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7/1/2022 Chastity Brown (from Sing to the Walls
Chastity Brown (from Sing to the Walls on Red House Records) (by Lee Zimmerman)
Chastity Brown is no newcomer. A soulful chanteuse, she’s been releasing records for the better part of the past 15 years. Yet, for those who remain unaware, she could constitute a remarkable discovery. With Sing to the Walls, her seventh offering to date, she asserts herself with a command and authority that leaves no doubt as to her dreams and desires. In truth, that’s been evident from the outset. Discovered at the famous Bitter End in New York — the launching pad for innumerable artists in decades past — she went on to reap critical acclaim from NPR and a host of respected publications not only in her hometown of Minneapolis, but other places well beyond. And though she’s shared stages with the likes of Dar Williams, Raul Midon, and Leon Russell, it’s also evident that she’s a star that only lacks the wider recognition. Sing to the Walls makes that clear, and while the material runs the gamut from the assertive to the sublime, there’s not a single song here that fails to make a formidable impression. “Wonderment”, for one, lives up to its name, while the assertive strains of “Back Seat” and the soulful sensibilities etched in “Loving the Questions” reflect the full gamut of her intents. Brown is, after all, a master of expression, and every one of these ten entries demonstrates that fact in one way or another. Ultimately then Sing to the Walls speaks to Brown’s strengths, that is, her ability to effectively convey her feelings in ways that are eloquent, evocative and expressive. She’s not only an artist of considerable merit, but one who possess that indomitable spirit that defines the best singers and songwriters of past generations, those in particular that lay their feelings on the line. If justice is served — and hopefully it will be — Chastity Brown will finally garner the kudos she so decidedly deserves. (By Lee Zimmerman) Listen and buy the music of Chastity Brown from AMAZON For more information and purchase options, please visit the Chastity Brown website The Blog Tags widget will appear here on the published site.
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7/1/2022 Matt Andersen (from House to House
Matt Andersen (from House to House on Sonic Records) (by Lee Zimmerman)
Matt Andersen is one of those artists who’s able to grab immediate attention on first hearing. He doesn’t do it by the use of glitz or glamor, but instead, manages to win listeners over with abject soul and sincerity, imbued with a genuine emotion that’s consistently honest and evocative in equal measure. With his latest effort, House to House, this seasoned yet stoic singer and songwriter from Perth-Andover, New Brunswick conveys his sentiments through a series of reassuring melodies that bring that his passion to full fruition. It’s a decided change of pace for Andersen who, up until now, has shared songs mostly borne from the Blues. That’s reflected by the fact that he’s toured with any number of like-minded artists, Buddy Guy, Bo Diddley, Gregg Allman, the Tedeschi Trucks Band, Beth Hart, and Jonny Lang, among them. In addition, in 2009 he received significant recognition from ECMA (East Coast Music Awards) — Male Solo Artist of the year and Blues Recording of the year. He’s continued to receive recognition from that organization while also reaping awards from the International Blues Challenge (the first Canadian to do so) and Canada’s own Maple Blues Awards as well as a Juno nomination. With House to House, Matt Andersen opts for a mellower stance, one that finds him relying primarily on acoustic guitar sans additional accompaniment. Nevertheless, that stripped down approach doesn’t dilute the power or the passion so firmly instilled in each of these performances. Opening track “Other Side of Goodbye” offers a riveting refrain and a stirring vocal to boot. “Time for the Wicked to Rest” is a rousing declaration of the need to stand up for righteousness and put the evil the world’s experienced of late aside, as conveyed through Andersen’s repeated recitation of the mantra shared in the title. Mostly though, he offers songs that are somewhat more subdued, but regardless, the sound that rings through such evocative entries as “Let Me Hold You”, “Peace of Mind”, “See This Through”, and “All We Need” brings a sweeter sentiment front and center. Here in particular, Andersen proves himself to be a uniquely powerful performer capable of inspiring his listeners through his spiritual entreaties. Capping the album with the classic call to arms “People Get Ready” reaffirms that fact completely. So too, given that optimism is in such short supply these days, Matt Andersen provides the perfect tonic for our times. In that sense, House to House brings it all back home. (By Lee Zimmerman) Listen and buy the music of Matt Andersen from AMAZON For more information and purchase options, please visit the Matt Andersen website Spotify EMBED: <iframe style="border-radius:12px" src="https://open.spotify.com/embed/album/120E5ApM0a40DxBE42tK0r?utm_source=generator" width="100%" height="380" frameBorder="0" allowfullscreen="" allow="autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture"></iframe> The Blog Tags widget will appear here on the published site.
