Album Review: Emily Frembgen - It's Me or the Dog

 

www.emilyfrembgen.com

The term 'anti folk' has caught the eye a couple of times recently leading to a little delve into its origins which apparently surfaced in New York extending overseas to enclaves such as London and Brighton. One new name accruing the tag is Emily Frembgen, and from a vast pool of stateside music falling at my feet the task was undertaken to find out a little more about her. Just to the put the genre term to bed, the negative association with the world 'anti' is not felt on the latest record and the curiously titled IT'S ME OR THE DOG has moved the dial along for this artist, if perhaps not so the genre.

The back catalogue of Emily Frembgen is attracted to odd years as short albums hit the shelves in '13, '15, and '17. 2019 is the exception with nothing while 2021 sees the trend re-continue with a nine-track effort to provide a more comprehensive assessment of where her music sits. First of all there is a conventional feel to the songs to fall in line with vast swathes of work simply captured in the singer-songwriter empire which especially extends to contemporary folk in the US. There is an obvious raw state of the songs starting life on the bog standard acoustic guitar before the studio takes over to paint the multi layers that give the fully produced recorded versions an extra sheen. This aspect works well alongside a vocal input that carries the required emotion to draw you into the content. 

There is a striking contrast in tone towards the album's latter stages when an eery twang giving a moody slight alternative tinge to 'New Feeling' jolts into an uptempo direction with 'Hometown'. The latter possesses all the attributes of a country rock 'n' roller complete with harmonica and that eternal train beat. To complete the passage through to the end, Frembgen goes full on emotive tender to spin a closer in 'He Held onto Me' that shapes the sentimental focus.

This contrasting theme is evident right at the beginning of the record as well with the mild mannered scene setting opener 'Butterfly' giving way to the rather appealing and more robust 'Changes'. This track has some Kacey Chambers vibes to it and on first hearing headed straight to the top of the standout candidate list. That saying the follow up track courts some love with a blast of harmonica greeting 'Sad Affair', and repeatedly giving the song a shot of folk 'n' blues infused adrenaline. 

From the trio that frequent the album's middle stages, 'Flower Weed' is a delicate number erring more on the former side of the contrasting title with a beautiful undertone. 'Silver Lining' lifts the tempo to demonstrate how the effective band controls the mood of a song, while 'Turn Around' sees more of Frembgen's sensitive side to ultimately nail how this album undulates to a satisfying degree during its half hour tenure.

Anti Folk or not, IT'S ME OR THE DOG signals Emily Frembgem as a wholly positive singer-songwriter capable of recording a batch of significant songs. Astute ears of similar music that flourishes both high up in the industry and down at the roots will relish what has been offered. 

Album Review: Ada Lea - one hand on the steering wheel the other sewing a garden

 

www.adaleamusic.com

Oh, the dreaded trend of making capital letters expendable in album titles strikes again. A trait that extends to each of the eleven tracks that carry the inner thoughts and desires of a Canadien songwriter expressing their whims via the medium of mild electronica mixed with more organic fare. On the other hand who makes these rules and sometimes it's far more productive to ride the tide if the surf is good. Ada Lea has steered from the concise punchy route when naming her second album following a 2019 debut which may or may not have any relevance to her latest release. However viewed through a stand alone lens there is a sonic charm to a collection that peeps out from an indie hole with a magnetic appeal to anybody who likes a slice of alt-folk pop with shades of singer-songwriter sentiment. 

This album with the lengthy title fills a slot in my listening schedule that was occupied by Jess Williamson and Phoebe Bridgers in 2020. The release has had a protracted lead in period populated by a trio of sample tracks that now blend into the body of a record dreamy by nature and chill inducing when left to simmer and prosper. Occasionally the listening experience is jolted by a sudden deviation, but such albums perhaps need re-energisers from time to time. 

The utter delight from this Ada Lea album comes in the shape of 'my love 4 u is real' bestowed with some twangy guitar and a melody that melts the heart. This is almost trumped by the engaging opener 'damn' and the achingly seductive closer 'Hurt', the latter at least in the path it takes from artist to attentive ear. Throughout the wispy light vocals subtly create a comforting tone and the production provides the oxygen for the album to thrive in whatever key or frequency is dialled up. 

The music of Ada Lea sprouts from a generational hold up but grows across a wider spectrum. It reserves its spot in a listening repertoire and challenges likeminded contemporaries to move it over.

 

Album Review: Ana Egge - Between Us

 

www.anaegge.com

The apparent chaos and wreckage depicted on the cover of Ana Egge's new album is symbolic to the way there appears to be a concerted attempt to shake things up in the content offered. If you are in the camp of BETWEEN US being the entry point to the expanding back catalogue of this singer-songwriter then heads may be scratched as to where to place such an innovative and random roaming album. To get the best out of this eleven track release advice is to let it do the leg work and take you to places feeling right at the point of each listen. While on the surface of not being a likely candidate to flourish in the car CD, the mood and tone of Egge's approach to music making pierced the allotted zone to sink deep into the subconscious cavern stored to the brim with sounds that leave their mark. 

From a scattered and strewn base, the assembled pieces slowly build a picture of an artist exploring, curating and boldly blurring convention. All this is done without losing sight of a core aim of wrapping sincere songwriting skills in a sound that echoes with the fading vibes of alt-indie folk pop and one embedded in the left field domain of tentacle-spreading Americana. In essence flimsy genre pinpoints that quickly evaporate from the page once the music takes root.

BETWEEN US is a mesmerising contract bonding the broadminded listener with an artist inspired by creative whim. Ana Egge has constructed a beautiful, thoughtful and exceedingly engaging body of work awash with unlikely hooks and a desire to return to forever seek where it can take you next. 

