Album Review: Jason Daniels Band - Downloads from the Universe

www.jasondanielsmusic.com

The cover of this album hints at some groovy content and it barely takes one track for a funky beat to hit your ears and get the feet tapping and hips swinging. Jason Daniels has gravitated from his California home to settle in the Deep South and felt the pull of a southern soulful sound to imprint an impulsive feel into his curiously titled second album DOWNLOADS FROM THE UNIVERSE. Across ten tracks and armed with a settled and loyal band of players embedded into the music enough to warrant a place in the headline act, Daniels aims high to combine rock, soul and blues into a package capable of snaring many a casual beat observer. 

Horns and organ mingle with harmonica and rhythm guitar no more profoundly than the instrumental track '39202' anchored right at the midpoint of this thirty-seven minute recording. Just prior to this piece, 'I've Been a Ramblin' makes a strong play for the album's crowning point as Daniels celebrates putting roots down in Jackson, Mississippi following a period of... yes you've got it...ramblin'. 

You do lose yourself in a satisfying way when delving into DOWNLOADS FROM THE UNIVERSE (still unsure of the title's origin, but hey its the vibes that count). Jason Daniels and his band make music that doesn't really warrant naval scrutiny. Just spin it and let your senses or body movements do the rest. This album possesses a sense of feel good vibrancy alongside the quality to find its way into the niche segments of many a music collection. Especially those open to a slice of therapeutic heartwarming Americana with the most infectious of soulful tinges. 

Album Review Saskia - Are You Listening?

www.saskiagm.com

ARE YOU LISTENING? is the first album English singer-songwriter Saskia Griffiths- Moore has put out with a slimmed down recording name, a move in line with securing a two album deal with America's Susanne Marcus Collins Foundation inc. Maybe a link and renewed purpose - who knows? This album is a follow up to last year's BAEZ, DYLAN AND ME release which played its part in helping promote the talents of a resourceful and enterprising artist on the folk and acoustic circuit. Saskia has used the first part of the new deal to re-issue eight tracks from her back catalogue, coupling them with a pair of new compositions and a cover of 'Hallelujah', which while hardly earth shattering retains the song's beauty with a refined vocal touch. 

'Best of You' and 'Come Comfort Me' are the two new songs for those previously acquainted with her work, although one aim of this record is to turn the other eight into new songs for a wider audience. Both these hit the mark in terms of serenity and a graceful sense of cultured panache. 

As indicated, the remainder of the album is lifted from previous recordings under the name Saskia Griffith- Moore. Giving the track 'Are You Listening?' the dual responsibility of opening and naming the album pays off by placing the best of Saskia up front for all comers to see straight from the off. Of course this runs the risk of peaking too soon, but a smooth and consistent song range ensures dips do not materialise. The opposite to dips are little moments that raise the bar and 'Write Me a Song' is one such occasion in the heart of the record, although different ears could make equally compelling cases for numerous others. 

A sparse and sensitive production angle ensures the majestic side of Saskia's controlled song delivery gets a clear run. Regardless to whether these songs adapt a renewed stance in their re-issue, and judgement here is the sole domain of the pre-acquainted, they prosper and flourish to fresh ears 

Slimming down the recording name has worked wonders for Yola, so if Saskia achieves only a fraction of her success and recognition it will be a smart move. Ultimately it is the strength of the songs and quality of performance that will judge an artist's merit and Saskia is well equipped in these fields to continue her ascent. Soft acoustic vibes succinctly aligned with a vocal prowess of cut glass eminence go a long way to define this album. ARE YOU LISTENING? is best savoured in life's quieter moments with an underlying soothing presence perfectly earmarked for fans of folk and acoustic music. 

Album Review: The Wilderness Yet - The Wilderness Yet

www.wildernessyet.com

Nature and folklore are the immediate connotations from the album cover of the eponymous debut release from folk trio The Wilderness Yet. A deduction that unravels to be fairly accurate as you drift through a near hour collaboration of intent at the highest calibre. A highly talented trio of Rosie Hodgson, Rowan Piggott and Philippe Barnes have put solo projects on one side to focus on this pot pourri of original, traditional and adaptive songs and tunes. Geographical influence comes from England, Ireland and Sweden as we are taken on a fascinating trail of musical exploration with a purpose.

