Two years ago Kip and Dave released Ashes to Dust by far the best folk album of 2016, 13 excellent songs which highlighted the couples skills.
This year they have disappointed us with their new release “Far Off on the Horizon”.
Only 12 gorgeous,luscious,timeless songs. If they spent less time strolling on the beach we could have had 13 or even 14, you can never have to much of a good thing.
Once again we have a variety of songs that people can actually relate to, emigration with “The Ship it Rocked” made even more special with the fiddle of Marion Fleetwood who appears on the title track too and what a title track it is. Poetry as good as Mr Cohen gave us.
“Another night and sleep won’t come;
I’m staring at the ceiling.
Just my thoughts for company
And the sound of my own breathing.
There’s a battle raging in my head,
The saints against the sinners.
Oh restless night, oh restless night,
The ghost of you still lingers.”
Love makes an appearance with the song Grateful for the Rain (Billy Boy), I thought I had put an Avett Brothers track on until Kips voice finally joined in. A track to play again and again.
I Cannot Remain sends out a message about the 21st century that every MP should listen to very carefully, Kips accordion adding just the right touch to the words.
I could go on describing all the songs but why bother you can listen them on TME.FM Radio.
“Far Off on the Horizon” will be our ALBUM of the MONTH for February so you will get plenty of chances to catch the 12 songs.
The reaction of the listeners around the world has been excellent,with almost all at a loss how Winter Wilson are not “famous” are almost unknown “outside the UK” and “Lacking the recognition they fully deserve for the musical skills and songwriting brilliance”.
I would personally like to thank Kip and Dave for sending the album for airplay and reviewing before the 25th January release.
Oh and they are over the moon to be going on tour with the legendary Fairport Convention. They have been invited along as their special guests to play twenty eight shows across England between January 25th and February 25th 2018.
We have been playing Chase the Sun for a couple of months and it has been brought to our attention that we have not posted anything about the band, so here goes.
With Appalachian-inspired harmonies, masterful songwriting, and a sweet old-time sound, The Early Mays burst on to the scene with a #2 debut on the National Folk-DJ Charts in 2014. Watertight three part vocals won these women a loyal following in Pennsylvania and West Virginia, and their growth as a band has carried them to the national arena with a 1st place win at the Appalachian String Band Music Festival in 2016 and a feature performance on NPR’s Mountain Stage in 2017. On their latest release, signature harmonies are central, but The Early Mays have upped their game with first-rate instrumental arrangements grounded in old-time styles. Chase the Sun is a fine collaboration on all fronts with songs that range from traditional to modern in style, and from contemplative to barn raising in spirit.
On “Chase the Sun,” Emily Pinkerton, Ellen Gozion and Rachel Eddy showcase their song and tune-writing talents, as well as the debt they owe to North American musicians who have inspired them. In the title track, Emily paints a picture of a dry, cracked earth where two people slowly begin to emerge from destructive patterns. Sinuous harmonic progressions, edgy fiddle and clusters of vocal harmonies bring the harsh dreamscape of the lyrics to life. Little Pink, a beloved old-time song collected by Gerry Milnes, becomes a fiddle tune in the hands of the Mays, built around sweet vocals and stellar banjo by Ellen. Though simple in form, the lyrical and rhythmic detail of the song will have you listening over and over. Mannington #9 tells the story of one of the worst coal mining disasters in West Virginia history that took place outside of Morgantown where Rachel grew up. It is a such an important part of her repertoire, that when she asked songwriter Keith McManus for permission to record it, he said there was no need to ask because “it was already hers.” The recording features Rachel’s powerful clawhammer style, droning harmonium (a pump organ used in Indian classical music) and solid, stacked vocal harmonies from the group.
The Mays have felt a burning need to share the new sound of the group since Rachel came on board in early 2016. Her strong voice and rock-solid instrumental chops have fused so well with Emily and Ellen’s songwriting and long-time love of traditional music. For Chase the Sun they returned to Broadcast Lane Studios in Pittsburgh to work with Lurch Rudyk (Sarah Harmer, Kathleen Edwards) and send their songs through his vintage analog gear they’ve come to love.
In The Early Mays, you won’t find a lead singer. You’ll find a trio that enjoys lifting up each member’s work, putting the best of themselves into every song. You won’t find harmonies that fall into a clear category—like old-time or bluegrass—but you’ll find yourself transported as you listen. There is an unsurpassed magic that springs from entwined and entrancing vocal harmonies. The Early Mays love the camaraderie of the studio, the road, and rehearsals, and you can feel the gratitude radiate from whatever stage they are on.