Album Review: Audrey Spillman - Neon Dream

 

www.audreyspillman.com

Although her own recording career stretches back a lot further, it is only in recent years where the name Audrey Spillman has started to appear on the credits of albums from collaborations like The Orphan Brigade and Buffalo Blood thus opening doors to a whole new listenership. The link lies with her husband Nielsen Hubbard, the go-to producer of so many recent Nashville albums with a left field songwriter folk streak to them. Now is the time for the spotlight to shine brightly on a vibrant songwriter blessed with an equally as compelling voice.

There was no surprise in Spillman staying close to home for the production duties on NEON DREAM, and the marital partnership has extended into the field of album creation with a nine-strong song collection exploring a rich seam of multi-tempo sounds. There is a neat symmetry to the songwriting process with four solo compositions and an equal number of co-written efforts split by a version of 'Summertime'. The latter living proof that even well-worn songs can scrub up fresh when tackled by vocals polishing the shine. 

It is hard to look past the opening track 'Austin Motel' as the premium moment with a haunting backdrop adorning a song inspired by a Hubbard/Spillman road trip. It is also the home to the album title buried tantalisingly in the reflective lyrics. This is the first of the pair teaming up on the writing front.The pick of the other three is the delectably sumptuous 'Never Gonna Give You Up', but 'Beyond the Blue' shimmers like glistening sunlight on a dusty day in its trail closely followed by the floaty 'White River'. Each of these proudly boast the stunning vocal capability of Audrey Spillman as is replicated throughout. 

On the occasions the solo writing path is taken, Spillman especially flourishes on the punchy 'Breakthrough' where the mood reverberates in a sense of intensified experimentation. To me reminiscent of Allison Moorer shifting gears. 'Little Light of Mine' is the deeply personal offering with an effect as tender as the obvious bond between mother and child. 'Go On and Fly' elegantly paints a beautiful parting message on the canvas with a sense of movement. In contrast to the visual splendour of 'Red Balloon' illuminating recollections right at the heart of the album.

NEON DREAM is an album finely spun for those moments of fond contentment. Sitting back it hovers like a satin cloud sprinkling particles of gold dust exposing every dimension of Audrey Spillman's creative arteries. An artist whose transition is complete from the outer reaches to right in splendid focus. 

Gig Review: Jacob and Drinkwater - Kitchen Garden, Kings Heath, Birmingham. Monday 20th September 2021

www.jacobanddrinkwater.com

Artists may rent a festival space but they wholly own the floor when their names are solely above the door. Following a successful early summer slot at nearby Beardy Folk and a more prestigious appearance of even nearer Moseley Folk just a few weeks ago, talented duo Tobias Ben Jacob and Lukas Drinkwater are now ruling the roost on a headline tour in advance of a brand new album. The Kitchen Garden is familiar turf for the pair of them, more so Lukas who trod the floors of the patio set up a a couple of months ago alongside wife Emily Barker.  A quick memory glance realised the stage had been discarded for this show, but the evening was pleasant enough with the aid of the visually impressive heaters to give the patio perhaps a final farewell for shows this year.

Not surprisingly the upcoming new album MORE NOTES FROM THE FIELD flew proudly in the set list for this mid-September show, with the added bonus of a gig-exclusive physical CD gracing the merch table a full month or so before official release date. As we approached the break of this two-set presentation, it appeared that the new songs were going to reign supreme. However the guys kept a few treats up their sleeve to live up to the notion of keeping them waiting for the soaring finale.

The two high spots of the first half came in the shape of the first single lifted from the new album 'The Nameless' and a special song dedicated to those seaside towns afflicted as a casualty of neglect. 'Nowhere on Sea' lodged in the brain for two moments - some stunning acoustic guitar playing from Lukas in a brief moment of dropping the bass and naming a pub The Rod and Line. A lyric that just stuck regardless of whether fiction or fact. 

A raft of newish tracks to feature included the long dormant 'Higher than the Moon', the nostalgic 'For Old Times' Sake' - a recurring theme on the night - and the soon to be released second single 'To Call You Friend'. This heralded the one moment when the joviality was dropped as the duo paid tribute to a passing friend. Outside of this, the jokes and sparring freely flowed as the good vibes from two trusted friends spread among an audience forever attentive and grateful.

It's been a little Lukas Drinkwater heavy so far, so let's turn to Tobias Ben Jacob for balance. On the surface the apparent origin of most of the songs, and a vocalist with a turn of tone to give oomph and clarity to lyrics cleverly created to spin a yarn, fondly reflect or just celebrate the beauty of words. Some of these songs have solo credited recordings as the duo Jacob and Drinkwater are the architect of just one previous studio album, while the pair's activity on the folk scene stretches back a lot further. 'The Devil and Tobias Ben Jacob' was the most profound example of a change in tone, while 'It's still a Beautiful World' patiently waits for that stadium moment. 

As momentum gained towards the finale, we had the 'international dance smash' 'Burning Low' and more Tobias Ben Jacob north western nostalgia in the bus themed 'Girl from the 109'. At this point it was time to unplug and take music to its utter roots. 'Loaded Gun' saw Tobias' vocals soar to new heights and if you want to close a show casually strolling around the Kitchen strumming along to 'Bird on a Wire', then why not, the floor is yours.

Lukas Drinkwater tweeted 'good audience vibes' the morning after. The answer to that is we were only replicating what was on show from two highly engaging and stellar artists in the spotlight. The chemistry is locked in, the bond is secure and the music is supremely crafted-duo-spun-fare that links the folk fraternity with the wide expanses of the singer-songwriter hinterland. Still a few dates before the duo split for different continents, but the album is on the way and a springtime reunion is a strong possibility. BandCamp pre-orders below.

