Nashville based singer songwriter, Liv Greene, possesses a siren of a voice that she puts to good use on introspective, sentimental and revealing songs; accompanying herself on acoustic guitar. Whilst still in her mid-twenties she’s created a career and been on a journey of discovery and developed growing confidence about herself, her sexuality and as a musician.
What we have here are ten tender melodies mainly about her feelings on romance and nascent relationships. In Deep Feeler she tells of her own emotional proclivities and the effect it can have on others. However, for all the interesting words it’s a stunning musical start. You’re introduced to her beautiful voice that can tug you in various directions depending on the story. She says she wanted to create an album that showed her as vulnerable in a sparse landscape. It’s certainly all that and whilst the acoustic instrumentation is light her voice is a seductive sound that you’ll want the opportunity to concentrate on.
The mood throughout is mainly reflective as she strums and the upright bass pulses behind her, however, on Katie the voice delivers the tune but some blue tinged picked notes show her musicality on six strings to give this real warmth and some sparse violin waits in the shadows to enhance the sweetness. Given she produced this then evident is a real talent, not least as an arranger. I’ve Got My Work To Do is straight country with a little electric guitar and it possesses a lot more verve. Here she’s joined by Sarah Jarosz on mandolin and harmony vocals. Jarosz is also found on You Were Never Mine,another song of angst with a chorus that delights.
This second album should provide a platform for her to get a bigger audience. There are many women singer songwriters over the last 50 years who’ve provided a template for Greene but Olive Klug, Jaimee Harris and Courtney Marie Andrews come to mind as talented contemporaries. I think we’ll be hearing a lot more of her and hopefully on our shores before too long.
A new record from Johnson is an exciting event, not least because it’s his first solo release in 14 years. He didn’t feel the need to record but the recent passing of Toby Keith brought home the fact that he wouldn’t hear any new music from his friend and maybe he should add to his own catalogue? He’s a staple of the country music scene despite his solo recording reticence and he’s regularly found on tribute albums (John Anderson and Johnny Cash) or duetting (Blackberry Smoke and Julie Roberts). He’s a ‘go to’ artist with a voice that places him alongside Chris Stapleton with his sauntering yet soulful baritone that exudes gravitas and presence.
The title track is the first indication that you’re in the presence of greatness. A rueful heartbreak song about a lover who’s moved on is on his mind as he drives into the night. A delicious chorus over an easy rhythm that places this somewhere a couple of decades back in sound. Johnson is never hurried and he considers and lives every word he sings.
A couple of the songs cover his current condition and state of mind. Sober is a slow and bluesy ballad with a lachrymose harmonica about his continuing battle for sobriety. I’m Tired of it All with Randy Houser is a classic touring showman’s weary assessment of his life and its waning attraction. With that emotion 21 Guns mines his own military experience: he was a US Marine for six years. The lyrics are beautiful and relate to a soldier’s funeral – “And there ain’t words to say / How proud we all are of you, son / Nothing says job well done / Like twenty-one guns”.
It’s not all downbeat and Saturday Night in New Orleans, a co-write with Chris Stapleton and Tony Joe White, is an atmospheric Southern swamp funk with words that paint a picture of debauchery as a trumpet wails. Doctor John would have been proud. Most of the songs are co-writes but Trudy is a Charlie Daniels cover and blissfully rolls like Little Feat. Some funky rhythm and brass accompany a complicated story about a card game and an importune accusation of the meanest man in Dallas of cheating. Needless to say he was not impressed and our hero now fears for his life.
Johnson exudes a certain insouciance with What You Answer To. It reflects on the names you get called. There’s a play on words with being called, whether on the phone or as a name. The answer to this variety of greetings is simply to respond to the name you accept.
For all his lack of records he tours regularly and can be found criss-crossing the USA but having new material is a boost. It’s good to have him back. Let’s not leave it so long next time?
With an album recorded at the beginning of the year Strings is back. In the interim he’s been touring and debuting the songs. A fan delight amongst comments on his social media is that they’re now recorded. His trajectory has been vertical. Widely feted by music or broadsheet media as a precocious talent; the narrative has been that he’d kicked his early years substance misuse and grew up with a taste for rock but whose heart lay in roots music after the influence of his stepfather. Always a major bluegrass act he’s now one that’s global.
We should treasure Strings for many reasons but not least because he’s made bluegrass an arena genre and brought it to many new ears. With so much pap filling the country charts and arenas it’s heartening, that with no compromises, he’s packing them in. He’s a musician who’s stretched the genre and popularised roots music with his rockstar vibe. This release, with its muscle car sleeve, is traditional roots music and throughout you are bathed in his acoustic mastery along with some other brilliant players in his band.