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7/1/2022 Barney Bentall (from the album Cosmic Dreamer
Barney Bentall (from the album Cosmic Dreamer on Golden Cage Music/True North Records) (by Lee Zimmerman)
A Canadian treasure, Barney Bentall gained famed in the Great White North courtesy of his 1990s band Barney Bentall and the Legendary Hearts and quickly expanded his notoriety through a series of solo albums beginning in 2006 and continuing through the present day. His son Dustin Bentall continues that musical tradition, but even so, the elder Bentall shows no signs of slowing down. And while his fame may be somewhat limited south of the border, his musical mantra remains undiminished. Bentall’s latest, appropriately titled Cosmic Dreamer is a lovely piece of work, expressly initiated by two beautiful ballads, “Cosmic Dreamer” and “Whiskey Jack”. Barney Bentall applies a tender touch, with keyboards, mandola, mandolin, and, on the latter, violin and pedal steel underscoring the arrangements with a supple caress. “Why Are You So Sad”, “No Good Time To Go”, “Potter’s Wheel”, “Shadows”, and “Soul Sister” touch on personal circumstance and, in so doing, help sustain that exquisitely mellow mantra. In that regard, a cover of Dylan’s classic “You’re Going to Make Me Lonesome When You Go” from Blood on the Tracks and the seductive sway of “Oh Foolish Me” share the ache and heartbreak felt in the aftermath of a severed relationship. One of Bentall’s strengths lies in his ability to convey sadder sentiments from his own unfettered perspective, giving them a universal appeal well within reach of anyone who’s ever experienced a similar degree of distress and disappointment. It is, in fact, evidence of Bentall’s common connection to his own humanity. The uniform excellence of Cosmic Dreamer ought to leave no doubt as to the fact that Barney Bentall has ascended to the uppermost heights of today’s top tier of contemporary singer/songwriters. So, while Cosmic Dreamer may come across as a singularly somber affair, it’s one that resonates with calm and contemplation in equal measure. This is an album that those who experience it are likely to cherish for years to come. While certain songs may bring its listeners close to tears, the appreciation is both ongoing and affecting. (By Lee Zimmerman) Listen and buy the music of Barney Bentall from AMAZON For more information and purchase options, please visit the Barney Bentall website The Blog Tags widget will appear here on the published site.
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7/1/2022 The Slocan Ramblers (from the album Up the Hill and Through the Fog
The Slocan Ramblers (from the album Up the Hill and Through the Fog available on SloMusic) (by Bryant Liggett)
Slocan Ramblers are one of those Bluegrass bands that have a strong reach while straddling the fence. One side is Traditional Bluegrass, harmony rich and hard driving. The other is that experimental side, where Jazz and jams influence that harmony and drive, the result being a band comfortable at that Old Style festival while also able to slay from a late-night stage for Indie Roots twirlers. The bonus on their latest release Up the Hill and Through the Fog is they also show a Folk side to appease listeners who haven’t come around to the jam-grass thing. “I Don’t Know” opens the record with a funky bass line that drops behind a soulful guitar riff, a kick-off that’s neither old nor new grass, but more of an acoustic rock tune, and they show that they can stray away from the world of Bill Monroe with the folkie “Won’t You Come Back Home.” The SloCan Ramblers never stray too far from that world of Bill’s Bluegrass Boys. “You Said Goodbye” is as traditional as it gets, a ripping weeper driven by fast guitar flatpicking and even faster banjo pickin’ while “Bill Fernie” has a mid-tempo bounce and solid harmonies that drives a love-tale. Nor do they stray too far from a Sam Bush influenced world of Newgrass. “A Mind with a Heart of Its Own” has a funky drive, while “Snow Owl” and “Harefoots Retreat” are experimental and meandering instrumentals. It’s the best of all worlds of Bluegrass and acoustic music. (by Bryant Liggett) Listen and buy the music of The SloCan Ramblers from AMAZON For more information and purchase options, please visit The Slocan Ramblers website The Blog Tags widget will appear here on the published site.