Album Review: Olivia Lane - Heart Change

 

www.olivialane.com

A rare dip here into the world of pop country that admittedly operates in a different stratosphere than in the early years of the new millennium where the sounds of that strand were more to the core of a listening landscape. Through the duration of her eleven-track strong new album, Olivia Lane controls the zone well to deliver a record right on the mark of intent. HEART CHANGE sees this Houston native based in Nashville since 2013 hone her writing skills with a wide bunch of contemporaries to channel personal changes that reflect in the title. Though the vocals serenely permeate the album's air space in all forms, they prosper more in the tempered moments where the band plays a subtler role. 'Woman in the Well' is the best example of this closely followed by closer 'Break' and revealing number 'I Let the Devil In'.

The standout moment from an album that coasts along in an unashamed bout of modernity framing a sound primed for a prescribed market comes early doors in the opening track 'Same Old Story'. The structure and ease to which the song glides from story conveyor to open ears plants a desire to hang in to see if this formula can be replicated. Over a thirty five minute timescale you never lose sight of where the artist wants to take you and you feel every bit of glowing emotion emanating from the penultimate track 'Lois Lane'. 

In a complex world of music from seemingly compatible sources expressing a wide range of moods and features, there is a slot for artists like Olivia Lane to pitch their worth. HEART CHANGE makes a valiant effort with its bright and breezy outlook even when themes may be deemed worthy of a different feel. On one hand the album displays a freedom to wander in any direction, yet on the other you know it is being marshalled for maximum effect. There is a bout of positivity ensuring any time found to return to listen again will enrich and re-energise a music listening journey. 

Album Review: The Bean Pickers Union - Greatest Picks

 

First up a striking band name and album title is always a good start when being introduced to new music. Without splitting hairs, this band won't be new to folks tracking their progress since a 2007 debut release and this is new music only in a fractional sense. Yet the package put together by The Bean Pickers Union is a smart move as acts think about how they prosper and flourish in the new world. GREATEST PICKS (drum roll for the pun) is a jam packed album tracking well past the hour mark comprising of fourteen carefully selected picks from the band's four previous albums and a signal for the future in the guise of a quartet of new songs. This healthily stocked eighteen strong collection can effectively be twin billed as a greatest hits and EP combo. A win-win for all parties as the initiated can enjoy the future and decide whether the picks are agreeable, while the rest of us get a full flavour of a band hailing from the New England corner of the United States.

The Bean Pickers Union are essentially a loose amalgam of players occasionally assembled by Chuck Melchin to make a record and play some music. Although the name didn't immediately ring a bell, a little delving mentioned him as being behind Los Brujos, an act that got some review love in the last months of 2020. The term pickers did suggest a more roots-based offering before discovering that the Union are more like a straight up alt-country rock band. Proof to listen first before judging.

Like many innovative independent artist nowadays, The Bean Union Pickers use the BandCamp platform so there is no excuse for at least having a few tasters before deciding that this is the band for you. In the time afforded to post some findings, focus was directed towards the new material which all saw an extension of what the band do well in their back catalogue. 'Bullet Proof Man', 'I Am James' and 'Amy Jean' all reach out in the same vein with sizzling guitar mixing alongside driving keys to roll out a trio of productive rockers. The vocals tend to operate in the background with a smoky haze to them. They even tilt into a slight realm of psychedelia in the tamer final track 'She'.

Elsewhere you can use the GREATEST PICKS to sample the four previous albums from 2007, 2012, 2017 and 2019 respectively or use it as a conduit for a deeper dive into the work of The Bean Pickers Union. As always the choice is yours, make it wisely and informed. 

Album Review: Serious Sam Barrett - The Seeds of Love

 

The two extremities of my listening repertoire in 2021 are those best described by the terms country pop and traditional folk. Anything from these domains crossing my path get given a chance to see what mark they can make and whether they can break out from their core market to broaden the horizon of the open minded. Serious Sam Barrett can only fall into the latter of these two camps with a moniker like that. There was a brief window to sample his music a couple of years ago but that didn't click. On this occasion more time and opportunity has been afforded leading to a greater understanding on what makes this Yorkshire artist tick. 

THE SEEDS OF LOVE takes its name from a book of traditional English folk songs presented to Barrett and inspiration was subsequently sparked to working out how part of its content could form the next album. Rather than just churn out updated versions verbatim or with a little reworking, the chosen direction for a couple of the tracks is the original route of using the book as influence only. The two getting more of a Serious Sam Barrett stamp are opener 'Valentine's Day', linked only by name to a song from the book, and 'Every Night Has an Ending' that was more influenced than lifted. The other eight are straight out of the traditional folk book of tracking the song and then giving it a helping hand into the future via recorded versions for the next generation to savour and maybe re-interpret. 

The versions delivered by Barrett, that can all be sampled on the BandCamp link below, are clear, concise and largely executed by an astute weapon choice - the much derided yet elegantly twanged banjo. On three occasions all instruments are stripped out and a cappella framed vocals are the lone component for a simple and straightforward rendition. 

There is the adage that recorded material is a mere accompaniment to these songs flourishing in a live environment. The folk club scene is staple for Serious Sam Barrett and expect these to feature highly in any performance. Such an outing is likely to project a timeless aura as the true essence of THE SEEDS OF LOVE is that it has no indelible date stamp of 2021. Traditional songs are meant to transcend time and the exposure enhanced here importantly offers a platform for sharing and keeping some remnants of a flame flickering. Mission accomplished for Serious Sam Barrett.

Album Review: The Felice Brothers - From Dreams to Dust

 

www.thefelicebrothers.com

Over the last seven or eight years the work of Simone Felice has been enjoyed, admired and mesmerised mainly in a live setting countless times. Yet opportunity, circumstance and the direction of one's antenna has left the work of the brothers he split from many years ago entirely untouched. This is not down to a lack of releases, UK shows or even an acknowledged credibility of the standing The Felice Brothers have in the eyes of their loyal following and a wider hinterland. For many the first lockdown release from an act driven by brothers Ian and James is a continuation of an acclaimed career, but there is always the off chance that FROM DREAMS TO DUST may be an entry point other than for yours truly.