For the next four weeks we are proud to have Blues star VAL STARR as our SPOTLIGHT ARTIST. So you will be hearing lots of great blues during all the shows not just the blues show.
We must not forget the BLUES ROCKET’S they help the starr shine so brightly.
So tune in to catch the songs and you will find out that VAL STARR & the BLUES ROCKET have real starr talent and it shows. Hear why Val and the band are no pretenders to chart success they have been there and done that and they will continue to do so.
About Val Starr & the Blues Rocket
I Always Turn The Blues On, Val Starr & The Blues Rocket’s fourth all original blues CD, hit the streets on August 1st, 2017. The songs are written from the heart, and tell tales about love and loss, breaking free of bad relationships, and learning to live with the good ones. “Whether Blues” is a blues cry for people to come together and just get along. “What Happens After Midnight (Nothin Good)” is an blues anthem that every parent should relay to their teenagers!
Her ultra talented band is comprised of Sacramento blues professionals, John Ellis on bass, Frankie Soul on lead guitar, and Paul Farman on drums. I Always Turn The Blues On also features several top Sacramento based side musicians including Todd Morgan of Todd Morgan & The Emblems on keys, Daniel Castro and Steve Wall on lead guitar, Guyle Taber on drums and Tim Barron on harmonica.
Sorry but male full frontal’s not allowed on this website.
The band’s prior release, Woman on a Mission received solid radio support, holding the #1 spot on the Airplay Direct Global Radio Blues Charts for 5 straight weeks in March, 2016. The band also debuted on the Roots Music Reportblues charts at #39. Their radio success can be attributed to their talent, hard work and music business background.
For the past 4 years, John and Val have been actively bringing blues acts to Sacramento by way of their own summer concert series, Blues On The Patio. BOTP, along with other blues festivals such as the Blues & Bones Festival, Vacaville Blues Festival, El Dorado Hills Art & Wine Festival, Folsom Rhythm & Brews and Orangevale Pow-Wow-Days, have provided the Blues Rocket with the opportunity to share the stage with top blues artists such as Tommy Castro, Coco Montoya, Rick Estrin, Chris Cain, E.G. Kight, Dennis Jones, Laurie Morvan, E.C. Scott, Albert Cummings and more. The band was also a finalist in the 2012 Sacramento International Blues Competition.
Val Starr has experienced a lifetime of music both as a performer and music industry executive. Raised in southern California, Val started singing and playing guitar at age 12. Her earliest musical influences were female singer/songwriters like Carole King and Joni Mitchell, and bands of the 60’s and 70’s. Her mother also instilled in her a love of musical comedy, which is apparent in the theatrical way she delivers her songs live, her catchy lyrics, and her amusing storytelling.
Val’s music business career began in the late 70’s working for record labels, ABC, Chrysalis and Polygram as an executive assistant. In the early 80’s her focus shifted to radio promotion and from then on into the late 90’s, Val had a successful career as an independent radio promoter. Val worked in the music industry by day, and at night, played the L.A. club scene, in original rock bands “Local Authority” and “Threshold.”
In 1983, Val married bassist, John Ellis, who remains the cornerstone of her band to this day. At the end of the eighties, the family, which now included son James (and later son Sean), relocated to the Bay area. For the next twenty years John and Val continued to write, record and perform with local bands in San Francisco.
At the start of the new millennium, streaming audio caught her eye. She had witnessed firsthand as an indie radio promoter, how hard it was to get records added to the limited airplay slots available at terrestrial radio. As a result, she started one of the first streaming audio networks, Allradio.com, and went on to launch Choiceradio.com and Gotradio.com. GotRadiocontinues to be a popular global radio network and along with its 38 custom channels, features a 24/7 blues station called Bit O Blues.
Now I know where all the TME.FM listeners go.
In 2003, Val and her family moved to Sacramento and continued playing in local cover bands. Around and about 2010, tired of the cover band/ club scene, Val and John started showing up at local blues jams in the area, out of which she found the talent to form her first blues band. “I found the blues and with it I discovered my voice. I had been singing covers for so long, imitating other singers, I forgot what my own voice sounded like. I may not have the ‘typical female blues whiskey voice’, but I know that I was always meant to sing and play the blues.” – Val Starr
Val Starr & The Blues Rocket released their first CD, “Cool Ride,” in 2012 to favorable reviews. “Blues Away,” their second CD which came out in 2014, was well received at blues radio and went to #4 on the Airplay Direct Global Blues chart. In addition, Val had a #1 Airplay Direct holiday hit with “Spending Christmas With The Blues,” in December of 2015
Val Starr is an extraordinary singer and songwriter who writes songs gleaned from everyday life, love, friends, and family. In 2016 Woman On A Mission was submitted for nomination to the 2016 Grammys, and I Always turn The Blues On will be submitted for consideration for the 2017 Grammy Award.