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6/25/2022 Patty Griffin from the album Tape
Patty Griffin (from the album Tape available on PGM/Thirty Tigers) (by Bryant Liggett)
Patty Griffin is inviting us into her attic and basement to put an ear toward her latest release, Tape. The term ‘latest’ being used to reference its time of release yet not as a current studio effort. Tape returns to calendar dates when the cassette and reel-to-reel tapes were the go-to medium. The Patty Griffin collected songs are made up of out-takes and B-sides, demos and rarities, things that have not seen the light of day until right now. Patty Griffin enters lonely, the somberness of album opener “Get Lucky” escorted into down and out seclusion by it being super stripped down and lo-fi; its those rough around the edges additions that accentuate its overall feel. Robert Plant sounds wonderful as Griffin’s partner on the lazy and bouncy “Don’t Mind”, where a groovy keyboard kicks up the tune’s movement. Robert Plant’s participation begs one to wonder if the vocalist saw a future in American roots music while fronting Jimmy Page’s rock and roll juggernaut. Patty Griffin breaks hearts on the piano ballads “Sundown” and “Forever Shall Be” and she drops a crushing dose of Ford administration AM Gold on the lazy and luscious “Little Yellow House”, the piano and slight Country Blues groove giving it a Charlie Rich feel. No polish and pure music, kept away from anyone’s ear have helped these age with some guts while remaining rare and raw. Listen and buy the music of Patty Griffin from AMAZON For more information and purchase options, please visit the Patty Griffin website The Blog Tags widget will appear here on the published site.
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6/25/2022 Hackensaw Boys (from the album Hackensaw Boys
Hackensaw Boys (from the album Hackensaw Boys on Hackensaw Boys/Sun’s Work Records) (by Lee Zimmerman)
Throughout the length and breadth of their combined career, the Hackensaw Boys have maintained a genuine rootsy regimen, one that’s found them adhering to the basics of bluegrass, classic country and a sound shaped by heartland happenstance. Their new eponymous album doesn’t mark any huge shift in stance, but it does signal a desire to channel more populist appeal, courtesy of songs that are flush with eager affirmation and immediate accessibility. The Punk precepts that informed their earlier outings has dissipated to a great degree, and while their music can hardly be called mainstream in the usual sense, it does provide a more open invitation as far as any overall acceptance is concerned. The empathetic opener, “Things We’re Doing”, sets the tone: ‘We all have things we are doing We all have places we are going No one wants to come in last No one wants to live in the past’ That’s an apt mantra given their shift in stance, and it’s to their credit that they haven’t neglected their homespun homilies entirely. Fiddle, mandolin, banjo, bouzouki, and harmonica still play a prominent role in the proceedings, but their earnest intents now come to the fore in a more deliberate manner. The determined delivery of “The Weights”, the rambling tack taken by “Cages We’re Grown In”, and the sympathetic sway of “My Turn” make that consideration clear, and the effect is not only more emphatic, but remarkably resilient as well. The songs stand out, each on its own, and the result is a markedly mature album that ranks as easily their best effort yet. Then again, it’s certainly no accident. Founding member, guitarist, singer, and songwriter David Sickmen found himself at a moment of reckoning, the result of a six-year hiatus, a change in band personnel, and the necessity to undergo surgery due to problems with his vocal polyps. It left him with a need to write songs infused an absolute honesty, a sensibility that transcends these tunes while making them come across sounding all the more inspired and engaging as well. So too, the band has never sounded as confident, and when they tackle a cover of the Bob Dylan classic, “All I Really Want to Do”, there’s no pronounced difference in either quality or commitment. Ultimately, it’s apt that Hackensaw Boys serves as the title of this album. It is, in fact, a new leap forward, and the group’s current identity deserves to be well inscribed. (by Lee Zimmerman) Listen and buy the music of Hackensaw Boys from AMAZON For more information and purchase options, please visit the Hackensaw Boys website The Blog Tags widget will appear here on the published site.