The first impression from checking out this album is the closeness in style and delivery between the solo work of Simone and the brothers he left in 2009. Sibling likeness obviously runs deep in the creative outpost of Palenville in New York state's Catskill Mountains. 

Needless to say, the depth and texture of this Felice Brothers record is a trait offering fulfilment and more than a touch of listening pleasure. Admittedly the complexity of a barrage of lyrical prose and eclectic musicality can be a challenge and you are left with a feeling that a Felice Brothers album is not designed to be lavishly consumed and casually discarded in the blink of a few listens. Therefore the gist of this review is to merely signpost with a brief summation of what the casual ear can expect. 

The dozen tracks pushing the running time to a few minutes under the hour ebb and flow leaving moments of compulsive engagement nestled alongside those where the intensity can strain the interaction. The Felice Brothers clearly make music on their own terms and likely preach to a core. Frequently the content does offer a spark for contemplation and mind rambling especially when the words poetically drift into a near spoken form. 

After several spins for the outcome of this piece, five strategic anchors or pinpoints emerge to hold the record together. Having a pulsating opener kicking off things is never a sloppy start and the sparkling chorus and immersive brass are the mere catalysts for hailing the merits of 'Jazz on the Autobahn' . A few songs into the track listing reveals one of the gems as the band really dip down sparse and mundane to deliver the seemingly tribute number 'Be at Rest'. A hard hitting song utilising piano alongside a poetic literary descriptive spoken delivery to bind the memory of Mr Felice senior while featuring the awkward lyric 'from dreams to dust'. Hence the title is born.

This is immediately followed by 'Valium', a song deduced as being one of lonesome contemplation and probably as symbolic as any in pointing The Felice Brothers in the direction of the Americana brethren. Skipping over the next track and you get the writing veering in a clever direction. 'Celebrity X' name checks the title in the opening and closing moments to bookend an alphabetical count back of every celebrity in between. Confused? Just check out the track, which comes with a money back guarantee.

Regardless of whether you feel the album warrants some sort of feel good ending, FROM DREAMS TO DUST obliges in the unrivalled optimism of 'We Shall Live Again'. Here some sort of rosy contentment surrounds reaching the end of an album that may be dangled as a masterpiece to the Felice fraternity to bite. 

A newbie summary of this work deep into the heart of a career draws thoughts of art school folk rock. A new genre or just the wild thoughts of a vivid imagination? Let's end with another question in has this experience prompted the need for a deep dive into a rich back catalogue? The answer will only be forthcoming once the complexity of this Felice Brothers introduction has been completely grasped. But then again you don't really grasp Simone Felice, just let the guy weave his magic. 

Gig Review: Sara Petite - Kitchen Garden, Kings Heath, Birmingham. Sunday 12th September 2021

Festival sets can have their own charm and presence, but they ultimately have to take second place when an artist bosses the floorspace of a stand alone gig. Seven days after proving the star in my book at the Maverick Festival with a storming closing Sunday afternoon set, Sara Petite wound up her UK tour with a date in Birmingham, not just bossing the floorspace but lighting up the whole venue and thrilling a privileged audience in her wake. The plane back to San Diego may have been beckoning in the hours after the gig, but nothing was going to stop this being a top sign off especially as saying farewell to adopted British band mates - Joe Coombs and Scott Warman.

There was a tip off that the superb RARE BIRD album was featuring heavily in sets post-Maverick and true to these whispers we had all eleven tracks featured on a evening packed with sincere country honky tonk music of the highest quality. Maybe honky tonk with more than a dash of rock 'n' roll and a slice of cultured Americana to provide a solid all round display of how to portray roots music with a western and southern edge.

This geographical statement is a slight anomaly given that Sara was born and raised in the north western Pacific state of Washington, but it is from sunny California from where she exports her music and possesses a voice that rips up all points east to Nashville and beyond. Although the odd place and event informs some of her songs, she draws inspiration straight from the heart and soul to prove a truly adept songwriter capable of matching an infectious melody with a bout of inner passion. 

Back to the set list and you knew it was going to be a good night when the opening track mirrored that of the latest album. 'Feeling Like an Angel' is as good a kick off track as heard all year and set the scene for a brace of sets spanning a couple of hours factoring in a short break ensuring that no CDs were heading back to America. We immediately then ran into 'Runnin' and 'Scars', with the latter leaving an introduction only in the minds of those listening intently to the lyrics. 

From then on the other tracks from this album flittered in an out. 'Missing You Tonight' had its dedication to a Californian sunset, 'Keep Moving On' drew inspiration from Civil Rights icon John Lewis and 'Medicine Man' appeared to be a track kept under wraps until the final date of the tour. 'Working on a Soul' courted the first singalong, before the whole audience belted out the call and response part to 'Crash Boom Bang' prior to the encore. There was even a whisper from a fellow punter that 'Floating Like an Angel' had a touch of John Prine about it.

Sara's parting gift was the same as Sunday, although this evening's version of 'Drinkin' to Remember' needed no dedication. This is one of her older songs and represented some highlights from a rich back catalogue totalling six accomplished albums alongside gems like 'Lead the Parade', 'Little House' and 'Tiger Mountain'. A little side from her festival sets saw a couple of solo numbers, from memory 'Gold Finch' and 'Flying in Your Dreams' that don't seem to feature on any album. One wish for the future is to feature some tracks from the excellent 2017 album ROAD LESS TRAVELED. I don't think anything was played off it during the tour. 

