Tylor & The Train Robbers – Live

Tylor Ketchum’s country rock band is based in Boise, Idaho up toward the Canadian border. It’s around here that the band tours bringing their tight and pulsating rhythms to some original lyrics. For those unfamiliar with their sound then The Byrds, The Flying Burrito Brothers and a little Tom Petty comes to mind. If you like your rock guitars then fill your boots. One of my eternal regrets after becoming aware of their catalogue was finding that I was two weeks early to a gig according to a bill poster I saw in Jackson, Wyoming. For all that this live recording compensates as the band work through 23 songs mainly from their four studio long player releases.

The hiring of Adam Odor to produce is a masterstroke. Odor’s been behind the desk on the Silverada and Mike & The Moonpies releases. All those releases ‘sing’ and, not least, because Odor finds the instruments behind the vocalist and promotes them into a palpitating rhythm with pedal steel and lead guitar always doing something interesting. The band have some killer cuts including The Of Ballad Black Jack Ketchum, a seven minute epic about a relative from the 1800s who was hung after a career of robbing banks and trains. This is followed by the title of their 2021 album Non-Typical Find, where a sun’s glint off a rib cage draws, way down in a valley, a walker to find a human skeleton and the tragic story of the woman’s demise after some perilous and then fatal hitchhiking.

The band keep it interesting with changes in pace between songs and I Got You starts with harmonica and some picking by Antonio Vazquez to a rhythm where you could imagine the audience dancing. Sat on a galloping drum beat Ketchum’s nasal tones advise that he and ‘his baby’ are Good At Bad News with sparkling pedal steel from Rider Soran that appears like shards of sunlight appearing between trees as you pass by them at speed. Hum Of The Road, another album title track enjoys harmonies on the chorus as Ketchum’s brothers, Tommy Bushman, on drums and Jason Ketchum on bass propel from the back of the stage. There are a handful of covers and the most attractive is Feel A Whole Lot Better from The Byrds where Soran and Vazquez exchange licks and the brothers lean in to provide harmonies behind Ketchum.

This is a long album with maybe too many tracks but it’s a reward for a loyal following who long wanted the live experience on record; for me it was time well spent.

Courtney Marie Andrews – Valentine

Andrews’ current, considerable, stature has been achieved through consistent quality records since her 2016 breakthrough, Honest Life. Parallels with early Joni Mitchell may seem too easy to conjure up but she has a dream of a voice that draws you in like a siren, a considerable talent on guitar and piano, sophisticated arrangements and the regular mining of her own personal life for lyrics. Inspiration for these songs came from relationships and the stress of seeing someone close struggle with ill health. These experiences took her to a plight, she calls, limerence: a mental state of being madly in love where reciprocity is uncertain and from here all sorts of insecurities, mood swings and emotions kick in. To deal with such turbulence, she says, the last year has been one of a lot of writing, hiking and travel.

With brutal honesty she wades into a selection of intimate lyrics that often reflect an observant and defiant mindset yet with compassion and support – “Close the curtain, say your confession / My lips are sealed at your discretion / It’s a scary world full of cons and clowns / A lot of bad people who will tear you down / Not me, no way”. The haunting Cons & Clowns comes replete with angelic harmonising, muffled snares, chiming piano chords and flute. Outsider with its plucked guitar chords and resonating bass sits on a foundation of sweet extended strings. Here Andrews is on the defensive seeking a place where she won’t be hurt “as it’s too painful looking in”. Little Picture of a Butterfly explores the helplessness of things we can’t control, again with relationships to the fore – “Guess your love is not a cure / Guess I should’ve known better / Guess I’m throwing out that sweater / After all that time went by / All I get is a butterfly”. With her voice to the fore we have fragments of jazz flute before a striding insistent beat grows and Andrews starts to become assertive of where she’s now headed after the heartbreak.

With, her producer and contributing musician, Bernhardt she’s created interesting arrangements and varied instrumentation that give up more on each listen. I find her voice compelling and capable of making me absorb all her heartfelt sentiments. I think this may be my favourite of hers to date.