Album Review: Back to Paradise - A Tulsa Tribute to Okie Music

As compilation albums go, this collection of tunes can be tackled and enjoyed in a variety of different approaches. First up, at seventy-one minutes long there is enough meat to sit back and soak up a load of songs that formed the signature sound of Oklahoma. This captures a heady mix of rock, soul, country and blues, or these days just attract the tag Americana Alternately, there are seventeen tracks from a wide range of Oklahoma artists, of whom some you may be tempted to explore further to expand an interest in this type of music. To cap the exploration opportunities, a group of contemporary artists and musicians have lent their hand to the project, and these no doubt would appreciate you taking more than a passing interest in their own music.

BACK TO PARADISE draws its title from project's primary aim of resurrecting Leon Russell's classic Paradise studio and recording the first album there in over forty years. The artists invited to participate in the project are all Tulsa musicians and have added their own finesse in recording the songs specially selected to frame a golden age of Okie music. 

It doesn't take a huge amount of prior knowledge in the content to take something from the album. From those covered, I don't travel much past awareness of Leon Russell, JJ Cale, the song famed by Carla Thomas and Otis Redding, and The Gap Band. Looking at the list of contributors, John Fullbright is the stand out name in terms of previous engagement and being a fan of his music will always share a favourable light on any project he is involved him. The other familiar name is Jesse Aycock, who toured with Carter Sampson a couple of years ago and has his finger in the pies of much music emanating out of his home state. 

If like me you have warmed to fellow Oklahoma artists like John Moreland and Parker Millsap as well as the three previously mentioned, and have a feeling for quality songs with a contemporary roots twist, there is ample merit to dive deeper into this compilation album and enhance your appreciation. 

The album gets its release on Horton Records and like so many valuable records in this modern age is available on the artist friendly platform Bandcamp. A source that is easily accessible for fans anywhere in the world to at least download and stream. There is a super little write up on the tracks chosen in the credit section on the Bandcamp page to partner the process of just kicking back and absorbing a sound that seals Oklahoma's place in the pantheon of iconic American music. 

Album Review: Karen Jonas - The Southwest Sky and Other Dreams

www.karenjonasmusic.com

2020 was set to be a breakout year for Karen Jonas in the UK as she was scheduled to finally play some shows after a succession of album releases. Sadly this was not to be as artists sought other ways of bringing music to fans to combat the enforced surroundings of an industry choked from direct interaction. The saving grace is that this trip has been re-scheduled for 2021 with the added bonus of the new album being well bedded in by then. Not that Jonas has been light on the album release front with THE SOUTHWEST SKY AND OTHER DREAMS being her fifth full length record in six years. If you've enjoyed her music in the past, then the direction of the new record is likely to whet the appetite, On the other hand, any new discovery of Karen Jonas via this release will slot in at an exceedingly high standard. 

The last three albums, COUNTRY SONG (2016), BUTTER (2018) and LUCKY, REVISITED (2019) all accrued positive reception and the main conclusion from her latest offering is that Jonas has significantly moved the dial forward. In line with the earlier records, this one instantly falls into the interesting category as the album never quite advances as you think it is going to. Jonas has all the trappings of pure country gold, but never goes down the conventional route of executing a straight up no holds barred country record. THE SOUTHWEST SKY AND OTHER DREAMS is packed full of classic road trip tales mixing real experience with creative character-themed story telling, while housing a sound decked in iconic twang and a voice dripping in lived-in emotion. 

Like the title indicates, this is a journey venturing a couple of thousand miles west from Jonas' Virginia home and at times the soundtrack engulfs the feel of the border and the dusty expanses of the desert. The sound is hardly in smooth territory, more jagged and in tune with the rugged landscape. The style flickers around the edges of real deal country and is not afraid to dip into outlaw territory where Ameripolitan merges unrefined twang with the steady beat of old time R 'n' B. 

