this music in person from the people who created it, so they have a tie to each tradition and a working knowledge of what this music means to the ordinary people that make this music every day. It’s a tintype view on the modern world, a cracked image that reflects the past through a prism of the future.
Katie Knipp is equipped with powerful vocals and plays a variety of instruments from boogie woogie piano to slide guitar, to honest harmonica laden stories in between. She has opened for Robert Cray, Joan Osborne, Jimmie Vaughan, Jon Cleary, The Doobie Brothers, Tim Reynolds, The James Hunter Six, and more. #10 on Blues Albums Billboard and 2019 SAMMIE award winner for best blues artist.
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Mary Gauthier - Rifles & Rosary Beads
Sep 08, 2019
Co-written with U.S. veterans and their families, the eleven deeply personal songs on this album reveal the untold stories, and powerful struggles that these veterans and their spouses deal with abroad and after returning home.
_"You’ll be hard-pressed to hear a more powerfully moving work than Rifles & Rosary Beads this year — or any other.”
Last year we saw the release of Jim Allchin’s Decisions album which garnered good critical review for it’s great songs and musicianship. Allchin returned to the studio this past Spring to once again collaborate with Tom Hambridge and his team. Hambridge has produced Grammy winners before and to make things even sweeter he and Allchin invited Mike Zito, Bobby Rush and The Memphis Horns to join them on this production.
The output of all that is 14 new songs, 3 penned by Allchin alone and the other 11 were collaborations between Allchin, Hambridge and a couple of other folks here and there. In addition to Allchin on vocals and guitar are Bob Britt, Kenny Greenberg and Rob McNelley on rhythm guitar, Hambridge on drums, Kevin McKendree on keys, Glenn Worf on bass, Mycle Wastman on backing vocals and the aforementioned guest musicians.
Peter Rowan has paid his dues, spending more than 50 years in and around bluegrass, sharing the stage with everyone from Bill Monroe and Jerry Garcia. Now, he’s paying tribute.
His new CD on Rebel Records is called Carter Stanley’s Eyes. But the title cut isn’t the only nod to the man many consider the best lead singer in bluegrass. Cut after cut, including two written by Carter, two written by his brother Ralph, and one by Monroe, the songs conjure up memories of the artist who left us far too soon, in 1966.
But the title cut, one of three songs on the CD written by Rowan, seals the deal. The Light in Carter Stanley’s Eyes recounts the day in 1965 when Monroe and Rowan — a member of the Blue Grass Boys who wasn’t yet old enough to vote — visited Carter near the end of his tragically shortened life.
The song includes a spoken part, in which Rowan recalls Monroe telling Stanley that he had been one of his favorite Blue Grass Boys, and his favorite lead singer. It also recounts Stanley asking Rowan if he was “going to stick with it,” which Rowan answered affirmatively. Given that more than half a century has passed between the question and this new project, Rowan clearly kept his end of the bargain.
The song, with it’s built-in oral history of an important moment in bluegrass history, will help make Carter Stanley relevant to new generations of pickers. And it should add momentum to the push to add Carter and Ralph to the Country Music Hall of Fame, an oversight that frankly should have been corrected long ago.
Buddy Guy stands as one of the last true traditional blues legends of his time; an era that predated the rock ‘n’ roll explosion of the mid-1960s. Few remain, and even fewer are still releasing albums that remind us as to why they have enjoyed such a lengthy and illustrious career. The Blues Is Alive And Well is very much one of those albums. As a follow-up to his 2015 release, Born To Play Guitar, and his eighteenth solo studio album, The Blues Is Alive And Well features collaborations with Jeff Beck, Keith Richards, and Mick Jagger, and is certainly one of the best blues records to be released this year.
Becky’s body of work is already vast and impressive, as a songwriter and as artist, and she has the awards and accolades to back it up. But, as Crepe Paper Heart demonstrates, she’s not about to rest on her laurels.