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6/25/2022 Janiva Magness (from the album Hard to Kill
Janiva Magness (from the album Hard to Kill available on Fathead Records) (by Bryant Liggett)
Blueswoman Janiva Magness is proud and confident. She lays all of that out in the album opener of her latest Hard to Kill, where she boasts that she’s not only ‘hard to kill’, but she’s “Strong as Steel” as the album title suggests. Those are solid claims from someone worthy of the description as she’s ‘paid her dues on the road’ and earned every bit of praise she’s gained in her Grammy winning career. Hard to Kill shows Janiva Magness remains solid, laying out thick, American Blues. It is important to note the Magness vocals. Janiva has a gutsy lounge vibe, not for the animated cocktail set, but vocals primed for a dark, dingy room late night club. Janiva Magness throws down a funky Rocker in “Don’t You Forget About Me”, a slow and sultry ballad in “Fireman”, and “Lover Girl” has all the makings for modern day Motown, it sounds like both 2022 and 1960. “Right Here” is soulful Gospel and the hidden gem in “Closer” is the slide guitar that that follows her vocal melody. Janiva Magness is a A-list song shouter but there’s also a crack band that back her up. Hard to Kill plays alongside her 2019 memoir as she sings about tough times and her tougher self that comes out clean on the other side. “Strong as Steel” and “Hard to Kill” are proud admissions of self. Listen and buy the music of Janiva Magness from AMAZON For more information and purchase options, please visit the Janiva Magness website The Blog Tags widget will appear here on the published site.
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6/25/2022 David Olney (from Evermore, Sessions I and II
David Olney (from Evermore, Sessions I and II are available on Strictly Country Records) (by Lee Zimmerman)
When David Olney breathed his final verses while stricken with a fatal heart attack during his much-anticipated performance at the 30A Songwriter Festival in Santa Rosa Beach, Florida on January 18, 2020, he exited the world in perfect harmony. Midway through the third song of his set, he stopped singing, apologized, then closed his eyes and passed away peacefully, making his final act the thing he loved the most. It was a sad and sudden departure, one that shook the music world to its core by virtue of the fact that the end came without warning when least expected. In a very real sense however, it was an apt ending, one that found him surrounded by friends, fans and ardent admirers who had gathered in celebration of his songs. In retrospect, these new two companion posthumous releases, dubbed Evermore/Nevermore and subtitled The Final Live in Holland Sessions I and II, serve as fitting postscripts for Olney’s career. Recorded at various intervals in May 2016 and May/October 2018 at different Dutch venues, it features David Olney in a solo setting, occasionally accompanied by Daniel Seymour on vocals. Naturally then, the material reflects Olney’s easy, unassuming approach while also adding a particular poignancy to both his own compositions and a disparate selection of songs by others, including a quiet, contemplative take on Buddy Holly’s classic “Everyday,” an appropriately gloomy version of the Bee Gees’ “New York Mining Disaster 1941” (which he fuses with his own standard, “Roses”) and adept covers of songs by fellow travelers John Prine (“Speed of the Sound of Loneliness”) and Townes Van Zandt (“Rex’s Blues” and “For the Sake of the Song”). It’s also telling, however, that Olney manages to inject a darker element into several of these selections. He’s positively riled up on “Little Mustang/Deeper Well” (‘thought I died and went to hell’) and offers some ominous overtones on “Situation/Don’t Try to Fight It” while also foretelling his own fate while declaring ‘the show must go on’ on the half-spoken “Big Top (Tornado)”. One can’t help but think he’s providing a preview of his own furtive future. That, of course, was impossible, but then again, as David Olney was a decidedly demonstrative artist and entertainer, a man who could hold his audiences in thrall even in his quietest moments. (Check out the gentle “Evermore” for one of the more obvious examples.) In the inside sleeve of Session I, he’s quoted as saying, ‘A song is a dream — A dream is sometimes a prayer — You hope they are heard’. Given the music that’s shared on these two albums, David Olney need not have worried. An apt requiem for a man who will long be missed, these two volumes of Evermore/Nevermore easily live up to their titles. (by Lee Zimmerman) Listen and buy the music of David Olney Evermore from AMAZON Listen and buy the music of David Olney Nevermore from AMAZON For more information and purchase options, please visit the David Olney website The Blog Tags widget will appear here on the published site.