Strings wrote or co-wrote all 20 tracks and I’m pleased to see Thomm Jutz help out on three. The musicianship is peerless throughout with banjo (Billy Failing), bass (Royal Masat), mandolin (Jarrod Walker) and fiddle (Alex Hargreaves) keeping pace with his guitar pyrotechnics. Whilst faithful to bluegrass throughout there are a breadth of ideas and sounds within the genre. Three instrumentals sit with songs with his vocals that contain interesting lyrics whether a traditional dark and haunting bluegrass story about murder (My Alice), sad and happy love stories (Be Your Man, Don’t Be Calling Me (At 4AM) and Cabin Song), hell raising (Leadfoot) and smoking marijuana (MORBUD4ME and Catch and Release). On this latter song Strings tells of driving to a fishing spot whilst enjoying a smoke. Unfortunately, a State Trooper detains him by the side of the road and detects the dreaded weed. It’s all done with a Charlie Daniels’ comic tongue in cheek delivery à la Uneasy Rider.
Strings has a pleasing tenor voice and on occasion it’s a focus such as on Leaning on a Travellin’ Song that starts with just male harmony vocals over an acoustic guitar that delight or the sublime accapella Richard Petty (a dearly departed NASCAR racer) and Stratosphere Blues/I Believe In You where he slips from bluegrass to sophisticated folk. It’s maybe here that you detect the fingerprints of John Brion who co-produced the album with Strings. Seemingly Brion has no prior credentials in country or roots music yet has previously worked with singer songwriters such as Aimee Mann and Fiona Apple. An hour and a quarter of solid bluegrass might not be my chosen destination but this album is so sweet, jammed with melodies, phenomenal musicianship and enchanting vocals that I shall not complain as it sweeps up, royally, in the end of the year polls and awards.
For what is a fine album I must declare a disappointment. I’d long harboured the romantic notion that the band’s moniker came from the rifle of the same name. I’d envisaged an album sleeve like The Eagles’ Desperado classic with hirsute outlaws (creating havoc before presumably galloping into the sunset.) Hey-ho, it turns out to be Isaac Gibson’s early home address in Castlewood, Virginia. However, that’s the end of the disappointment as this is an important listen with Gibson’s voice and tunes being the draw.
The sound is the rockier end of country. However, it’s an organic sound with arrangements that include pedal steel and fiddle often with an acoustic foundation. There are no session musicians watching the clock here. The band are still young and originate from around Castlewood where Gibson started his musical career in school. The title track is about a break up and leaving the ‘Holler’. They’re the valleys of the Appalachians. Gibson unleashes his winsome and yearning baritone to tell us of his heartbreak and his need to flee. Maggie Antone duets and adds pleasing harmonies. Fast Asleep intriguingly employs the Czech National Symphony Orchestra, as you do! Someone knew a contact and they stepped up and contribute considerable beauty to what is actually a sad song about fractures in a relationship. Bus Shelton’s tasteful electric guitar solo is sublime.
Much to my pleasure some tinctures of Southern Rock creep in on the love song Rest of My Days where some brass also gets in on the act. Traveling Band, about the grind of following the white lines of the Interstate has the same feel, whereas Yearnin’ For You must be a future crowd pleaser as a delightful melody sits on top of a galloping two step rhythm. Anchor signs off the album. The orchestra returns as this slow burning track builds into something of a power ballad with Gibson seemingly being put through the wringer as he wrestles with internal strife. Truly epic.
It’s a very tight, together sound with quality arrangements from Stewart Myers. This is his second outing with the band and follows 2022’s Fortune Favors The Bold. The band have enjoyed a growing profile and fanbase with international touring. With Gibson’s song writing, his voice and this excellent band it seems that this release will only accelerate their fortunes. A 2024 highlight for me.
Juanita was an archetypal wannabee who arrived in Nashville with a guitar, dog and a head full of songs in her early twenties. She’s since been paying her dues by gigging around Music City as well as getting some higher profile support slots. The delight is that Juanita (a nom de plume) writes and sings traditional country music. Most of the compositions here are from her own pen. She’s talented but the album catches fire after teaming up with Mose Wilson, another traditional country music artist with his own career, to co-write a few of the songs and for him to play on and produce the album: it’s a superb partnership. I have to credit the other musicians on the album who elevate the whole affair, none more so than Jeff Taylor on piano. As records go this is all killer and no filler.