From the opening notes of Another Love Gone Wrong to the closing of Phoenix Arise, the 12 songs will take you on an emotional roller coaster of thrills, tears, longing and loss. The stories are compelling, as her songs tend to be. And the performances are top drawer. Again, that’s no surprise if you’ve followed her on stage and on record. With the collective strength of her band and an all-star lineup of guests, anything less would be shocking.
Heartbreak is never any fun, but it sure seems to be good fuel for the creative process. Nicki Bluhm first found an audience for her rich, smoky voice while making music with her husband Tim Bluhm, who produced her early albums and co-founded their band, the Gramblers. But in November 2015, the Bluhms revealed they were getting a divorce, and their creative partnership ended along with their marriage. Splitting up was clearly not a pleasant experience for Nicki, and she lays out all her hurt and disappointment on her 2018 album, To Rise You Gotta Fall. This is a breakup album if there ever were such a thing, but Bluhm doesn't sound like the experience has weakened her. There are bittersweet moments in "Staring at the Sun" and "Last to Know" where Bluhm reveals her emotional wounds, but more often she sounds clear-eyed in her postmortem of her relationship ("Something Really Mean") or defiant as she moves past the wreckage ("Can't Fool the Fool" and "Things I've Done"). Musically, To Rise You Gotta Fall is steeped in vintage R&B and soul with a dash of country for seasoning, and the bluesy angles of the music are a perfect match for Bluhm's ruminations on a love that used to be. The album was cut in Memphis at the legendary Sam Phillips Recording Studio, and producer Matt Ross-Spang has put together a band that can evoke the sounds of R&B past without sounding dated or falsely nostalgic. And To Rise You Gotta Fall features some of Bluhm's finest vocal work, filled with passion and nuance at the same time, and for all the powerful emotions in play here, she doesn't overplay, and the focus and restraint only make this music more intense. Hopefully Nicki Bluhm won't have to get dumped again for her to make an album this good, but at least she found a way to put her broken heart to good use, and To Rise You Gotta Fall ranks with her best music to date.
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Kinky Friedman - Circus of Life
Sep 08, 2019
Before he was a novelist, and before he ran for governor of the state of Texas, Kinky Friedman was known as a musician. Proof of that can be found in his first new album in close to four decades, Circus of Life, being released on his own Echo Hill label.
As the lead singer of Kinky Friedman and the Texas Jewboys he was responsible for such country classics as “Asshole from El Paso” and “They Don’t Make Jews Like Jesus Anymore”. The band also hold the distinction of being one of the few who were filmed for the famed TV show Austin City Limits but whose segment was never aired. (It is available on DVD if you look hard enough).
While Kinky has mellowed somewhat since those halcyon days, only “Little Jewford” Shelby (piano) still rides with him, and his songs aren’t as in your face as they used to be, none of that impacts on the quality of the material you’ll find on this album. For while the twelve songs on the disc only add up to just over 35 minutes of music, their substance can’t be measured by how much time they take up.
A new album from John Prine is always reason to celebrate, but an album in which he wrote or co-wrote all the songs is an even bigger reason to rejoice. The Tree of Forgiveness is the first album since 2005’s Fair & Square where Prine has written the songs. He has issued albums since then, but like Bob Dylan, they have been albums of cover versions, but this album is Prine and, I would argue, Prine at his best.
Prine co-writes with old friends and longtime collaborators on this album. He even wrote a song with Phil Spector — he started writing the song, “God Only Knows”, decades ago. Pat McLaughlin, Roger Cook, and Keith Sykes have worked with Prine in the past. He has made some new friends too in Dan Auerbach, who co-wrote the brilliant “Caravan of Fools”, and Brandi Carlile, who duets with Prine on the beautiful “I Have Met My Love Today”.
When Nashville-based singer/songwriter/producer Tom Hambridge decided to pay tribute to the city of New Orleans with this CD, he had no trouble recruiting several of the biggest names in Big Easy music – including Ivan Neville, Sonny Landreth and the late Allen Toussaint — to help him. But that should come as no surprise to anyone who’s aware of the rich legacy he’s already created in the worlds of blues, country and rock.