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6/25/2022 Avi Kaplan at The Troubadour
Avi Kaplan (live show review from the album Floating on a Dream available on Fantasy Records)
June 9, 2022 - The Troubadour, West Hollywood Avi Kaplan’s last show in an impressive 30 date European and US tour took place at West Hollywood’s legendary venue, The Troubadour on June 9, 2022. Well attended by many adoring fans the crowd was equally as many comped ticket onlookers as general admission, with the industry ticket holders were treated to a meet and greet with the singer as well hearing sound check. The show opener was Andrea von Kampen, her mesmerizing Folk voice reminiscent of Joni Mitchell. She was really a great opening act. There is a certain magic that comes with performances at the Troubadour and was most likely the perfect venue to wrap his Floating on a Dream tour. Avi Kaplan took the stage to thunderous applause. Picking up his guitar he began to weave the tale of “Floating on a Dream”, the title track to his recent release, before being joined by drums and the rest of the band. To be honest, I was not prepared for the journey ahead. The revelation of his singer/songwriter side was a pleasant surprise. I was well aware of his vocal ‘chops from his time in acapella group Pentatonix, familiar with both his Basso Profundo vocals and Beat Box abilities. The Floating on a Dream album signals a departure from the past. Avi Kaplan has managed to capture his own unique sound and style. What I heard was an interesting combination of Folk, Country, Blues and Psychedelic Roots sounds, which fit perfectly with the theme of Floating on a Dream. Don’t let the title fool you, although it definitely had a dream like quality. it was far from sleepy. He held everyone’s attention through the whole set. A few things that stand out with Kaplan’s style are, deep yet simple lyrics, superior vocal prowess, and his ability to connect with his audience. Avi’s gratitude to the crowd was genuine and heartfelt and in return their love for him was very evident. A few songs like “Aberdeen” demonstrated his notable whistling ability creating the feel of a 60’s Clint Eastwood western movie. In fact, I’d be shocked if at least one of his songs isn’t picked up for film or television. The title song “Floating on a Dream” was dedicated to his family (who were in attendance). The set was a bit more than an hour and not a moment was fillers. Over all, I would say his use of strong vocals, clever use of clapping and whistling and well placed use of pedal steel, drums and keyboard lent to the creation of ‘western dreamscape’ that was very appealing. The whole experience was one that if you arrived and were not fan you certainly were by the time you left. Floating on a Dream, produced by Shooter Jennings, is a must listen album! Listen and buy the music of Avi Kaplan from AMAZON For more information and purchase options, please visit the Avi Kaplan website The Blog Tags widget will appear here on the published site.