Fortune has a lilting pace where she mourns that fortune has left her and now she’s left with her mistakes in the tricky business of love. I especially love Jeff Taylor’s accordion and the vocal harmonies she creates with her own double tracking. If the lyrics are comfortingly predictable then Granny’s Cutlass Supreme shakes things up. Here grandma in a bikini (?) and martini keeps her Oldsmobile in a tip-top-tastic condition with polish and elbow grease. This nonsense enjoys a funky rhythm plus some gruff and deep vocals from Riley Downing (The Deslondes). There’s plenty of references to Honky Tonk in the lyrics and Honky Tonkin’ For Life – “When the music starts / I feel it in my heart / Singin’ is the life for me / I’m a honky tonk angel” reaffirms where her happy place is as the electric guitar picks, the pedal steel serenades as the snare keeps a steady beat with the bass. Certainly, this is one for a trip on to the hard wood floor.
We finish with the heartbreaker Blue Moon. Her voice, with a minimum of accompaniment, starts as a beautiful siren call as she laments that having thought she’d moved on from a lover she ends up melancholy with the appearance of the lunar vision. The song builds from an acoustic guitar and slow honky-tonk piano to strings. This is a heartening collection that encourages you to believe that along with other contemporary artists such as Sierra Ferrell, Brennan Leigh and Summer Dean there’s a female traditional country scene laying down a fine body of work to help us all keep the faith.
Alvin and Gilmore have long careers in American roots music with notable separate catalogues compiled within the Blasters, Flatlanders et al before striking out solo. Along the way Alvin collected a Grammy and Gilmore was nominated. Both artists have toured continuously over the years and upon a recommendation decided to pair up and have since toured together off and on. This is their second joint release of covers and original material.
Alvin and Gilmore only duet on four songs: The Death Of The Last Stripper, Betty And Dupree, Down The 285 and We’re Still Here. The latter is a jaunty piece of rock n’ roll that acts as a homily to their longevity. With Gilmore in his eightieth year and Alvin having battled cancer there’s no doubt they’re survivors. The album’s an excellent mix of americana, blues and storytelling. Gilmore starts the album with Borderland, his composition with engaging lyrics about life on the Texas border. Gilmore has reedy vocals like Willie Nelson that seem deft at picking through a story. The excellence of the band (The Guilty Ones) immediately strikes you: fluid, discrete, sympathetic and able to switch between moods and sounds seamlessly.
The album title originated from the origins of the artists with Gilmore from Texas and Alvin from California, something both are proud to emphasise. Alvin’s sound is less americana with a blues tinge. Blind Owl sees him in Kansas in hot midnight rain after a gig contemplating the next town. With a chugging riff that develops into sleek rock whilst propelled by harmonica as Chris Miller on electric lead delights. Alvin delivers the vocal in his part talk and sing style. (‘Blind Owl’ refers to Alan Wilson, a member of Canned Heat until his early death, and a song Alvin wrote and has performed with Canned Heat.)
This is a beautiful listen by two accomplished troubadours with a fabulous band in support. It’s heartening to have a selection of songs with interesting lyrics that give up something new on every listen. Class will out, top drawer.
Johnny Blue Skies is Sturgill Simpson: a nickname given to him by a barman in Kentucky decades ago. He doesn’t now plan to release solo albums under his own name. Apparently he’s no longer that person. Given the twists and turns in his career then this decision is just another curved ball from this intriguing maverick.
He came to prominence with two Dave Cobb produced albums in 2013 and 2014 that were straight country with Outlaw vibes. What was clear was that his rich baritone could hold a tune and he could write one. Exhibiting an attitude and personality along with alluring musicianship the albums were rightly coveted. At this point a major record label seized him, promoted him heavily and his next release, A Sailor’s Guide to Earth, bagged a Grammy. Frankly, I found this release to drift away from the good work he’d done on his earlier efforts but it did demonstrate his ability to purvey more than country.
At this juncture Simpson produced two fabulous albums for, debutant, Tyler Childers, fell out with the music industry, released an anodyne rock album (Sound & Fury), got to a position where he needed to take time out due to substance misuse and all along dabbled in acting. In 2020 he was back with some splendid bluegrass on Cuttin’ Grass Volumes 1 and 2 before2021’s excellent The Ballad of Dood & Juanita.
His latest release takes him back to the 1970s with americana, Southern Rock and blue eyed soul. There are also one and a half tracks of country here: Who I Am, and the Jimmy Buffett pastiche, Scooter Blues. The rest takes me back decades and the tunes could have come from The Allman Brothers Band, Cate Brothers or even the Average White Band.