This 12-track album (extending to 13 when the format moves from digital to physical with the addition of a concluding Irish piece) will thrill the core folk fraternity with its acutely crafted blueprint feel and no doubt derive some interpretive comparisons from the aficionado clique. For outsiders it comes across as an educative treat with so many factions drawing together to load, aim and fire an environmental arrow into the heart of an urban-centric world.

There is the usual array of original songs headed by album opener 'Beauties of Autumn', traditional tales such as 'A Bruton Farmer' (also doubling up as the essential murder ballad) and tune medleys on the two occasions Piggott and Barnes interchange the delights of their chosen instruments of fiddle and flute respectively. For further information on all the tracks there is an excellent link to the band's website where you will get suitably furnished with the finer details.

The vocal landscape is predominately owned by the classical tones of Hodgson who skilfully manoeuvres her pitch in line with the mood of each song, without doubt  meeting full approval from a purist perspective. The themes of the record aim to reverse the trend of an increasingly neglected natural world and when such aims are presented in an elegant and graceful manner, then reception of the message is a more palatable experience. 

The Wilderness Yet (the band and the record) hits the mark of 'A' grade folk and its dutiful nod to tradition and scope re-enforces the notion of music as both respectful and reactionary. A body of work defined by its beauty.

The album is available on Bandcamp, which is ideal for digital consumption and physical purchase. A platform fast becoming a preferred route for artist engagement especially in this age of enforced remote distancing. 

Album Review: Tawny Ellis - Love Life

www.tawnyellis.com

Tawny Ellis comes across as a pop-rock vocalist that breathes an air of familiarity, although it has to be hastily said in a good way rather than one of lazy replication. You get the added feeling of hearing this album before as it heads down a well-trodden path of accomplished middle of the road adult contemporary songs. Yet despite these formulaic traits, there is always room for albums of this ilk at any prescribed interval. In the summer of 2020, there is every chance that LOVE LIFE can be that go-to spin providing an element of familiar comfort when solace in music is sought. 

The vocals of Ellis will match the expectation of those who feast on bouts of near perfection and prefer a natural tinge that has no need to hide any degree of imperfection. Her talents extend to a prominent hand in the origin and construction of most of the ten songs on the album, a notable exception being a cover of Steely Dan's 'Dirty Work' acting as the album closer. She is also an operator of considerable experience with five full length albums in the locker alongside a couple of shorter releases. A little research indicates a greater tip to her southern roots in previous recordings. However, this one firmly hangs its hat in the annuls of classic California with all the association of that famed suburb in the canyons that cornered the art of songwriting many years ago.

There is an even sided feel to LOVE LIFE that will likely lead to any preferred track taking its time to raise above the parapet. View this as a high level consistency where you don't tire of the exploration, or just a simple listening experience if you desire a relaxed approach to this record. At a stretch the most profound mark is left in the penultimate track where 'Daddy' moves off script to divert proceedings down a more poignant route and into the arms of a tough reminiscing piano ballad. 

Tawny Ellis has moved the dial of her career along a little further,  unveiling a sophisticated release exploring the deep channels of mature song writing and delivery. Ultimately, LOVE LIFE is an album engaging with excellence at each turn.

Album Relview: Lee Gallagher and the Hallelujah - L.A. Yesterday

www.leegallaghermusic.com

Long hair, sunlit background and a title of L.A.YESTERDAY gives you a huge hint of what to expect before your eyes leave the cover of this album and pass the baton of discovery onto your ears. Further tips roll out with track names such as 'Highway 10', 'Lullaby for the Acid Queen' and 'California Divide' coupled with the added background information that Lee Gallagher headed west to fulfil his rock 'n' roll dream. He subsequently made San Francisco his home and ventured south to its west coast rival to record his second album, which of course lent part of the title. If at this point you are expecting a nod to a throwback era where sounds from the twin West Coast metropolises twisted the axis of rock 'n' roll on its head, a treat lies ahead. 