From programming an online international 24/7 blues radio station, to promoting her own blues concerts in Sacramento, to recording and performing with her band, Val Starr is truly a woman that can say “I Always Turn the Blues On.”
OK so we are behind the times here at tme but we don’t care especially when we receive a track to play on the radio with the quality of Burn It Down by Dylan Wickens & The Grand Naturals.
After only one play on the new Monday TME Has the Blues show, ( 4am to 8am DJ time) it was an easy decision to put the track on a regular schedule ( it woke the DJ up after only a few beats). I have to disagree with the Bio below though, it didn’t grab the ears it gave them a good slapping.
So what’s next? get the album of course!
Oh and if you missed the first play then go to Dylans site and give it a listen. You will also notice that our cut and paste machine has been working overtime.
True to the spirit of power trios of the sixties, Dylan Wickens & The Grand Naturals immediately grab the listener by the ears with their unapologetic take on the blues, by choosing to colour outside the lines with fuzzed up guitars and bass and melodic, hook-heavy vocal lines. Raw, real, modern and traditional; it’s that paradox which defines the sound of these three world- class musicians that have come together to record the aptly titled, Hi Lo-Fi.
Their debut recording Tattoo Black was released in 2010 to critical acclaim and extensive airplay on commercial and campus radio, CBC, Stingray and specialty blues programs, quickly establishing themselves as one of the most original and exciting bands in the genre.
Wickens’ guitar work transitions between visceral stinging slide and soulful blues/rock with the combination of the two helping to define the band’s sound as both raw and real but contemplative, while his vocals are gritty and fervent with a “Clapton like growl and urgency” (Blinded By Sound). As a songwriter, Wickens composes well crafted and meaningful songs that often have a melodic twist at the end – a nod to the freestyle playing of 60s power trios.
2018 is here and hopefully it will provide as many great albums as ’17.
Here at TME.FM Radio we have made a few changes to the schedule so we can get more Blues played and Dick will not be playing his favorites any more!
TOM……….Plays a lot of Americana.
DICK………Has the Blues.
HARRY…..Is out in the Country
MATT…….Looks at the Charts
LUKE……..Has gone back to the Roots
JOHN…….As always has something New
2018’s New Country, Americana, Alt-Country, Bluegrass and Folk Albums
Jan. 12: Anderson East, Encore Jan. 12: Walker McGuire, Walker McGuire EP Jan. 19: First Aid Kid, Ruins Jan. 19: Devin Dawson, Dark Horse Jan. 19: Lanco, Hallelujah Nights Jan. 19: Caitlyn Smith, Starfire Jan. 26: Calexico, The Thread That Keeps Us Jan. 26: Steep Canyon Rangers, Out in the Open
Feb. 2: Mike and the Moonpies, Steak Night at the Prairie Rose Feb. 2: John Oates, Arkansas Feb. 2: Montgomery Gentry, Here’s to You Feb. 2: The Wood Brothers, One Drop of Truth Feb. 9: Wade Bowen, Solid Ground Feb. 16: Brandi Carlile, By the Way, I Forgive You Feb. 16: Marlon Williams, Make Way for Love Feb. 16: I’m With Her, See You Around Feb. 16: Courtney Patton, What It’s Like to Fly Alone
Throughout musical history, those of a tender age have often shown a prolific prowess that outpaces their level of growth and maturity. The examples are evident — Michael Jackson, Sarah Jarosz, Stevie Wonder and Sara & Sean Watkins are among the more obvious examples of musicians who made their mark early on, at an age where many of us are just learning how to tie our shoelaces.