During its incubation he’s been travelling collecting his thoughts and creating space from the USA and the music industry. France was one destination and we start with an accordion and violin on Swamp Of Sadness. It’s seton the streets of Paris and the song builds to go gently electric to “Spend my days in a haze, floating ’round in the Marais / Nights under the bright lights at Mignon on Beaumarchais.” The French capital is where he wrote most of the album and hence the exquisite sleeve photograph. (Scooter Blues originated in another location on his sojourns, Thailand.)
The blue eyed soul of If The Sun Never Rises Again could have graced the charts both sides of the Atlantic back in the day with this slow lilting dance tune and a lyric about restoring his intended – “All we need is starlight in our eyes”. Jupiter’s Faerie is haltingly about a suicide and the mournful delivery reminded me of its virtual namesake Drops of Jupiter by Train replete with 80s strings. Mint Tea is straight Southern Rock and Simpson’s sparse yet tasteful lead guitar is a complete treat, it grabs the song and hoists it high for all to marvel. The soft rock of One For The Road wades in at just under nine minutes and is a cathartic love song with words such as “I wanna taste all the grapes on your vine / I wanna leave all your bottles empty and broken / I wanna say that you’re all mine / But words are often better left unspoke.”
He’s a complicated chap who’s cerebral about his view of the world and his place in it. Simpson can turn to treasure the music he makes; this album is another chest full. It’s an easy, mellifluous and delightful listen. Despite my protestation about its tenuous sonic links to country music I fear it’ll appear on some end of year lists but, hey, I lost that battle a long time ago. Enjoy.
The lights went down and the full house at The Barbican roared as Rateliff energetically declared his arrival with Suffer Me. Not missing a beat, we were through three songs before he paused to acknowledge the crowd and give the first of his heartfelt thanks for everyone coming out; he was quick to point out it had been a long journey from his modest start in Missouri to sell out tours in Europe. Now fêted in americana circles it was clear that his appeal was to a crowd that liked to dance and wanted irresistible rabble rousing choruses. I can confirm that once exposed to his irrepressible charms then resistance is futile.
Like continual starbursts the eight piece band played a storm of rock n’ roll, old fashioned R&B with flourishes of Stax soul and gospel. The fact that Rateliff records on the latest incarnation of Stax brought to mind the Memphis Horns with saxes (baritone and tenor) working the audiences’ hips and feet like puppeteers and a trumpet for good measure creating some true highs. I’m On Your Side, also from his 2021’s The Future, confirmed, if you’d had any doubts, that here was a mesmerising master craftsman at work, often pacing the stage and switching between piano, acoustic, electric rhythm and lead guitar.
Songs from four albums made up the set list with a debut, for the British audiences, of tracks from his latest release South Of Here. If the audience were less sure about these new songs due to their lack of familiarity then on the remainder including Intro,Love Don’t, Hey Mama, You Worry Me and a cover of Springsteen’s Dancing in The Dark the joint jumped. Young and old alike leapt around with hands in the air, spilling beer and being transported whilst joining Rateliff on the choruses.
Returning for a couple of encores S.O.B. was the most animated I’ve ever seen the venue over my regular attendances; I’ve never seen such a consistently high energy set. It was one of those gigs where you just had to be there. If there was ever an artist who probably released great albums but was best experienced live then he’s the epitome. I implore you to make sure you get a ticket for his next UK visit. I will.
A walk along Nashville’s Lower Broadway on a Saturday night is an assault on the senses. Bar after bar, on up to three floors, is blasting out repertoires from George Strait to Guns N’ Roses with live bands. The noise is immense as are the crowds of ‘out of town revellers’ in T shirts, shorts or short skirts; many with cowboys hats and boots. It’s a sight to behold as this sea of flesh hunts hedonistic delights. At the bottom of the strip is Eric Church’s new venue Chief’s. It’s here on the third storey, where the hardwood floor has been filled with chairs, the crowd are awaiting the appearance of a South Carolina belle.
It’s twenty years since Robert’s released her eponymous debut and this is an anniversary party. From being the PA to a record label boss she found, in short order, that she had a Top 10 release and was well on her way to being a new important country chanteuse. That album undoubtedly remains an early millennium classic but for several reasons her career faltered after a few years and her output has been sporadic as well as her appearances since. Managing long term health challenges (MS) has been a necessity yet on stage this night she was perpetual motion in sparkling stage outfits that failed to eclipse her personality: excitable, warm, kind, often hilarious and slightly scatty.