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6/25/2022 Stacy Jones World on Fire
Stacy Jones (from the album World on Fire available as a self-release) (by Danny McCloskey)
A gnarly Blues guitar riff and harmonica blast kicks down the door when Stacy Jones cruises “Jefferson Way” as an album opener for World on Fire, her recent release. Powerhouse vocals and harmonica skills have garnered Stacy multiple Blues music award nominations as she grew a career, World on Fire celebrating two decades behind the microphone and fronting the band for the Seattle, Washington-based singer. Staccato foot-stomps and smooth Soul chord chops are the foundation for Stacy Jones to stand tall and proclaim “Everything is Going to Be Alright”. Rambling piano notes and warm organ notes stir the stew for “Insane Asylum”, the male/female duet in the song a vehicle for Stacy Jones to stand up and shout. Vocal control and an easy command of the songs provide a similar platform as Stacy takes center stage for World on Fire. Acoustic notes are the wake-up signal for “Sunday Morning” as World on Fire remembers the sad tale of “George Stinney”, whispers a melody for the slow, steamy confessions of “Love Me Just the Way I Am”, and offers up sweet harmonica-driven honky tonk Soul for “Juke”. Stacy Jones dresses her characters with emotional flesh and blood through her voice. Over a train-track beat, Stacy Jones voices her dreams in the World on Fire title track, stretches out over a chugging rhythm to tell of “Midnight in Harlem”, puts an uptown Saturday groove underneath Aretha Franklin’s “Think”, and bids goodbye to the album, baring her soul in the storyline in “With Music on Your Side”. (by Danny McCloskey) Listen and buy the music of Stacy Jones from AMAZON For more information and purchase options, please visit the Stacy Jones website The Blog Tags widget will appear here on the published site.
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Jim Bachmann (from the Sitting Down Under the Moon available on ) (by Danny McCloskey)
Jim Bachmann gives a common human trait a beat, celebrating mistakes and questionable decisions with a dancing groove in “Paying Dues”. Joined by Kayla Ray, he wistfully duets a kiss-off for “Hate to See You Go”. Hurried strums back the admissions of “Good at a Bad Job” while “Hurtin’ finds Jim Bachmann hunched over a drink at a bar as the Arizona songman guides his tracks onto a new release, Sitting Down Under the Moon. Jim Bachmann creates moods in a melody, gently bidding goodnight as he exits the album with “Beautiful Sleep”, bordering the dreamlike atmosphere with the playful sway of title track album opener “Sitting Down Under the Moon”. (by Danny McCloskey)
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Alison de Groot and Tatiana Hargreaves (from the album Hurricane Clarice available as a self-release) (by Danny McCloskey)
Alison de Groot and Tatiana Hargreaves approach traditional music with modern melodies on Hurricane Clarice, their recent release. The flurry of strings is seductive, the pair weaving magical trances throughout the album. Over rapid-fire chord strums and fiddle bends Alison de Groot and Tatiana Hargreaves ponder why “Each Season Changes You” while somber notes color the title track, breaking into a reel for its tune companion in “Hurricane Clarice/Brushy Fork of John’s Creek”. Spoken word snippets tell of birds and early risers for “Ostrich with Pearls”, while stark fiddle playing makes an introduction to an equally raw musical backing for “I Would Not Live Always” and a scratchy melody captures the beauty of mountain music in “Wellington”. (by Danny McCloskey)
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Find more information and purchase options on the Jim Bachmann website
Sweet Virginia (from the album Leaving Again on Gitcha Records)
Sweet Virginia bounces in on a trippy drumbeat and a rock’n’roll riff with “Blue Skies”, barreling into Leaving Again, her recent release, on the album opener. Sweet Virginia wraps the traditional tune “Careless Love” an Indie Rock blanket that warms the sad story, keeping the musical model in the backing music for the album. Pedal steel twang gives wings to the Rock beat greeting “Sunday” as a staccato Tex-Mex breeze blows over “Tell Me a Lie” while Sweet Virginia lets her voice rise and fall for “Hallelujah, Michael”, wondering if love has reached the “End of the Rainbow”.