In contrast to the solo numbers, the gold lining part of the gig was Joe Coombs on guitar and Scott Warman on bass. Scott has definitely played the Kitchen before namely with Porchlight Smoker, Annie Keating and Amelia White. Joe may have come with Sam Morrow, although I only saw their Bewdley gig so cannot 100% vouch. Anyhow they both have impressed Sara so much that an invite was presented for them to gatecrash her flight home. She was smitten by Joe's rock 'n' roll guitar to supplement her own country specialist back home. He was no slouch serving the country stuff up here.

However all good nights (and tours) have to come to an end and we were left with a door open to a return in the not too distant future. The last week seeing Sara Petite and her band play two and half festival sets and a full gig has been a real treat. Prior to this, there was only a brief solo slot supporting some local act in Stroud in the gig archives to crown a decade plus of listening to her music. Much of that omission has now been shelved, though a taste for more has been left. Nights like this linger long in the memory and in what will be a shortened gig year, a worthy candidate for the number one slot has emerged. 

Album Review: Air Cool Jenny - First Flight (EP)

 

www.aircooljenny.com

Air Cool Jenny is a newly formed duo operating out of LA comprising of Helen Rose and Kramer Sanguinetti. The initial recording to hit the waves is a short affair and aptly named FIRST FLIGHT. It contains four songs written by the duo and the style resembles the multi-dimensional landscape of their influences and previous projects - namely tricky to pinpoint or pigeon hole. However the most pertinent point is that they come across well, entertain and lay down a marker to what may come should the output expand to a more substantial release. 

Of the pair, it is the name of Helen Rose that racked the brains and eventually recalled as the architect of a very good album that landed in British laps in the early months of 2018. Alas not much has happened since, but the promising news is that she is still active on projects that do float across the seas in the network of digital information share.

'Pelican' opens the EP with an acoustic start announcing special vocal harmonies that frequent a track with a place in the  title special to the heart of the couple. The song eventually expands out to a broader template to seal a valuable spot on this short sampler especially as Rose's vocal chops limber up in the closing moments. It is Rose that gets the vocal part underway in the second track. Once again, 'When I Rise' starts off sedately to linger around for only just over a minute and half. The EP then explodes into life with the rocking ditty 'Pissin' on the Moon' rampaging across a roots floor space with excessive energy and echoing some remnants of pedal steel. 'The River's Gone' brings things more into a stable focus with a fragrance of brass. An instrument base that featured highly on the previous Rose record heard. 

Short and sweet with plenty of promise. FIRST FLIGHT is an enticing maiden voyage for Air Cool Jenny. Over to you guys for the follow up and to signal intent as to what your horizons are. 

Album Review: The Burner Band - Signs and Wonders

 

www.lewisburner.bandcamp,com

For a slice of unabated DIY rock 'n' roll with all the Americana trappings, look no further than the raw unfiltered yet wholly authentic sound of The Burner Band. They are now the proud creators of a sleek and snappy full length album that brings the passion of a small back room lively pub venue to a widescreen format. SIGNS AND WONDERS reels off eleven sharp numbers in little under half an hour by drawing on plenty of rhythmic dynamism alongside banjo, pedal steel, conventional guitars and the odd blast of harmonica. The pace is lively and the largely co-written songs from band brothers Lewis and Ian Burner stop off at topics such as mental health, murder and the much derided Sun newspaper in the city of Liverpool. 

From the off, the band lock into an uptempo channel with opening track 'Blues Came In' acting as an conduit on a number of platforms including the promotional video and doing that job wonderfully. The iconic rock 'n' roll song title word appears in the final stages of the album and 'Too Much Blues' is one of the tracks that lodges in the brain, even if there is a tendency for new ears to mishear blues for booze! This latter song opens as one straight outta Memphis before settling in any sounds of the suburbs setting from this side of the pond. 

There is a symmetry between English punk and its milder offshoots with the rougher side of Americana that melds country roots, rockabilly and bluegrass. Across such a bridging line sits acts such as The Burner Band and 'Don't Have to Listen' is one of the tracks to supplement this view. This leans to the English side whereas any dictated by pedal steel such as album closer and title track 'Signs and Wonders' courts Stateside connotations. 

There is a whole feel good aura around The Burner Band and you sense that any vibrant music scene requires acts like these ripping it up at the coalface. SIGNS AND WONDERS moves the dial along in as much as their music travels a little wider and that is not such a bad thing. Landing on your device, this album will create a little crevice filled perfectly for those moments when a half hour is free for some rip roaring roots music from an act no doubt chuffed to play a part.

Album Review: Tim Grimm - Gone

 

www.timgrimm.com

Tim Grimm, an extensive and prolific American singer-songwriter, quickly returns to the fold with an album capturing the moments that matter and fleeting thoughts that manifest into malleable parts when communicated through the medium of song. GONE is the apt title considering the inspiration from departed contemporaries like David Olney, John Prine and Eric Taylor, of whom the latter is covered on the record. The content starts with eight tracks extended to nine when the opening song 'A Dream' receives the reprise treatment at the end This takes the duration over the forty minute mark indicating that each meticulously delivered song possesses a degree of substance. 

The aforementioned opening track gracefully uses a stringed accompaniment to spin a measured personal song evoking thoughts that a dream can effectively spring you into any emotive situation. There are sentimental undertones to the second track 'Carry Us Away' where a a detectable tender banjo backdrop adds to the modesty of the moment and, vocally, Grimm manages the mood of the song well. A swift gear change ensues, and we get tossed into Johnny Cash narrative prose mode which transpires into a very catchy and fast paced story song. Listen carefully and read the lyric sheet if so inclined, but 'Cadillac Hearse' has a certain charm to it aided by a serenading of mandolin. 

One of the recently deceased inspirations behind GONE in John Prine is a clear influence to another lyrical barrage that eloquently forms into the literary spun '25 Trees' circulating, educating and ultimately planting its impression into a fertile mind. 'Laurel Pearl', one of two co-writes on the record with the opening track, is a clear dedicated ditty bursting with gratitude and optimism. Transferring a touch of positivity that doesn't go amiss in a genre that spawns so many dark songs.