Debut album in 2004
It may have been party time on the street below but she soon had the sell out audience up off their chairs and joining the choruses. The whole night was participative yet intimate. Break Down Here, a Top 20 hit off the album, is an earworm gem and it came up early as she played the song in the order of the album. An uber excited audience was singing word for word as Robert’s beamed from the stage enjoying the ‘love’. Her gift, the voice, is a joy to hear as its expressive plaintive tones can bring you heartbreak, despair or longing. With many anecdotal detours she delivered the eleven songs with a five piece band that notably had her husband, Matt Baugher, on keyboards and Mark Oakley on electric guitar.
After an intermission where many of the audience, mainly from the southern States but some further north had refuelled she returned to play songs mainly from her 2022 release Ain’t In No Hurry. This album took several years to compile with Shooter Jennings producing. It boasts contributions from Erin Enderlin and duets with Jamey Johnson and Randy Hauser. Whilst it had its moments such as a cover of K T Oslin’s Do Ya’ where Robert’s demonstrates her Southern Soul credentials the selection of songs brought into sharp relief how exceptional her debut was. After Men & Mascara we had another run through Break Down Here and then before the encore, where she could thank all the individual members of the band again or express her gratitude for us all coming out (again!) we found the exit and another bar where duelling grand pianists were running through Elton John’s catalogue, after all the night was young.
Campbell is a genuine legend. He was a stellar musician and multi-million recording artist. His catalogue is often peerless. Sadly, his later years were difficult due to battling Alzheimer’s before his death in 2017. There was much coverage during his decline showing the challenges. Throughout these latter years, during the onset, he continued to record; this album is mainly a rework of 2011’s Ghost On The Canvas. This reimagining involved re-recording the original album and inserting some duets. The arrangements are brighter than the original with a contemporary feel. You might be forgiven for wondering why they’ve bothered? I did but came to welcome the project.
The original release is a fine, probably neglected, album that can stop you in your tracks as Campbell poetically sings about his ‘confusion’ and gradual slipping into a state that makes him forget his loved ones. However, with bravery he sings about this journey with no rancour yet resilient reflection on a life well lived. Julian Raymond (producer, now and in 2011) wrote much of the album, with great sensitivity, with Campbell and the sound is hallmark/classic Campbell: string drenched, cinematic 60s pop/easy listening embellished by his never rushed tones and those guitar flourishes that he had the talent, in spades, to deliver.
This album retains the original vocals (obviously) and you can admire Campbell’s mastery; the poignancy of the backdrop of his condition is never far from your mind. The songs are duets with artists who don’t normally turnout such as Carole King, Daryl Hall, Brian Wilson and Eric Clapton. (Other contributors include Elton John, Sting and Dolly Parton.) Brian Wilson worked with Campbell in the Beach Boys and Raymond adds some nostalgic 60s Beach Boys harmonies. Like most of the songs on the album Campbell and Wilson don’t flinch on delivering the unvarnished truth: “I am a broken prize all neatly wrapped but cracked inside / All the king’s horses and all his men, they lied / As I look at you and at my life, what do I see? / The person that I wish that I could be.”
Another brutally honest lyric comes from a song Raymond wrote for the 2015 Glen Campbell documentary I’ll Be Me “ I know I’ll never be the same again / I hope I’ll still remember you / Above it all I know our love will transcend / On my long walk home”. This is a duet with Hope Sandoval (Mazzy Star), she’s a surprise choice to join him on this, yet a superb pick. Campbell seems to get little mention in country music circles nowadays and if to address the deficit Eric Church joins him on Hold On Hope and delivers one of the album highlights.
The original album with such excellent songs was always a great platform and this 2024 version is a fine and touching piece of work. Also, If you get to listen to the original you’ll be in for a treat.
Country music fantasises about rural America: church, family, John Deere, small towns and endless dirt roads. The irony is that many of those who proselytize are often winners of TV talent shows that took them away from graphic design or tele sales jobs. So up steps, Aussie, William Alexander and believe me he’s walked the talk and has the blisters on his hands as an itinerant stockman working in the wide-open spaces of New South Wales to sing about a rural life.
Here there are sun baked, self-sufficient folk, living in settlements maybe a hundred miles from the next, temperatures settling for months above 35°C and a no nonsense focus on feeding the world. If you visit the countryside in NSW you’ll find it hard to discern the difference between here and, say, Kansas as the lonely 18-wheel Macks and Kenworths rumble up and down the highway.