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Big Lou Johnson (from the album Bigman available on Goldenvoice Audio)
A zydeco beat is on board for 1960’s influenced Rock’n’Pop when Big Lou Johnson becomes the charming shot caller in “Shucky Ducky (Quack Quack)”, as he kicks open the doors on the album with the Bluesy Rock’n’Soul of “Lightnin’ Strikes” and gives his resume a powerful back beat in the title track, “Big Man”. Smooth silky low register vocals put Big Lou Johnson up front as he seduces with “Never Get Over Me”, goes down for the bottom rung Blues of “Fever”, struts for the finger-pointing in “Chill on Cold”, and gives his responsibilities a beat they can dance to on “Stuff to Do”.
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The Miners (from the album Megunticook available on Match-up Zone Music)
Philadelphia, Pennsylvania Alt Country torchbearers The Miners stay true to the genre influencers on Megunticook, their recent release. Hints of Gran Parsons through Whiskeytown are found on the branded songs of The Miners. Acoustics start along the path to “Walnut Lane” before the melody courses over a Country backbeat while string bends and chord strums surround the story of “Cardboard Sign”. Megunticook is a true believer of the Alt Country credo. Smart, sometimes snarky, stories told of Country life with a honky tonk backbeat. Mournful rhythms open the somber story of “Day the Drummer Died” and electric notes sparkle like fireflies around “Apologize” as The Miners roll a Country Rock sway underneath “Leaving for Ohio”.
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Jay & The Cooks (from the album Dried Up Dreams available on Justne Une Truce Records)
Raggedy Blue Folk music rattles over Dried Up Dreams, the recent release from French-based Americana outfit, Jay & The Cooks. Beginning in Chicago, Jay began work as a musician, claiming space in Austin, New York, and the west coast. In 1980, a trip to the South of France introduced Jay to French cuisine. He fell in love with the food of France, becoming a consumer and a creator. Dried Up Dreams hears Jay & The Cooks returning to recording. Dusty Southwest U.S. strums give Dried Up Dreams a desert feel, the shaggy chords and rambling harmonica in “Deaf Water”, slow churning chords and beats are the foundation of a tale of loss in “Empty Glass of Love”, and Folk Country twang rattles with the banjo confidently striding across “I Just came to Tell You I’m Going”. The Roots of Jay & The Cooks run deep surrounding the mountain music supporting the story in “Front Line Worker Blues”, Southern Rock straining the seams of “Confederate Son”, the uptown Soul wrapping around “Organic Lush”, and the hint of Zydeco of found in “Dried Up Hearts”.
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Jim Bachmann gives a common human trait a beat, celebrating mistakes and questionable decisions with a dancing groove in “Paying Dues”. Joined by Kayla Ray, he wistfully duets a kiss-off for “Hate to See You Go”. Hurried strums back the admissions of “Good at a Bad Job” while “Hurtin’ finds Jim Bachmann hunched over a drink at a bar as the Arizona songman guides his tracks onto a new release, Sitting Down Under the Moon. Jim Bachmann creates moods in a melody, gently bidding goodnight as he exits the album with “Beautiful Sleep”, bordering the dreamlike atmosphere with the playful sway of title track album opener “Sitting Down Under the Moon”. (by Danny McCloskey)
Listen to Jim Bachmann on Spotify
Find more information and purchase options on the Jim Bachmann website
Alison de Groot and Tatiana Hargreaves (from the album Hurricane Clarice available as a self-release) (by Danny McCloskey)
Alison de Groot and Tatiana Hargreaves approach traditional music with modern melodies on Hurricane Clarice, their recent release. The flurry of strings is seductive, the pair weaving magical trances throughout the album. Over rapid-fire chord strums and fiddle bends Alison de Groot and Tatiana Hargreaves ponder why “Each Season Changes You” while somber notes color the title track, breaking into a reel for its tune companion in “Hurricane Clarice/Brushy Fork of John’s Creek”. Spoken word snippets tell of birds and early risers for “Ostrich with Pearls”, while stark fiddle playing makes an introduction to an equally raw musical backing for “I Would Not Live Always” and a scratchy melody captures the beauty of mountain music in “Wellington”. (by Danny McCloskey)
Listen to Alison de Groot and Tatiana Gargreaves on Spotify
Find more information and purchase options on the Jim Bachmann website
Sweet Virginia (from the album Leaving Again on Gitcha Records)
Sweet Virginia bounces in on a trippy drumbeat and a rock’n’roll riff with “Blue Skies”, barreling into Leaving Again, her recent release, on the album opener. Sweet Virginia wraps the traditional tune “Careless Love” an Indie Rock blanket that warms the sad story, keeping the musical model in the backing music for the album. Pedal steel twang gives wings to the Rock beat greeting “Sunday” as a staccato Tex-Mex breeze blows over “Tell Me a Lie” while Sweet Virginia lets her voice rise and fall for “Hallelujah, Michael”, wondering if love has reached the “End of the Rainbow”.