Lee Gallagher and his band known as the Hallelujah have used the template of this ten-track album to update a brand of rock trailed by pioneering artists of the late 60s and early to mid 70s. By fusing singer-songwriter sentiment with a rock style lounging between laid back road driven country and conventional hard edged guitar riffs, an evocative aura consumes the listener in rapturous portions. Gallagher uses every  angle of his archetypal rock pitched vocals to conform to the blueprint of updating the past thus narrowing a half century gap between iconic 1970 and reflective 2020. 

L.A. YESTERDAY rocks enough to keep guitar junkies happy while never losing sight that maturely constructed songs will lure in the wider Americana community who like the hardened state alongside a flexibility to mix sensitive balladry with strategic electric outbursts. Gallagher opens and closes proceedings in a sense of refined enterprise with 'Highway 10' and 'Rollin' Out' to keep things in check. Elsewhere the heat fires up most in the closing parts of 'Astral Plane Blues' and similarly in the following track 'California Divide'. 

If you risk attracting a throwback perception, the key is to keep the sound fresh. Lee Gallagher shrouds his music in a coat of cultivated sophistication to guide the listener on a parade of renewal rather than classic West Coast regurgitation. L.A.YESTERDAY has one foot loosely planted in the past and the other firmly planted in the present. 

This blog endorses Bandcamp especially for overseas folks to download music where the physical acquisition can become a costly and often impractical purchase. $7 plus a currency conversion and likely tax is a snip for such a fine album.

Album Review: Ted Russell Kamp - Down in the Den

www.tedrussellkamp.com

Ted Russell Kamp is one of those artists that you have known about for years without ever fully exploring in finer detail. Although, without doubt one always on the lookout to enlist new fans. Even twelve albums into a career carving out many accolades in several guises, Kamp never loses sight that fresh horizons are there to be sought and DOWN IN THE DEN is the perfect accompaniment to expand them. Like so many artists operating in the Wild West of unrestrained Americana, Kamp refuses to anchor into a single camp preferring to drift around a landscape gathering influences like an eager treasure hunter. 

The first word of warning is that DOWN IN THE DEN is no half hearted effort. Weighing in at just two minutes short of the hour mark, it certainly falls into the heavyweight category. The perfect stopping point on this lengthy journey is the pivotal track 'Rainy Day Valentine', holding court in the #7 slot on the CD or download, which doubles up as the closing track on side 1 of the vinyl release. Out of the half a dozen numbers preceding this central piece, 'Waste a Little Time' rises to the top, but like so many pretenders it is inundated with numerous other tracks sparring for your endorsement. 

Bass guitar is the speciality of Ted Russell Kamp's selling point to the music recording community, but on this record a plethora of other instruments are employed by our protagonist to demonstrate one multi-talented extraordinaire. Trumpet plays an effective role in numerous parts to add a soulful twist to an eclectic mix, but still within the scope of nailing a strong contemporary roots rock remit.

Not only does the self-produced DOWN IN THE DEN encapsulate a whole host of different sounds, there are collaborations with numerous other artists. Kamp is known for his work with Shooter Jennings, who coincidentally appears on the album's lead off track - 'Home Sweet Hollywood'. Another name known around these parts is Sarah Gayle Meech, a guest on 'Word for Word'. This and a range of other tracks in the second half have to ultimately bow down to the steel-driven country stomper 'My Turn to Cry' on the podium of the album's elevated moments. To align with the aforementioned pivotal track, Kamp chooses to end the album in similar measured climactic proportions with the tender duet 'Take My Song With You'. 

DOWN IN THE DEN is music out of LA, growing its roots in Memphis until finding its soul in New Orleans. On the other hand it could quite conceivably be anywhere on the vast highway of American music. From a status of north by birth, west by residence and south by soul, Ted Russell Kamp is a fine purveyor of a quintessential Americana sound and a worthy exponent of a style embedded deep into a nation's soil.