The highlights range from the fabulously narrated nostalgia piece 'The Last Cowboy (at the Bowling Alley)', through the waltz-infused 'Out in Palm Tree Paradise' to the beat enthralling rhythmic vibes of 'Pink Leather Boots' and 'Be Sweet to Me', the latter pair oozing with Memphis class. 'Farmer John' prowls menacingly across the airwaves, while the thoughtful and more pedestrian 'Maybe You'd Hear Me Then' houses the album's title in a line within the first verse and like a continual theme across the record you are lured into the storytelling world of Karen Jonas. This forever compels you to hang onto every tale or recollection from a time on the road. 

The final three tracks of this ten-song collection demonstrate the album's versatility by adopting varying sonic stances to steer clear of predictability. It is facets like these that define a Karen Jonas album as not quite unravelling as you expect it to do. 

Like many good albums, there is an abundance of engaging songs that will far outlast the release period. Be prepared to periodically dip back into THE SOUTHWEST SKY AND OTHER DREAMS as Karen Jonas continues to liberally sprinkle her records with ever inventive nooks and crannies to explore her take on western roots music. 

Album Review: Justin Wells - The United State

 

www.justinwellsmusic.com

Murdered British MP Jo Cox was famously quoted as saying 'there is more that unites us than divides us'. A true statement providing the theme for Justin Wells to meticulously plan out his latest album. From choosing to name the record THE UNITED STATE (surely some ironic twist on his homeland) to basing some of the songs on the stripped back human state of birth, death and ageing, there is clear intent in Wells' songwriting that aids as a companion to the rawer delights of his robust country voice and a sound steeped in the annals of intuitive country rock.

As meaningful and well-intended as the lyrical content is, the general feel of a record is what courts most folks first and Wells scores highly here on his second solo release since branching out from southern rock band Fifth on the Floor. A quick scan of the press release refers to artists like Blackberry Smoke and Chris Stapleton, a connotation that runs deep as you roll through the twelve tracks that form THE UNITED STATE.

Vocally, the album consists of ten tracks as Wells chooses to open and close the record with a 48-second instrumental and a 20-second humming murmur. Maybe the intention is to chronicle life's arrival and departure in a sense of personal solace. Whatever the merit of these twin bookended moments, the real strength of the album is in the core where a copious country collective blends deep rich vocals with acres of desirable musicianship. Wells has the vocal toolkit to transition from rock to country, a state perfectly natural for this honorary Kentuckian. 

As soon as 'The Screaming Song' hits the the waves as the second number, you know you are on the right side of the tracks especially when the steel kicks in. If this song is based on birth, it acts as the perfect introduction of what to expect. The record rarely looses its rock tinge even as the country gets deeper. 'No Time for a Broken Heart', 'Some Distance From It All' and 'Never Better' exemplify this, with the third of this song trio fully demonstrating the formula of the record. 

The country rock credentials ramp up as we head into the final stages with the infectious chorus-led groover 'It'll All Work Out' catching the ear alongside the steady rocker 'Walls Fall Down' perfectly constructed for the live arena. Throughout, nifty guitar licks and inspiring instrumentals are aplenty. Wells even nails the pertinent closing song with 'The Bridge' seamlessly slipping into this slot.

From the evocative front cover depicting the passing of time to a voice ripened with southern sentiment and country panache, Justin Wells has created a winner in THE UNITED STATE. Move along Chris Stapleton, this guy makes far more interesting music and the result definitely unites rather than divides us. 

Album Review: Rob Williams - Weathering the Storm Vol. 1

www.robwilliamsacoustic.com

WEATHERING THE STORM VOL 1 is the fourth album from Richmond Virginia-based singer-songwriter Rob Williams, not to be confused in the UK with his near namesake. This is hardly an album inspired by the rugged surroundings of the Potteries, not that you found that in the music from dear Robbie. On the other hand, this Williams is far more endeared with the naturally crafted song that spins a roots rock slant on the singer-songwriter genre. There are shades of country, heartland rock and contemporary folk in this album; all the usual ingredients that lead you on the long winding road trip of Americana. 

The nine tracks that form Vol 1 (there is an assumption that Vol 2 will appear somewhere down the line) are accessible ear friendly numbers, in terms that they don't present much of a challenge to the listener. A good thing or not depending on your taste, as some fans of this type of music prefer something more heavyweight to get their listening chops round. On the other hand there is nothing wrong with laying a clear path for your listeners to follow and Williams secures this in his blueprint sound. A high degree of clarity, clever melodies and purposeful songs give the record an edge and substance to connect with a willing listener. 