East Tennessee’s Eli Fox is the latest artist to show that remarkable proficiency; at age 18, he’s setting his sites on college and, equally importantly, boasting his full length musical debut, the ironically dubbed Tall Tales. The follow up to an initial EP that came out last year, it finds Fox taking his cue from traditional Americana…
…and, most strikingly, the wit and rapport of early Bob Dylan. That’s particularly true of a song like “Hillbilly” where he states his case and shares his rural roots. The easy amble of “Fine Toothed Comb,“ the aw-shucks sentiment of “Tell Me Why” and the rapid fire delivery that accompanies “What Can I Do” more than affirm his down home demeanor, a dry yet demonstrative sound underscored by his rural regimen and an unassuming singing style that sounds as if it just rolled out of the far hills of Appalachia. He shares an obvious admiration for Woody Guthrie, but his instrumental ability — he plays guitar, banjo, fiddle, piano and harmonica with equal ease — only enhances his reverence for the roots. Indeed, really has a rookie been so quick to establish his credence and creativity.
Former BBC 2 Folk Singer of the Year Chris Wood is something of a national treasure in folk music circles. An inveterate collaborator, he has appeared alongside Martin Carthy, Oysterband, French fiddler Jean-Francois Vrod and, most notably, melodeon maestro Andy Cutting. He is often seen as a champion of traditional forms of music and dance, but in recent years his own songwriting has come to the fore on a series of excellent albums including Handmade Life, None the Wiser and now So Much to Defend.
Wood’s approach is that of the impassioned troubadour, and his success comes from the way he meshes the personal with the political in a way that is subtle but often astonishing. Like all the best protest singers he humanises his subjects’…
…suffering and joy for maximum emotional impact. The title track, which opens the album, is a case in point. It is a lengthy series of character studies, captured with warmth, wit and a poet’s eye for detail. It is so wide-ranging that the song itself acts almost like a city through which a listener can travel, meeting a huge variety of people along the way. The one thing that links the narratives of these disparate characters is hope in adversity.
This track also marks possibly the first time that Ebbsfleet United Football Club has been mentioned in popular song. This may seem like a slightly obscure choice for a football team, but it is an interesting one – the man in the song is ‘Ebbsfleet till he dies,’ which is a telling turn of phrase given that the football club in question is barely a decade old, and Ebbsfleet as a place does not even exist. It’s an insightful observation on Wood’s part, a way of using apparently mundane detail to track change in its subtlest form, and a comment on the transience of apparently immutable institutions.
This Love Won’t Let You Fail tackles adversity of a more personal type: that very specific kind of loss felt by parents when their children leave home. Wood conjures the imagery of loneliness, melancholy and, again, hope. That it never becomes mawkish is testament to the verbal dexterity of its creator, and also to his musical skill: the gentle acoustic guitar that underpins this and many of the album’s other songs is a lesson in restraint, in how to let a song breathe. Gary Walsh’s Hammond organ somehow gives the song an even greater feeling of space.
The world of lower-league football gets the full treatment on Only afy Friendly, which takes clichéd pitchside talk and turns it upside down to create something surprisingly poignant: a song that both transcends and satirises its subject matter. Once again the characterisation is key. Wood’s forte is putting real human beings in real positions and drawing some kind of universal truth out of those positions.
The Flail is altogether more abstract, but no less impressive: a reminder that history is always constructed from a distance, and not always fair. 1887 continues the historical theme. It is an adaptation of AE Housman’s poem, set to music by Martin Butler, who also provides the piano accompaniment. Its examination of the ambivalence of patriotism makes it a natural choice for Wood, whose own lyrics often knowingly tread the line between localism and internationalism, irony and sincerity, with similar opacity.
“I had a dream that we were doing hard drugs in a street alley” is a hell of a line to kick off a song, and seems emblematic of your typical rock and roll band. But SUSTO are far from the typical. The Charleston five-piece covers vast sonic ground on their new album & I’m Fine Today, swaying between country-tinged rock (“Cosmic Cowboy”), contemplative pop ballads (“Mountain Top”), and any number of other genres that exist somewhere within the expansive fabric of Southern music. But lead single “Hard Drugs” is perhaps most typical of their nakedly honest, narrative approach to songwriting, covering themes of heartbreak and loneliness with an added dose of creative flair.
“& I’m Fine Today is our most earnest effort to create unique emotional soundscapes…
…while speaking candidly and openly about the realities of existence,” the band tells Consequence of Sound. “We are a group of people, touring musicians, who feel privileged to do what we do and we have given all of our energy to create an album that captures both the pain and beauty of being human.”
It can seem like a pretty hopeless world out there sometimes, but this is the kind of music that just hits in the right way on those long, dark nights of the soul. Hell, it might even make you laugh when you’re done moppin’ up those tears.