In between tending his cattle Alexander picks up his acoustic guitar and plays Western songs about these communities and their histories. On this magnificent album he wrote six of the ten songs; the remainder all originate from Australia. The unofficial shearer’s trade union song Castlereagh composed by “Banjo’ Paterson is a tour de force. Paterson is famous for writing the nation’s unofficial national anthem Waltzing Matilda. Here, our shearer and general station hand is sick of working for low pay and has disdain for the ‘scabs’ who do. The endless roaming for work and scenery painting in the lyrics is a cinematic history lesson in its own right.
All You Need To Do starts with a wonderful low yodel followed by some pedal steel and then Alexander’s very special, irresistible, tenor arrives with a lullaby ballad that reminded me of Elvis‘ Love Me Tender in its arrangement and poignancy. Away from the sonorous ballads and social history he can cut a rug and Blackwood Town is a lively two-step where Tommy Brooks’ pedal steel lights things up as he speculates about hitching a ride for a night out in town. Of a similar pace is the Happy Singing Bushman, a melodic highlight with its gentle paced playing. Again, it’s the voice that captures you.
When I could message Alexander, after all he’s a busy man and hardly sat at a desk, he cited his musical influences to be Slim Dusty, Tex Morton, Buddy Williams and Colter Wall. In fact, Wall, the most prominent and successful of recent Western players, comes to mind when the proverbial needle hits the groove on this release. If you think that Wall had the help of Dave Cobb and RCA Studio A to record and release his collections then here, without all that resource, the song curation and excellent production are similarly as sympathetic and true to the original genre. Truly fabulous.
Beyoncé’s latest release has made mainstream news headlines. The album has been promoted and accepted by many critics as her moving her tanks onto the lawns of the country music industry seeking acknowledgement of black artists’ contribution and the freeze out nature of Nashville. I think the narrative gains traction because critics see country music as a Southern pre-occupation and, frankly, the politics down there probably aren’t theirs. However, before we get to the music she was clear before its’ release: “This ain’t a Country album. This is a Beyoncé album.” True and in many ways I could finish the review here.
During Covid she decided to write a trilogy of albums of which Renaissance, in 2022, was the first, a dancefloor album. Here the lyrical themes were about black and gay tribulations. The second in the series, Cowboy Carter, moves on to replicate the format of a collage of songs, talk and samples with icons of the genre but this time addressing black artists, their marginalisation in the genre and how this and other heritage white music played a role in her own musical education.
American Requiem presents her credentials to be considered ‘country’ because of the activities of her forbears, her, maybe, modest upbringing and striving (more of this in 16 Carriages). It seems clear that Nashville’s hostile reaction to her 2016 CMA’s appearance with The (Dixie) Chicks still stings. On the record she’s worked with some lesser-known black country music artists and Dolly and Willie have walk on parts either introducing songs or pretending to be a country music DJ (how could they resist the royalties!)
However, apart from the smash hit line dancer Texas Fold ‘Em and the Jolene cover there’s no discernible country music over the 78 minutes. There are references in several lyrics to country tropes such as ‘Marlborough Man’ but the accompanying music could be hip-hop or some such. Throughout she has used a number of country music artists to play or sing and whilst most are not discernible there are some snatches such as Tyrant that recycles Cam’s Diane.
I’ve mentioned the country moments above but there’s a deep dive into Beyoncé’s white music influences with samples of the Beach Boys, Nancy Sinatra and a faithful cover of Paul McCartney’s Blackbird, the latter having a lyric about a Civil Rights event that seems in keeping with themes raised here. Similarly, if you listen closely you’ll hear a fraction of Sister Rosetta Tharpe, Chuck Berry and Son House making the point that they’re black but have influenced country. On most of the songs she uses traditional instruments, which nicely distances this from her R&B output, including acoustic. There are sumptuous harmonies throughout that give many melodies allure.
One critic on BBC Radio Four did concede that whilst most of it sounded nothing like country then the storylines were pure country! Tenuous would be a kind summary of their attempt to bolt it onto the genre. Like me you may have hoped that this was her Modern Sounds in Country and Western Music (Ray Charles) or even a brilliant covers album like Almost Blue (Elvis Costello). Instead, there are a lot of genres briefly covered and discussed with several spoken interludes.
For all that, it’s an excellent pop/soulful album bursting with melodies, interesting arrangements, intriguing samples and complex yet fresh production. I liked it and it went a long way to explaining how she’s amassed $1.16 billion with her husband, Jay-Z, and scooped up 32 Grammys along the way. She’s had a hand in all the original song compositions, arrangements and production. She’s a formidable talent not least for the curation worthy of a musicologist.
She puts in the words of Linda Martell a lecture about genres, and more to the point that they shouldn’t exclude. This is a clumsy message directed at the industry. Genres are a retail tool to categorise certain sounds to enable their promotion and sale. When’s the last time you turned your back on a good song because it wasn’t country?