The Eric Taylor cover appears in the number six slot and 'Joseph Cross' succinctly fits into the essence of GONE and what is being celebrated in this bout of songwriting eminence. The title track 'Gone' follows the cover and is best summed up in the line 'the man who brought us Paradise has laid down his guitar/ he sang Angel from Montgomery - It's a big old goofy world'. At this point you recognise being in the company of somebody still stirring the pot and firing the words. 

At this point 'Dreaming of King Lear' pulls the sentiment of the album together in the penultimate slot. Here, mentions get a little more explicit with the repeated line 'Michael Smith, Eric Taylor and David Olney' doing its bit to fan the flames of remembrance. A little search was required on the first of these with the expected result. All that remains is a reprise of the opener to bookend the message that Tim Grimm successfully transmits in GONE from artist to listener via a wealth of songs confirming an artist finely tuned and on top of their game. 

Album Review: RB Morris - Going Back to the Sky

 

www.rbmorris.com

Like so many of his ilk, American folk singer-songwriter RB Morris uses the notion of the road and its broad brushed nuances to drive his latest album from personal inspiration to a shared experience. GOING BACK TO THE SKY fondly looks back at the anticipation and adventure of travel along trails where the journey likely exceeds the destination in terms of fruitful accomplishment. A little research into the stature suggests a top creative and all round admired cookie. Sampling the multi layered delights of this album extend the vision to western wanderlust and fluid dreamer. From a contemporary folk base of wide scale tone and instrument utilisation, you get a sense of poetic drifting controlled by a tight sonic backdrop. 

The fourteen track listing can be trimmed by a trio of minute long instrumentals, billed as Prelude I and II and early placed re-energiser 'Somewheres West'. While playing their part in forming the framework to hold the album together, this trio gives way to the songs when assessing the true depth and feel that sees Morris's work weave well into a listener's sphere of enjoyment. 

On the song front, first up 'Red Sky' sets a high bar while positioning itself as opener. A raft of places are quoted to set a wide expansive scene and the line 'red sky at night sailor's delight' prompted thought of the evolution of the saying in terms of using sailor or shepherd. Emotions and moods rotate around a carousel of styles including the Tex Mex trumpet infiltrated Mariachi number 'Under the Cigar Trees', the bluesy hallucinogenic road song 'Six Black Horses and a 72oz Steak' and dreamy steel effortlessly projecting the whims of title track 'Going Back to the Sky'. 

Joining these in the credit column are the groovy acquaintance track 'Me and My Wife Ruth', 'Once in a Blue Moon' delicately lamenting lost love and the princely placed closing track 'Walking Song' exiting the stage like that perfectly executed fading encore moment. Dylan associations are mainly loathed as lazy in my book, but if you can't beat them you might as well join them when it comes to 'That's the Way I Do' right at the heart of this record. 

Of the remaining four tracks, the metaphorically themed 'Old Copper Penny' appeals with an old time jazzy feel, while 'Missouri River Hat Blowing Incident' is a symbolic song that magnifies the mundane. 'Montana Moon' is one of those lonely travelling songs where mysterious forces help you along in the vein of a settled groove.

GOING BACK TO THE SKY perfectly captures the imaginative magic and transportation of stepping inquisitively and apprehensively onto the open road. RB Morris has many tricks up his sleeve from lyrical acumen to enticing arrangements. This allows an album to float around a dedicated listener's ideals and court a forthcoming pleasure. 

Gig Review: Maverick Festival - Easton Farm Park, Suffolk, Friday 3rd September to Sunday 5th September 2021

The t-shirt proudly displayed the slogan ‘back in the saddle’, and never have four words meant so much to music fans devoted to the Maverick Festival. A few were there showing support in their 2020 t-shirts, but like so much of live music’s annus horribilis (eventually extended by a few more months) that staging sunk into a void now erased from the memory. For those who attended in 2019 or any previous years going back to 2008, there would have been a welcoming and reassuring feeling of familiarity as the gates of Easton Farm Park once again flung open to both the Maverick faithful and first time tasters alike. These fans, described by one artist as ‘clad in outlaw chic’, are motivated not by conformity but aligned to misfits and mavericks as long as they exude a state of mind and an intuitive instinct for the power of song. 

It may have been the first week of September, but the near guaranteed sunshine of the first week of July didn’t mind the wait, give or take the chillier evenings. The Green still throngs with chairs and blankets from late Saturday morning to around six thirty. The Peacock still displays the most amazing of backdrops. The Barn remains the festival’s heartbeat, while the semi-hidden Moonshine lures the curious and continues to throw curve balls. From the first strum of MG Boulter’s guitar at five o’clock on Friday, as one of Maverick’s dual opening acts, to Sara Petite obliging with a dedicated version of ‘Drinkin’ to Remember’ to close things at half two on Sunday, old and new artists rubbed shoulders for attention, while the whole aura and ambience permeated a boutique festival resoundingly announcing its renewal from the abyss. 

Sara Petite closing to acclaim

Maverick, like many other small festivals, is a mixture of the shared and personal experience. Personal schedules can take the form of a casual ramble across the site sampling artists or strive to be more prescriptive in soaking up the duration of a whole set. The latter is the preferred approach here and this still allows for a number of new discoveries to mingle alongside those familiar artists earmarked to re-enforce your prior admiration. 

Most of the shortened 2021 gig landscape was expected to be dominated by homegrown artists, but the situation easing meant several US acts were able to navigate the pandemic minefield to cross the Atlantic to tour. Maverick booked an artist admired for many years here in Sara Petite but threw up a couple of great new finds in Jerry Jospeh and The Sam Chase Trio. On the UK front, My Darling Clementine and Dean Owens have been enjoyed many times live over the last decade, but impressive debut performances from Our Man in the Field and Forty Elephant Gang added an extra dimension to their current albums. 