A native of Buffalo, N.Y., who graduated from Berklee College Of Music and spent three years on the road as the percussionist for guitar legend Roy Buchanan, Hambridge has earned Grammys as a producer of Buddy Guy’s Living Proof and Born To Play Guitar albums as well as more nominations for his collaboration with a who’s who of entertainers, including Eric Clapton, B.B. King, Van Morrison, Johnny Winter, Gregg Allman, Kid Rock, George Thorogood, Susan Tedeschi and many others.
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Mark Knopfler - Down the Road Wherever
Sep 08, 2019
Mark Knopfler’s ninth solo studio album ‘Down The Road Wherever’ features unhurriedly elegant new songs inspired by a wide range of subjects, including his early days in Deptford with Dire Straits, a stray football fan lost in a strange town, and the compulsion of a musician hitching home through the snow. Mark has a poet’s eye for telling details that infuse his songs with his unique psychogeography – ‘where the Delta meets the Tyne’ as he describes it – and his warm Geordie vocal tone and his deft, richly melodic guitar playing are as breathtaking and thrilling as ever.
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JP Harris - Sometimes Dogs Bark at Nothing
Sep 08, 2019
JP Harris doesn’t fancy himself a musician as much as a carpenter who writes country songs. With his forthcoming album, Sometimes Dogs Bark at Nothing (out October 5 on Free Dirt Records), Harris is back after a four-year hiatus to remind us what it's like to actually live the stories we hear so often in country music. Born in Montgomery, Alabama, Harris left home at 14 and traveled the country hopping freight trains, working the odd job, and living without electricity or running water for over a decade. For this record, his third full-length, he tapped a handful of his favorite players and called on the production prowess of Morgan Jahnig (Old Crow Medicine Show) to capture the stories of his stranger-than-fiction life. Dripping with pedal steel and telecaster twang, the record has the rugged edges of outlaw, the danceability of honky tonk, and classic country's beloved emotional candor. After more than a decade in the trenches, Harris is more in love with country music than ever. If he hasn't already, his latest effort will make you a believer.
Steve Forbert’s new album ‘Magic Tree,’ recorded in Meridian (his birthplace in Mississippi), Nashville, New York, New Jersey and Virginia, is a collection of his own songs and the music loses nothing in its quality of production despite the country wide recording venues. Throughout the album his folk roots shine clear, as does his song writing ability honed over his forty years in the music industry.
It might be naive to think you can detect authentic music without being familiar with the particular genre. Paul Thorn’s Don’t Let the Devil Ride, is an incredible gospel and gospel-influenced album that sounds like the real deal: From its production, which sounds like it was recorded inside an old hot wooden church stuffed full of sinning parishioners, to the songs, which make the listener feel like they’ve stumbled into perhaps the South’s most exciting church service. It’s all the more amazing given that Thorn isn’t a gospel artist.
The album kills because it’s intense without being noodle-y. Every song sounds like great musicians trying–somewhat unsuccessfully–to hide just how talented they are. As is often the case with gospel, much of this comes from the organ, which propels many of the songs here. The album kicks off with “Come On Let’s Go,” which is propelled by that organ, as mentioned earlier. An infectious hand-clap keeps the beat, with horns popping in and out of gospel-tinged background vocals. The song builds to a manic climax before collapsing into a swirl of organ. Truthfully, if Thorn had ended the album on that first song, everyone would have felt like they got their money’s worth.
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Sugarcane Jane - Southern State of Mind
Sep 08, 2019
Sugarcane Jane, the Alabama Gulf Coast-based husband and wife duo of Anthony Crawford and Savana Lee have recorded Southern State Of Mind with producer Buzz Cason. The recording starts off with a rousing "Cabin On The Hill", already a favorite with Sugarcane Jane fans. It is followed by "Campfire", the first single. The thought-provoking, fresh and exciting "Man Of Fewest Words" precedes the title track, "Southern State Of Mind", the tale of the joys of Southern living. "Destiny", a raw rocker, is foreshadowed by the inspirational "Rainbow". "Red Flags Warning", a true gem from the pen of Anthony Crawford is cut #7. Savana Lee is featured beautifully on "The One Before Me". "How Do You Know" and "We Can Dream" wrap up this eclectic collection of songs from the duo.
