Ned Hill Band (from the album Thousand Watt Town available as a self-release) (by Lee Zimmerman)
 
Veteran troubadour Ned Hill comes across a no-nonsense kind of guy, a gruff but good-natured insurgent primed to overcome whatever obstacles stand in his way. That down-home demeanor translates well as far as the rousing and robust songs that litter the riveting new album by Ned Hill Band, Thousand Watt Town.
 
Opening track “Gotta Get Out of This Town” sets the tone, an anthemic expression of desire and discontent that brings to mind Bruce Springsteen duking it out with Steve Earle. In truth, Hill’s feisty attitude frequently brings the latter to mind throughout this nine-song set, but his restless spirit parallels the Boss’s blue-collar desires as well. There’s an unceasing sense of both remorse and resolve present in each of these entries, especially as expressed on the weary ballad “Larry Wilkins and the Great Train Derailment of ’66”, the tale of a hometown hero whose life was cut short by a true-life tragedy that left its scars on the local populace for decades to come.
 
Each of the other offerings follow suit, and there’s not a single song here that doesn’t come across as ultimately affecting, whether it’s an ode to a long-lost love that the singer still laments that he lost (“May To December Girl”) or the solid stomp that beckons the inevitable (“Kingdom Come”). Credit multi-instrumentalist and producer Dave Coleman for providing the punch, particularly manifest in the percolating rhythm of “Dance at the Old Starlight” and the relentless wallop of the title track. Fiddler Tina Simpson and a rhythm section appropriated from Paul Thorn’s band — specifically, bassist Ralph Freidrichsen and drummer Jeffrey Perkins — underscore the intents.
 
That said, there’s nothing superfluous or pretentious here. These are songs that detail the everyday circumstance that befalls small town folks who simply want to live their lives as best as they can while still looking for the hope that lingers on a distant horizon. Mostly though, it taps unflinching emotions, as expressed in the solitary ballad “Lonely Enough for You to Love” and the unrelenting engagement of “Her Love’s Like Novocaine”, the latter being a classic tale of what happens when two people try to narrow the divide that results from lives spent on opposite sides of the tracks.
 
In that regard, Hill’s also The Everyman, trying to make his way through life, often stumbling but still driven by desire. In that regard, this Thousand Watt Town boasts electricity to spare.  (by Lee Zimmerman)
 
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Kyle Frederick (from the album Silence You Ravens on Melody Chef Records) (by Lee Zimmerman)
 
There’s something to be said for the power of a single voice and solo guitar as far as expressing emotion, concern, or consternation. In Kyle Frederick’s case, the proof is in his new LP, Silence, You Ravens, his seventh album to date and, surprisingly perhaps, his most emphatic outing to date. While Kyle Frederick alone is responsible for all the music — he forgoes any overdubs or additional musicians — he still manages to convey subtle variations in tone and texture. Longtime co-producer Byron House, who’s worked with Frederick for over 30 years, is partly responsible, but the fact that the new album avoids the usual fragile ‘folk-isms’ that usually accompany this same sort of set-up is a credit to its creator entirely.
 
That said, there’s little shift in the spectrum of the sound overall. Songs such as “Next Time”, “I’m Happy”, “A Beautiful Scar”, and “Winnowing” reflect an unassuming, matter-of-fact attitude that seems practically nonchalant given Frederick’s focus on relaying his personal perspective. Nevertheless, “Lunch at Auschwitz” sounds like something Bruce Cockburn might rail on about, while “Pocket Full of Minutes” ups the anticipation to a heightened degree. “Planet Nine” tells the tale of a well-to-do Everyman, as shared with a certain sardonic edge, one that brings to mind Ray Davies “Well Respected Man” or Paul Simon’s “Richard Cory”.
 
Still, for all its austere ambiance, Silence, You Ravens does have its occasional lighter moments. Closing track “Dear People Like Me” seems somewhat frivolous, especially compared to the sterner sentiments that pervade the album overall. So too, “Hail Fellow Well Met” takes a turn to singer/songwriter mode, more like a campfire serenade than the burning defiance that intrudes on the otherwise assertive critique that comes across through a selection like “Speaking English”.
 
Ultimately then, Kyle Frederick manages to avoid the usual tender tappings and all-too-common cliches that an otherwise tepid troubadour might fall victim to. As its title implies, Silence, You Ravens is a staunch and decidedly determined offering, one that leaves no doubt about its maker’s forthright intentions. It’s not exactly easy-listening, but so too, it’s not necessarily angst-inducing either. In other words, there’s little need for a raven’s rebuttal. (by Lee Zimmerman)
 
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The Mary Wallopers (from the album Irish Rock N Roll available on BC Records) (by Bryant Liggett)
With one foot in tradition and the other on the rock and roll gas pedal, The Mary Wallopers Irish Rock N Roll is a collection of traditional-sounding Irish tunes that could be 100 years old or 100 seconds old. It’s an album of respect to sounds passed through generations from The Emerald Isle and respecting people wanting something rowdy; which Irish Rock N Roll. This is a fun record.
First there’s the rowdy. Cuts like “The Holy Ground”, “Madam I’m A Darlin’”, and “The Hot Asphalt” have a gritty vibe with a wonderful bounce. They’re aggressive, raw and loaded with punch. Yet The Mary Wallopers then will drop a ballad like the holiday ready “Vultures of Christmas” and “Wexford” which is a wonderful nod to travel along with the narrator’s father and his teachings, including a love of music stated by the line ‘how I will never starve with a banjo, fiddle or song’.
But for the most part The Mary Wallopers keep it good and rowdy. “The Blarney Stone” is another cut loaded with traditional punch, and “Rothesay-O” is stacked with hitting harmonies and a tin-whistle that floats with the thumping vocals. This stuff is timeless, as these rhythms and melodies and this style hit it hard centuries ago, they hit it hard now. This is important to any music lover who respects tradition, traditional instruments, and the importance of a solid history lesson loaded with your Rock N Roll.
 