Jerry Joseph in a Moonshine pop up

Maverick is also about learning, and the genre of swamp pop was diligently researched after seeing 81 year old Louisiana legend Tommy McLain play a late night set with his sidekick CC Adcock in the Moonshine. Likewise it was interesting checking out the pedigree of the stylish Alyssa Bonagura’s background after seeing her play a set on Saturday alongside Tim de Graaw, who in turn impressed as a new artist when playing solo 24 hours later. 

Festivals drawing acts from a smallish pool such as Maverick are often good for re-connecting artists with fans. It’s been a long time since Dan Walsh, Dan Raza and Jeni Hankins were seen live, and a lot has happened in the life of the latter over the last decade. Yet 2021 saw all three frequent the Barn for enjoyable sets. On the other hand, Brooks Williams is a continual presence on the gig scene, but sometimes it is good to stand back and absorb a reminder of what a superb operator he is. 

David Banks in full flow on The Green

Other familiar acts used Maverick 2021 to further accelerate their latest projects. Southend-on-Sea based singer-songwriter MG Boulter made the relatively short journey to Suffolk to share songs from his excellent new album CLIFFTOWN with a Maverick audience for the first time. David Banks rocked The Green at the early hour of eleven on Saturday morning with a familiar line up of the Clubhouse Tipping twins on accompanying guitars and previous Maverick Green performer Luke Tuchscherer on drums. Simon Stanley Ward was also a returning Maverick Green performer with a new band name in the Shadows of Doubt, but familiar players in the classy Paul Lush on guitar and the ubiquitous Thomas Collinson on keys. At the last count, the 2018 AMA UK instrumentalist of the year also played on sets with the ever dominant Dean Owens (alongside fellow Southerner Jim Maving) , sincere songwriter Kate Ellis and James Riley (the last by anecdote as not seen). 

At this point only one artist seen over the weekend has not been named. To fill the gap, The Crux were caught on the Barn stage as the penultimate act on Sunday, and while this American band have played the festival before this was a first time seen. An uplifting and motivating performance to boot. 

MG Boulter in Leader's Live Lounge

It wouldn't be a Maverick Festival of recent times without Leader's Live Lounge operating within the confines of the farm's pet section. Recordings of songs by MG Boulter and Dean Owens were seen for future airing to recap Maverick in a different format of which there will be more.

A quick mention to a trio of unfortunate late Maverick absentees. We certainly live in strange times, and a combination of circumstances meant Peter Bruntnell, John Murry and Gwenifer Raymond were unable to grace the grounds of Easton Farm Park in 2021. A further apology is to the other acts booked for the Maverick renewal, In an ideal omnipresent world, every artist would be seen. However until super human powers are acquired, cuts and choices have to be made. 

So who and what were the highlights of Maverick 2021 or is it best to quit here and just declare the whole event a winner. To keep things short, the highlight summary is stripped back to four entities.

The Sam Chase Trio in the Moonshine

First up is the Moonshine. The performing area hidden away and one that has a soul of its own. A semi-conscious decision was made to spend more time in this location than on previous visits. In a year when schedule adjustments were forced on the organisers, Moonshine drop in visits were exposed to two barnstorming pop up sets from Jerry Joseph and The Sam Chase Trio. This space was also a great hang out zone and also the site of the Up in Arms tribute that Michael Weston King of My Darling Clementine organised for late Maverick devotee Craig Pickering. A fitting show of respect for a gig organiser from Biddulph in Staffordshire and a fixture in front of Maverick stages for many years.

The Sam Chase Trio were mentioned as a Moonshine pop up and they ventured through the festival as the most watched act including a couple of appearances at this stage on Friday and Saturday evenings. They had just flew in from San Francisco for their first UK tour and were determined to leave a mark. This was aided by a powerful frontman free of inhibitions and possessing an addictive charisma that added complementary nods like picking wild flowers from a luscious meadow. 

My Darling Clementine in the Peacock

Jerry Joseph is a strong favourite to be a popular pick for the highlight of 2021. His announcement via an unscheduled slot on the Moonshine was a mere appetiser for what was witnessed during his hour long headline set in the Barn late on Saturday evening tipping into Sunday morning. After forcefully holding court solo for half the set, he duly invited his adopted UK band Our Man in the Field to back him for the second part. In the words of Alex from the band, Jerry Joseph is ‘a pulsating, gyrating, one man wall of sound’. That can only be concurred, and a star of Maverick was born even before an intoxicating extended unorthodox version of Gillian Welch’s ‘Revelator’ steamrolled the set to a comprehensive conclusion. 

Just as Jerry Joseph sat pretty to don the Maverick crown, something very personal came from behind to steal the mantle. San Diego country and honky tonk queen Sara Petite glided in from her homeland a couple of days prior for a first UK tour in a few years, and a proper band one for a significant longer period of time. Afforded three slots across the weekend, Friday’s was a tentative start, although admittedly only half was seen due to a schedule clash. This was the only one with a drummer in tow as remaining sets and shows would be in a trio format with Brits Joe Coombs (electric lead) and Scott Warman (electric and stand up bass) backing Sara’s acoustic guitar and lead vocals. Those vocals started to hit the buffers during the second set on Saturday evening ensuring fingers were kept crossed that the effects would subside. 