Brooklyn based but with a somewhat nomadic background, Ana Egge is one of those songwriters who seem to hover around the edge of the mainstream. She gets great reviews but she’s certainly not a household name even in the most dedicated of Americana infested households. Her album with The Stray Birds, ‘Bright Shadow’, did cause a bit of a buzz, perhaps down to that trio’s reputation but we can safely say here that ‘White Tiger’ is a much more multi faceted affair than the folky infused ‘Bright Shadow’, bursting as it is with imaginative arrangements adorned with horns and synths.
Tas Cru’s bio begins like this, “Raucous, rowdy, gentle, sweet, eccentric, quirky, and outright irreverent are all words that fittingly describe Tas Cru’s songs and testify to his reputation as a one of the most unique of bluesmen plying his trade today. ”
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Dave Alvin & Jimmie Dale Gilmore - Downey To Lubbock
Sep 08, 2019
DOWNEY TO LUBBOCK was born by immaculate inspiration from live shows Grammy winner Dave Alvin and Grammy nominee Jimmie Dale Gilmore performed together in 2017. Just the two of them were swapping songs and cutting up, each with a guitar and a heart full of soul, musicians who’ve been on the road their entire adult lives. The result is an album of blues, rock and folk inspired tunes that both of their fans will enjoy.
The album contains 12 songs - 10 covers and two originals - and is destined to be a classic Americana album from two Americana legends.
Joyann Parker brings a full range of talent to her performances as an accomplished singer, pianist, songwriter must-hear lead guitarist, currently endorsed by Heritage Guitars in Kalamazoo, MI. She has performed for thousands at major venues and festivals across the country.
For one so young (he was born in 1988), Travis Bowlin has already achieved a hell of a lot. Not only can he play the guitar, he can make them too! At first he made cigar box guitars for his own use but people seeing him use them, created a demand that he now meets through his separate business, Bowlin Box Instruments. Travis was born near Cincinnati and raised in a household full of many genres of music…so he soaked up blues, rock ‘n’ roll, gospel and country. He got his first guitar aged 15 and very soon started to perform around his home and surrounding states. To take his devotion a step further, he moved to Nashville and released his first album in 2014, called See You Again. His influences have a wide range as he cites Led Zeppelin, BB King, Robert Johnson, Prince, Steppenwolf, 3 Dog Night and Albert King amongst others.
He has now released his follow up album called, rather neatly, Secundus, as it means second but can also, apparently, be used to mean ‘lucky’. It contains 12 all original tracks and shows a development from that first outing with its more developed, blues-oriented feeling and manages to cover virtually every emotion a human being can experience. There are many more flavours to be discerned and I can hear jazz and soul in the mix and I even picked up a hint of progginess in a Yes kind of way.
In the past several years, Sideline has jumped from being a literal side project for some bluegrass A-listers to a fully-fledged band working its way to the top of the bluegrass world. With a few of those original “sidemen” on board, as well as the addition of several younger faces, Sideline has continued to up their game with the release of their new Mountain Home album, Front and Center.
Opening track Thunder Dan has captivated radio audiences with its catchy chorus and bluesy, mash-style grass. Penned by Josh Manning, it’s a take on the familiar “mountain man” story, featuring a title character with an itchy trigger finger and strong vocals from Troy Boone. The song hit number one last month and was back at the top spot on the Bluegrass Today chart this past week. Lysander Hayes is another rough character, keeping his mama up worrying and praying while he picks and drinks and runs around. Skip Cherryholmes pulls out the clawhammer banjo for this song, which along with Nathan Aldridge’s fiddle, makes for a nice old-time-with-drive vibe.
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