Listen to Sweet Virginia on Spotify
Find more information and purchase options on the Sweet Virginia website
Big Lou Johnson (from the album Bigman available on Goldenvoice Audio)
A zydeco beat is on board for 1960’s influenced Rock’n’Pop when Big Lou Johnson becomes the charming shot caller in “Shucky Ducky (Quack Quack)”, as he kicks open the doors on the album with the Bluesy Rock’n’Soul of “Lightnin’ Strikes” and gives his resume a powerful back beat in the title track, “Big Man”. Smooth silky low register vocals put Big Lou Johnson up front as he seduces with “Never Get Over Me”, goes down for the bottom rung Blues of “Fever”, struts for the finger-pointing in “Chill on Cold”, and gives his responsibilities a beat they can dance to on “Stuff to Do”.
Listen to Big Lou Johnson on Spotify
Find more information and purchase options on the Big Lou Johnson website
The Miners (from the album Megunticook available on Match-up Zone Music)
Philadelphia, Pennsylvania Alt Country torchbearers The Miners stay true to the genre influencers on Megunticook, their recent release. Hints of Gran Parsons through Whiskeytown are found on the branded songs of The Miners. Acoustics start along the path to “Walnut Lane” before the melody courses over a Country backbeat while string bends and chord strums surround the story of “Cardboard Sign”. Megunticook is a true believer of the Alt Country credo. Smart, sometimes snarky, stories told of Country life with a honky tonk backbeat. Mournful rhythms open the somber story of “Day the Drummer Died” and electric notes sparkle like fireflies around “Apologize” as The Miners roll a Country Rock sway underneath “Leaving for Ohio”.
Listen to The Miners on Spotify
Find more information and purchase options on The Miners website
Jay & The Cooks (from the album Dried Up Dreams available on Justne Une Truce Records)
Raggedy Blue Folk music rattles over Dried Up Dreams, the recent release from French-based Americana outfit, Jay & The Cooks. Beginning in Chicago, Jay began work as a musician, claiming space in Austin, New York, and the west coast. In 1980, a trip to the South of France introduced Jay to French cuisine. He fell in love with the food of France, becoming a consumer and a creator. Dried Up Dreams hears Jay & The Cooks returning to recording. Dusty Southwest U.S. strums give Dried Up Dreams a desert feel, the shaggy chords and rambling harmonica in “Deaf Water”, slow churning chords and beats are the foundation of a tale of loss in “Empty Glass of Love”, and Folk Country twang rattles with the banjo confidently striding across “I Just came to Tell You I’m Going”. The Roots of Jay & The Cooks run deep surrounding the mountain music supporting the story in “Front Line Worker Blues”, Southern Rock straining the seams of “Confederate Son”, the uptown Soul wrapping around “Organic Lush”, and the hint of Zydeco of found in “Dried Up Hearts”.
Listen to Jay & The Cooks on Spotify
Find more information and purchase options on the Jay & The Cooks website
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website by Jim Cortez jctez12@gmail.com
website by Jim Cortez jctez12@gmail.com