Tommy McLain displaying Swamp Pop

Scroll forward to Sunday lunchtime and the traditional Barn closing set before folks disperse at two thirty. The Sara Petite Band was invited to play this spot and they rose to the challenge with a spell binding performance. Top tune followed top tune as we were treated to material across her long career from ‘Lead the Parade’, ‘Tiger Mountain’ and ‘Bootleggers’ in the 2000s to plenty from this year’s super record RARE BIRD including the title track, ‘Scars’, ‘Runnin’’, ‘The Misfits’ and invited singalong ‘Crash, Boom Bang’. Most importantly, Sara’s voice held up to display a sassy drawl that defines her, and the heart ripped open to bare the soul of a songwriter cutting right to the bone. Ably assisted by the ever impressive Coombs on invited solos and the rhythmically secure Warman keeping impeccable time, this performance was a long time in waiting and set to remain long term in the memory. While watching this in a t-shirt that didn’t live up to the Maverick ideal, it at least conjured up the thought that Miranda Lambert is just really Sara Petite who caught a different bus. 

Se there ends a recap of the Maverick renewal. Of course those present will have loads more recollections and memories, but then again a review is only a self-indulgent reflection to supplement the experience. Hopefully all roads lead to Easton Farm Park, Suffolk in 2022 with a July slot slipping into what we all want: a busy and comprehensive festival season. It was an honour to attend the Maverick Festival for an eleventh straight staging, and if time could be turned back 2008 and 2009 would have completed the set. No higher accolade required.  

Album Review: The Artisanals - Zia

 

www.theartisanals.net

Zia is the Arabic word for light and there are few brighter places portrayed on earth than on the cover of The Artisanals new album that borrows the term for its title. The remote spacious landscape is ripe for dreamers and this is what you get from indulging in the wares of what they serve up on a smart record that drifts carefree in the night air to juxtapose the explicit brightness. 

The Artisanals, a band with a nomadic existence, illuminate whatever backdrop they frequent with a brand of likeable Americana rock. Out of all the acts they get likened to, it is perhaps Dawes that have the greatest association and this strengthens when you imagine the sound both bands create, namely primed for the live arena. 

When ZIA crossed my path thoughts immediately raced back a couple of years when a gamble was taken to see band called The Artisanals play a soulless venue inside a London shopping centre to a sparse audience. The result was a smugness that it is not just the provinces that struggle to pull in a crowd to an unknown band, coupled with the added joy that the gamble paid off by the guys giving an exceptional performance. Hopefully they can return to a much more fruitful reception in the future and come armed with the key ammunition of a load of good songs from the new album. 

The nine tracks comprising the sum of ZIA fluctuate from moderately good to seriously impressive. Note the high bar. The four falling into the latter category start with the opening trio of the acoustic pondering 'Fear to Fail' first up, followed by the pumping beat riser 'Heading Somewhere' generating a sound seminal to the album and the ramped up 'Always Taken Care of' that came through the pack after several plays. The quartet of pearlers is joined by 'Violet Light' that re-ignites the listen in the latter stages.

The other five may rise in stature in good time especially the fine closer 'She's Looking for an Answer' and the rather funky 'Plant the Seed' with a dose of brass joining vocals that venture into falsetto territory in parts. However for now 'Way Up', 'Driftwood' and 'The Road' play a vital but supporting role to the high spots that keep ZIA as an album that raises the spirits every time it courts a spin. 

Album Review:The Lucky Ones - The Lucky Ones

 

www.theluckyonesmusic.com

Music of the far west of the North American continent can take many forms. Geographically you can tap into sounds from the Arizona-Mexican border, move north through the western states right up to the Canadian border where the exports gets a little thinner. Keep on going through the Canadian provinces of British Columbia and Alberta before reaching the far northern outpost of the Yukon. At that point you would think the musical exports grind to a halt, but The Lucky Ones are set to challenge that theory with the European release of their self-titled debut album.

This five-piece combo drawing on the trusty quartet of guitar, mandolin, fiddle and banjo to fine tune their country sound settle on laying out eight original tracks to show the wealth of music from the most unlikely of locations. While the site and back story are good marketing points, especially when looking to sell your music in far away lands, the ultimate test is the quality of the gifts offered. On that account, there is little to worry about as a band of local heroes toss around a rich slice of the Canadian north awash with stories and old time country tendency. 

There is a feeling of rural remoteness and the struggles that entails with titles like 'Since the Farm Got Sold', 'Snow Flakes in the Sun', 'Waitin' on a Paycheque', 'Wish' and 'Drunken Goodnight' reflecting the mood of the music. The tempo undulates in line with the contours of the land alongside the roller coaster of emotion as pacy foot tappers blend into slower numbers, more often dependent upon whether the fiddle is used to mourn or invigorate. 

'Fool's Gold' opens the set with an optimistic moderate beat and expresses a sense of forlorn hope. At this point you feel in the safe hands of stellar story tellers, solid songs, good tunes, fine playing and vocals reflecting the sentiment of the moment. 'Snowflakes in the Sun' dabbles in a bit of bluegrass and cocks an ear to what the band can do when depressing the accelerator. 'The Old 98', which samples an acknowledged borrowed melody, is a straight up country belter that any pretenders to the crown would gladly like to record. 'Waitin' on a Paycheque' holds court at the half way stage pleading for a little barroom sympathy when things slow down a touch, while inducing a shared singalong to the chorus.

'Everybody Dance' gets the second half underway with a hint of irony and a sense of falling to your knees. If you're looking for a pick me up in the next track, 'Since the Farm Got Sold' at least ups the tempo and reverts to a little frivolity to raise the spirits from more turmoil by adopting a resolute stance. The picture continues to be bleak as 'Wish' projects thoughts from a moment of desperation and represents the album's deepest mournful pit. At this point you are willing for an optimistic closer and 'Drunken Goodnight' duly obliges in tempo even though the content is hardly a bed of roses.

The Lucky Ones have framed the art of a top quality country album with their debut release. Using a kaleidoscope of moods, feelings and motion, they have taken the core tools of a story, a raw old time sound and an innate songwriting craft to showcase the traditional music of the Yukon in a bright northern light.