Multiple listens to this album and a greater awareness of Rob Williams - the artist - makes you appreciate why musicians like him are essential for this style of music to still have a flourishing presence on a grass roots scale. Ultimately, the market will factor how far and wide his music travels, but there is a resourceful nature to the sound to exploit niche opportunities. Presented with the opportunity WEATHERING THE STORM VOL 1 will resonate with fans of a wide reaching style and engage with favourable ears. 

Album Review: Evangeline Gentle - Evangeline Gentle

www.evangelinegentlemusic.com

Taking the eponymous route for her debut album ensures hugely talented Canadian singer-songwriter Evangeline Gentle gets the sole spotlight. Even more so, not a second of exposure is wasted as the listener is taken on serenely intense journey of ten sumptuous songs. This piece of delicately crafted fine art pop entices the listener to access the inner mind of a sophisticated songwriter possessing the most alluring of voices. A deep groove is etched to convey a message fuelled by personal experience and a perceived ideal to seek solace in the art of song. You are clearly amid an artist rarely losing sight that leaving a warm glow in the hearts of the listener will open the door for a greater probe into the prose and reflection within the content.  

To add some finer detail to the record, Evangeline Gentle hails from the Canadian version of Peterborough, in the province of Ontario. While her music is primed for the aesthetic side of the mainstream, it is more likely to be warmly received in cult areas of the wider folk and singer-songwriter scene where her pure qualities will resonate.  

The beauty of this record is the everchanging rotation of favourite tracks within each play. Hearing Gentle’s luscious vocals in the opening song ‘Drop My Name’ makes you instantly fall in love with the voice, but it is quintet of amazing tracks from slot two to six on the CD/digital version that bring the record to life. Initially, it was the catchy single ‘Sundays’ and the slowly maturing ballad ‘The Strongest People Have Tender Hearts’ that held sway in the most endearing category, but quickly thereafter the delightful melodies of ‘Ordinary People’ and ‘Even If’ made significant inroads in cementing the album’s appeal. Drawing up closely with these frontrunners to make it an up-to-date version of the Famous Five as review deadline came was the captivating nostalgic ‘So It Goes’ with the obligatory nod to Springsteen in the chorus.  

The slightly dampen things down a bit, the remaining four tracks do not have the same wow factor impact as their predecessors. You can kindly put this down to the lofty presence of what came before and they certainly keep the good vibes that define this record as a single play entity.  

Gentle worked with distinguished fellow Canadian musician Jim Bryson on this album, which gets its release on Sonic Unyon Records and is likely to be as well received in the UK as in Canada and territories nearer to home. Incidentally, she was born on the north east coast of Scotland before emigrating West. Like many introspective songwriters, the themes are mostly drawn from personal experience so expect people, places, love, and idealism. The songs are littered with strong messages so listen closely; an experience made easier through the beautiful vocals.  

Evangeline Gentle’s music will only need a slight nudge in the right direction as it has the legs to travel far on its own merits. This is a gorgeous album that heralds a talent with enormous potential, ensuring along the way that us listeners are blessed with some super sounds when we bend the ear a little.  

Album Review: Mo Pitney - Ain't Lookin' Back

www.mopitney.com

It is an increasing trend in progressive music writing to dismiss the concept of genre as remnants of a constricted past. Yet it is difficult to cast aside the importance of such association when it comes to albums like the brand new record from Mo Pitney. AIN’T LOOKING BACK is only the second full length release from an artist  threatening to break out for a number of years as one capable of bridging the gap between what mainstream country music deems sells and what the protectorate of the core ideals demands non-negotiable within an ever evolving genre. 