So, stand by for it being lauded in the Grammys. Texas Hold ‘Em has probably done enough to earn a gong but I shall be dismayed, and even more detached from the Big Label music corporates, if they dare put the album near a country music category.
Blackberry Smoke reconvened in Nashville’s RCA Studio A and continued where they left off from 2021’s I Hear Georgia. The ‘live’ sound continues and the songs could have come from the same sessions judging by their similarity. This is their eighth studio release and should follow their last record to Number 1 on Billboard’s Americana/Folk chart.
Riff heavy rock n’ roll is always going to find an audience and Blackberry Smoke have a large following. In fact they may be an audience whose record collections place their tastes somewhere between 1971 and 1978 when the large beasts Lynyrd Skynrd, Little Feat and The Rolling Stones bestrode the planet brandishing a bottle neck slide on their fourth finger. Clearly some are still out there ‘playing the hits’ but Blackberry Smoke is releasing new songs yet the whiff of nostalgia hangs heavy in the air.
The opener, Dig A Hole, is the brightest track here with a funky introduction; Charlie Starr steps up to the microphone and the band quickly finds a deep groove as we move toward the earworm chorus. As a signpost of what’s to come this song contains all the vital ingredients: wailing Banshee girly backing singers, a dab of B3 organ or honky tonk piano, some blissful howling heavy guitar signatures and a drum beat that’s so deliberately brutal that the police must be still looking for the perpetrator.
There’s some shameless appropriation such as Little Bit Crazy. It starts with a Stones riff and groove that’s driven by some Nicky Hopkins-esque piano as an ersatz Keith Richards’ lead squalls over the pungent rhythm guitar. It’s terrific but change the vocals and you’d hope it’s from the latest Rolling Stones album. There are some dialled down moments such as Other Side Of The Light that’s written from the perspective of a young boy on an obstacle filled road trip. The acoustic guitar intro gives way to some slide and the best melody on the album that has a wonderful chorus. Whatcha Know Good is another understated song and a co-write with Brent Cobb. It’s an antidote to our doom laden media where this character is seeking some positivity. Amen to that.
The album is solid over its 10 songs and it’s a much loved sound. Blackberry Smoke don’t just blast you with rock band antics but also great tunes and choruses. It’s an enjoyable listen from when the needle hits the vinyl.
PS I have tickets, with the present Mrs Ives, to see the band in Manchester in September. Must dig out my loon pants and a bandana!
I spend a lot of time conflicted with my music. I receive so much of it and can never do it justice by listening it properly. Do you remember when you were younger and when you bought an LP or CD you nearly wore it out? Now with the availability of music through the radio, podcasts, streaming, downloads, CD’s and vinyl it’s hard not to become buried by it all.
I must have received around 80 albums of country music or americana to download from my editor at Country Music People (CMP), various monthly emails from PR agencies promoting their artists and then the occasional album I buy myself. The Mighty Jessney of Vixen 101 gifts me another 40 or 50 blues albums and then I see the odd CD in a charity shop and then there’s vinyl…
As part of a return to being a teenager I’m slowly acquiring a lot of vinyl released between 1970 and 1980. Happiness is a record store in a holiday destination. In Malaga I found a new release of 60s ‘golden era’ country music from a Swedish band, the awesome Country Sound Of Harmonica Sam! Such a discovery seems spooky in Spain but if you search you can find all sorts. In the bargain bin in Auckland I found the second album by Zephaniah Ohora, a fabulous New York based country artist in the bargain bin! There’s no way I’d ever find this in the UK. Providing your luggage has a large flat space you can bring quite a bit of this stuff back! Generally new vinyl is a deplorable price with most new releases well over £25 and then considerably more for the major artists. I’m more of a second hand vinyl guy and over £15 makes me start to feel faint. However, I’m childishly pleased to have snaffled lots of second hand Wishbone Ash, Santana, Steely Dan, Average White Band, Wilson Picket, Buck Owens and Be Bop Deluxe in the year.
So a top 10?
1. Stephen Wilson Junior – Søn Of Dad
his came via Country Music People and I’d never heard of the artist before. It’s a showstopper of a raw boned wham of an outing veering between country and americana with a lot of rock thrown in. Great lyrics, arrangements and thoughtful lyrics captivated me. His videos on YouTube were the final seal on my thinking I’d discovered a future star.