…The single “Hard Drugs” is a Gram Parsons flavored number that is as painfully self-conscious as it is tongue-in-cheek wry. A song about the negative side of drugs hasn’t been done this well since “Sister Morphine.” “I’m just glad that I found you, sorry that I couldn’t keep you around” is a beautifully bittersweet line.
“Far Out Feeling” features soulful strings and backing vocals that harken to Philadelphia circa 1974, like an outtake from Young Americans. “Gay in the South” eschews subtlety for a hard-hitting take on a world that still can’t readily accept differences. “Tell the truth unless you think you should lie,” is a rather straightforward, non-judgmental, albeit resigned piece of advice for those struggling with self-identity issues. Hard to believe in today’s atmosphere that my fellow Yanks could’ve been so naïve as to think that the battle for civil rights was over, but we’re nothing if not a nation content with simple answers to complex problems.
“Mystery Man” has a feel like the Golden Age of laid-back SoCal music that would flourish into the adult contemporary genre. That’s not meant as an insult. Despite the stereotyped image of cheesy, overproduced, oft-misogynistic love songs by acts like The Eagles or post-Peter-Green era Fleetwood Mac, there were also a lot of really good songs made under that nauseating umbrella term.
On the uptempo “Waves,” Osbornes sings about “smoking weed with God,” a line that points at both the spiritual and hippie vibe that runs throughout this navel-gazing effort. & I’m Fine Today is not only a wink-wink cynical line but also a spot-on summary of the mood of this album.
My favorite term to use when I’m talking about Chris Jones & the Night Drivers is “classy-grass.” The group’s music is smooth and tasteful, featuring some of the best, most thoughtful songwriting of almost any current bluegrass group. You’re not likely to hear them mash in B, but the contemplative melodies and lyrics they do offer tend to linger in your mind long after the show or album has ended. Their newest release for Mountain Home Music Company, Made to Move, is the latest in a long string of solid albums for the band and has already spawned a number one song with lead single, I’m a Wanderer.
Like usual, the album is heavy on original music, with all but two tracks written or co-written by a member of the band. Jones and bass player Jon Weisberger are both extremely talented songwriters, and they contribute some heavy-hitters here. One of my favorites is the bluesy All the Ways I’m Gone, a jaunty warning to a woman who hasn’t been doing right by the singer. If she doesn’t change her ways, then “late each night when you toss and turn, then you can count all the ways I’m gone.” Range Road 53 is an up-tempo “going home” number, with the racing melody mimicking the singer’s drive across the prairie to the home of his youth. Gina Clowes, the most recent addition to the band, sets the track’s pace nicely with her banjo playing.
Fiddle from guest Megan Lynch Chowning adds to the lonesome vibe on Silent Goodbye, a poignant tale about a woman whose actions have always spoken louder than her words, especially once she decided on goodbye. Living Without, a solo contribution from Jones, tackles life after heartbreak; guest Jeremy Garrett’s sunny fiddle gives the number an optimistic feel. Even more positive, and also from Jones’s pen, is Raindrops Fell, a gentle, country-tinged song about falling in love. Careful listeners will enjoy the clever wordplay in the chorus.
Other highlights on the album include a pair of songs from Weisberger, Thomm Jutz, and Charley Stefl. The aforementioned I’m a Wanderer is an excellent slice of contemporary bluegrass; Mark Stoffel’s mandolin and Garrett’s fiddle intertwine to create a compelling melody, and Jones offers a strong guitar line, as well. The Old Bell is an intriguing take on the Civil War home front, sharing the story of a town’s sacrifice of their church bell: “To an army starved for weaponry, she might provide some hope.” The lyrics are vivid and crystal clear, and Jones’s reading of the song is reverential and mournful at the same time.
ans of good instrumental music will be pleased to know there are two such offerings here, Clowes’ Last Frost and Stoffel’s What the Heck?!. The former is crisp and bright, allowing Clowes and Stoffel to play off of each other for most of the song. While there are hints of more progressive bluegrass in the melody, there also seems to be a touch of old time or even Celtic music. The latter is an energetic romp, leaning more toward the traditional side of things, with some finger acrobatics from Stoffel.
Made to Move is a thoroughly enjoyable album, with a nice mixture of tempos and subjects. Though many of the songs here deal with popular bluegrass themes like lost love, rambling, and going home, they’re not clear-cut imitations of classics and standards. Chris Jones & the Night Drivers offer music that is new and fresh, and for that I’m always glad.