Album Review: Fred's House - Walls and Ceilings

www.fredshousemusic.co.uk

Cambridge-based band Fred's House are back with a seemingly intentional every other year release in the form of a four track EP titled WALLS AND CEILINGS. The band have undergone a line up re-shuffle since their last record in 2018, although the most prominent member Vikki Gavin is still heading the operation on all fronts including the all-important vocals. The result is a most appealing quartet of songs headed by the soulful lead off title piece proving a match for anything that goes under the banner of infectious traditional pop music in 2020. The new songs take their cue from reflective moments of creative inspiration, with the title number being one of likely many pieces evolving out of the current lockdown. Other themes flitter around subjects such as the personal circumstances that led to the evolution of Fred's House, especially the delightfully delivered ballad 'Only the Sun' bringing this fine collection to a close. These themes give the song content a deep substance, even if they come across in a more intended brighter light. Sometimes EPs are the precursor for a longer release and if this is the case for Fred's House, the future will be in sync with the fresh bright sound. 

Album Review: Anthony Garcia - Acres of Diamonds

There may have only been a handful of players on this album, but the inspirational and innovative  drive by Anthony Garcia to grow an epic from small acorns has reaped dividends. From a Texas base and a well travelled background, Garcia delved deep into his back catalogue to deliver a record rich in film score sentiment and one meticulously put together to take an enthralled listener on an imaginatively fuelled journey. Classical influences and poetic rock are entwined creating an element of cinematic Americana, where the nuances of intrinsic sound and poignant song melt into a bubbling pot. ACRES OF DIAMONDS will freely lead any open minded music listener on an expansive journey and heap huge rewards on the experience. 

From prominent violin in the scene setting opener ‘Santa Rosa’ through to the sedate title track in the closing position, an undulating pace fills the airwaves mixing heavy guitars, dream-laden sequences and even an infectious dose of early 80s electronica. ‘My Hands are My Eyes’ is the track housing the latter sound and is definitely up there with the most memorable pieces on the record. 

What keeps a listener engrossed in the forty-minute canvas Garcia has afforded his musical art is the state of perpetual motion and rarely standing still in a solitary groove. The seven minute epic status of ‘Apparitions’ sees the velocity ramped up the most with some big style rocking out, in contrast to the calmer waters and temperate undertones of ‘The Wind’ and ‘Jane’. A rock ballad dressing covers ‘For Your Love’, while the galloping beat to ‘Fire Song’ literally ignites the album into life after the aforementioned scene setter. 

Every scenic journey needs an intriguing stopping off point and where better on this record than its cornerstone track ‘Haunted Hotels’ complete with a concoction of sound evoking the mystery of the title including sending shivers down the spine with the repeated line ‘to pianos playing themselves in haunted hotels’. 

ACRES OF DIAMONDS is a wonderful album to hook up with and occupies an exclusive space where the unique intricacies lead rather than follow a formulaic path. If one aim of making this record was to expand a listener horizon, Anthony Garcia already has one notch on the board, Expect many more to follow when this album seeps into the inner listening sanctum of the acute ear. 

www.anthonygarciamusic.com

The Band is Back Together

Six months ago this blog had run its race, reached its destination and drifted towards the blogger salvage yard. But as we all know six months can feel a lifetime especially as we navigate turbulent and unprecedented waters. So in the spirit of the classic music reunion: the band is back together - well a band of one and a raft of musical content to share. 

So Three Chords and the Truth UK is taken off the life support machine and stumbles back into some remnants of existence. In the same light as the uncertainty of the new normal, there is absolutely no idea how this is going to pan out other than copying 75 posts from a separate venture highlighting what has been listened to in the last six months. 

The other blog venture of 2020 was the ill fated project to document the whole year's live music, sport and theatre. If only somebody had whispered in the ear at the turn of the year, don't bother with that as a pandemic is going to absolutely stuff you. 

As an album review has not been written for eight months, will the horse be mounted to carry on the tradition of this blog or will it settle as an outlet for sharing the listening experience. Time will tell with one absolute guarantee that lockdown has rejuvenated the leisure pursuit of savouring both old and new music. Maybe the keyboard will reverberate again to the sound of the album review and also in the dim distant future to that of the gig reflection. 

However, no rush. Plenty of sharing first and getting used to that part of the new normal where the band has got back together.