An uncontentious view has to be that Pitney has securely anchored each foot in both camps with a hugely impressive record pulling multiple strands in the direction of gilded country music. A sense of deep feeling richness threads through the thirteen tracks that on this occasion bucks the trend of being an unlucky number. From the pensive confessional tones of hooking up with Jamey Johnson for album opener ‘A Music Man’ to the heavyweight narrative closer ‘Jonas’, this album leaps around collecting bonus points on the country music scoreboard with extras kudos for traits like liberal twang, vocals soaked in the holy waters of country’s eternal well and songs constructed with a long-lasting purpose. Also there is no complaints here with any inclusion of some Jamey Johnson influence. 

Expressive explicit song writing floods the forty-six minute playing time and while cliches still remain unapologetically, their simple impishness doesn’t grate. There is nothing revolutionary about Mo Pitney and the challenge is now to cement the high plateau accomplished with a sequence of releases that finally relinquish the work-in-progress tag. However, let us celebrate the present rather than focus on the future and there is much to cherish on this Curb Records release, only the second in Pitney’s six year tenure with them. 

It is easy to get excited about the traditional sounds emanating out of ‘Old Home Place’ and ‘Old Stuff Better’ as well as the nod to gentler times that is a pre-requisite expectation for many drawn to spinning a country record. This brace of tracks is pure straight up first class country music universally uniting the past with the present. ‘Boy Meets Girl’, ‘Ain’t Bad for a Good Ole Boy’ and ’Local Honey’ possess a more contemporary feel without venturing off course. Plenty of tracks such as ‘Right Now With You’ hark back to the influence of the new traditionalists and the subsequent big unit shifters that straddled either side of the millennium marker. Of course the chances of this album shifting big units is unlikely now, but sustained credibility and carving a genre niche are still up for grabs to represent an artist’s success. There is also the kudos of people writing nice things about your music. 

As the listens to AIN’T LOOKIN BACK rack up, other tracks begin to emerge as key songs with the most prominent numbers being the laid back pedal steel vibes adorning ’Til I Get Back to You’ and the radio friendly ‘Plain and Simple’, well at least friendly for those radio stations that play good country music. The truth is over time the majority of this Mo Pitney record will etch itself into the heart of genuine country music lovers. Time will also be kind to the record as it will linger on many a listening horizon for a lengthy period. 

Album Review: The Furious Seasons - La Fonda

www.thefuriousseasons.com

One facet of lockdown 2020 is how a far greater amount of newly recorded music is being consumed partly in lieu of a lack of live gigs to divert your listening attention. So instead of having your ears guided by who you have just caught live or about to see, more recorded music from a variety of sources is cropping up to occupy the space. The Furious Seasons are a band to benefit from this scenario and time has graciously been spent listening to their new album in the run up to its release. The chances of this album emerging in a busy festival packed summer thousands of miles from its LA source were remote, but it has, and full compliments to a band making LA FONDA a wholly satisfying listening experience.

The Furious Seasons are a core trio of musicians comprising of the Steinhart brothers (David and Jeff) and guitarist Paul Nelson. They have settled on a largely acoustic approach for this album with just the odd moment of musical enhancement putting flesh on the bones of some tracks. Checking their background reveals an experienced trio in various guises and this clearly shows in the mature and distinguished way they go about making music. It's markedly aimed for the gentler side of the folk-Americana market and carries enough craft and assuredness to garner praise and recommendation. 

The neatly compiled ten tracks drift along in a melancholic breeze full of sensitive and reflective songwriting that you have come to expect from the singer-songwriter fraternity. If a contemporary comparison is sought think the Milk Carton Kids meet Michael McDermott. Shades of the latter's emotive vocal feel mixed with the intricate style of the former; an interesting blend that pays off. 

The reason behind highlighting tracks like 'The Vast Divide' and 'Your Irish Funeral' is as much as they prosper in the zone of being embedded deep into the heart of the album rather than overly superior to preceding songs. As a listener there are rich pickings throughout the forty-plus minute playing time.

On this third release outing as a trio, The Furious Seasons have used an aesthetic template to host of lyrically sensitive set of songs. LA FONDA is an enticing and attractive album thriving in a stripped back setting and ultimately benefitting in these quarters from the different musical horizon that 2020 has thrown up.

As emphasised in other recent reviews, an artist friendly Bandcamp link is posted to at least make a digital version available to anybody in the world.