2. Jaimee Harris – Boomerang Town
At The Crescent in York she was supporting Mary Gauthier and her set was wonderful. Her singer songwriter album displays her siren of a voice. When coupled to some great melodies and often dark lyrics there’s a maturity and authenticity that make me think she’ll one day get a big break.
3. The Country Side Of Harmonica Sam – Back To The Blue Side
This unpromising band name is the country vehicle for Sweden’s Harmonica Sam (Samuel Andersson) who plays ‘golden era’ country. I found this album in a Malaga record shop (Sleazy Records), this shop also had a record label and this was one of their releases! The shop was fully of rockabilly, early 50s rock n’ roll, country, surf and other 60s sounds. After finding this place I’d thought I’d gone to heaven or was having an out of body experience! This album is early 60s country with original compositions and covers. We’re planning to get to Malmö now!
4. Jon Byrd – All Your Mistakes
This nearly escaped my attention amongst all the music I receive but on the first play this selection of originals and covers captivated me and became a ‘go to’. It’s traditional country oozing with pathos, sincerity and drenched in pedal steel. What’s not to love?
5. Ashley McBryde – The Devil I Know
Now riding high in Nashville and the charts she’s a big star. However her ascent has been a long climb and now at forty her talent has won through. This is her third release that has consecutively made my end of year lists. Straight country with tunes, humour, sentimentality and no little verve
6. Brennen Leigh – Ain’t Through Honky Tonkin’ Yet
This long time female troubadour sings a batch of honky tonkers and ballads with the comforting themes of cheatin’, drinkin’ and lyin’! Slightly care worn but she’s still battling. Fabulous, the real thing.
7. Cody Johnson – Leather
It’s never too early to go back to the 90s and he’s leading the charge with this quality song packed album beautifully played and produced. There’s a variety of sounds and always an interesting lyric. He’s near the top of the Nashville pile at the moment. No wonder why.
8. Elle King – Come Get Your Wife
Take a voice with a lot of personality and experience of singing many genres then couple it to some fabulous contemporary country songs and the production of a top producer and you have a gem.
9. Steely Dan – Two Against Nature
Back to over 20 years! I discovered this lurking on my shelves and played it a lot. This was the last Steely Dan release and it’s passed over as it follows they’re golden period by 20 years when their classic albums were released. So it was great to hear some sophisticated rock, jazz, funk with arresting lyrics. A great band.
10. Wishbone Ash – Live Dates 2
Another retro pick from 1980. I came across the vinyl at a record shop in Beverley, East Yorkshire and loved it from start to finish. Live Dates One had the hits and no doubt spawned the idea to release a second volume. This a truly great rock album.
So 2024 will mean listening to lots of new music including a comforting dose (of hunted down) old rock and soul. Bring it on!
Byrd has been on the scene for a long time and his biography talks of various bands in the 80s and 90s in Atlanta. He then relocated to Nashville at the turn of the century where he performed as a sideman on his Telecaster. However, over the last few years he’s been performing and releasing his own songs; this is his 5th album where he co-wrote half the compositions whilst cherry picking some exceptional covers such as Johnny Paycheck’s (It Won’t Be Long) And I’ll Be Hating You.
I nearly missed this album as it arrived amongst the weekly downloads that populate my inbox claiming that the future of music on Planet Earth resides in the MP3’s in the attached folder. It’s a wonderful authentic ‘golden era’ country album of ten songs that exudes immense charm and craft. Golden Colorado starts the album and is a laidback shuffle with Paul Niehaus on pedal steel (Lambchop and Calexico) shadowing his vocal before some 60s strings fill the spaces. It’s a love song about a girl who’s lured him to this rugged and often wild State. A perfect start.
His co-write with Stephen Simmons of Miss Kitty’s Place is a piece of reminiscing at a favourite bar sadly now a vacant lot. When we leave the shuffle we find some sophistication with City People and Why Must You Think Of Leaving. They remind me of the country sound of Glen Campbell. All good things come to an end and he saves the best till last. It’s Bill Trader’s (Now and Then There’s) A Fool Such As I. It’s been covered by everyone, but no doubt the biggest royalty cheques came via Elvis Presley’s 50s rock n’ roll version (although I wonder if Colonel Parker negotiated away some of the writer’s royalties?) Byrd’s take is stripped back and sentimental, a pure country version with acoustic guitar and pedal steel.
It’s a tuneful collection that sounds like it’s been created with a lot of love amongst seasoned musicians. There’s not a misstep here and I love the way his pure yet lived in voice comfortably fits every song with a shrug of the shoulder sentimentality that makes you believe he’s lived every story he sings about. The album will make it into my end of year list at a canter. Wonderful.
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