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Jon Byrd (from the album All Your Mistakes on Longleaf Pine Records) (by Lee Zimmerman)
 
Jon Byrd is a true heartland hero. Born in South Alabama, he became a pivotal part of the so-called ‘Redneck Underground’ in the 1990’s when he first made his name as a valued sideman. After moving to Nashville, he established himself as a prolific singer/songwriter who eventually managed to accumulate an impressive individual catalog. His music leans to classic Americana — all heartfelt songs imbued with pedal steel guitar, genuine emotion, and material that culls the lessons learned from storied forebears and imbued into his own efforts.
 
His new album, All Your Mistakes, is no exception. A series of emotionally resilient story songs, it possesses a true connection with real people and unblemished circumstance. For example, Johnny Paycheck’s “(It Won’t Be Long) And I’ll Be Hating You” comes across as easily the bitterest break-up song in recent memory. On the other hand, Byrd’s own “Why Must You Think of Leaving” is a plea for reconciliation, sung from the perspective of a man who’s making one final desperate attempt to convince his lover not to abandon him forever.
 
Jon Byrd is nothing if not a determined down-home troubadour, and when he sings the praises of “Miss Kitty’s Place”, “Golden Colorado”, and “These Days”, the sentiments are not only sincere, but also decidedly delivered. Jon Byrd’s attachment to the places of his past is obvious, and there’s no separating the singer from the song. For its part, “City People” is a true testament to those erstwhile environs where honesty and integrity exist side by side.
 
Other songs convey a similar kind of conviction. “I’ll Be Her Only One” is a powerful homage to dedication and devotion in equal measure. So too, Jon Byrd’s cover of the late Ian Tyson classic “Four Strong Winds” is infused with the abject affection for the wide-open spaces of the far western wilderness Tyson originally imagined. While it may seem overly effusive to call All Your Mistakes Byrd’s ultimate masterpiece, it is, at very least, an affecting set of songs flush with both passion and purpose. Credit Jon Byrd with sharing songs that are as rich as they are reverent. (by Lee Zimmerman)
 
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For more information, please visit the Jon Byrd website
 
 

Devendra Banhart (from the album Flying Wig on Mexican Summer Records) (by Lee Zimmerman)
 
An unabashedly eccentric artist and auteur, Devendra Banhart has never been one to shy away from pursuing his own muse, no matter where it might lead. him. Once hailed as one of the beacons of the so-called Psych Folk / Nu-Folk movement, his music tends to eschew any predetermined formula as far as his demonstrative designs are concerned.  Not surprisingly perhaps, Banhart’s remarkable new album, Flying Wig, begins on an ominous note, with the initial entry “Feeling” fully engulfed in eerie, ethereal ambiance and a melody that’s as haunting as it is harrowing. It’s an auspicious way to introduce an album, but then again Barnhart’s music is nothing if not mesmerizing, and this song — and those that follow — prove that point.
 
While accessibility may seem an elusive additive, the beautiful ballads “Fireflies”, “Sirens”, and the title track share a shimmering haze that helps amplify both the atmosphere and allure through a radiant inner glow. Here again, Banhart’s clearly content to bask in his own cerebral circumstance. Nevertheless, “Charger” offers a momentary respite from those deeper depths.  Its hushed harmonies are both solemn and celestial in equal measure, giving pause despite the otherwise obtuse arrangements.
 
On the other hand, when he picks up the tempo with “Nun”, one can’t be quite sure who he’s referring to, and yet the percolating pacing becomes quite compelling nonetheless. “Sight Seer” and “Twin” similarly embrace some darker designs, and given their didactic delivery, they seem to suggest some rather ominous intents. For its part, “May” drifts by on a wobbly rhythm, a sound that suggests a last, lingering encounter after too much time spent circulating at the bar. So too, closing track “The Party” adds a hint of regret and remorse, all sadder circumstance within a final, fleeting farewell.
 
Even with its shifts in tone and tempo, Flying Wig makes for a decidedly compelling collection, a fascinating musical continuum that affirms the fact Devendra Banhart remains one of the most intelligent and innovative artists of the current era.  Ultimately then, this Flying Wig makes for an elevated encounter. (by Lee Zimmerman)
 
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The Immediate Family (from the film Immediate Family on Magnolia Pictures)
(by Lee Zimmerman)
 
The Immediate Family is a supergroup in the truest sense. Each of the players — guitarists Danny Kortchmar, Waddy Wachtel and Steve Postell, bassist Leland Sklar — have decades of experience backing the biggest artists of the modern era, among them such luminaries as Jackson Browne, Carole King, David Crosby, Graham Nash, Linda Rondstadt, Don Henley, James Taylor, Warren Zevon, Stevie Nicks, Phil Collins, and hundreds of other legends who literally set the standard for contemporary music.
 
Of course, supergroups can come and go, but often they’re fragile at best, unions that end prematurely as the result of conflicting egos or the desire to go in different directions. Consider Crosby, Stills, Nash (and sometimes Young) and Blind Faith, as examples of those that feel prey to those all-too-common conflicts.
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Nevertheless, credit The Immediate Family for being able to avoid that curse.  Most of its members have played and/or performed together for the better part of the past fifty years. The group, which consists of guitarists Danny Kortchmar, Waddy Wachtel, and Steve Postell, bassist Leland Sklar, and drummer Russ Kunkel, are no strangers to one another’s individual efforts. Kunkel and Sklar first played together in an instrumental ensemble called The Section some 30 years ago. Watchell was asked to join, but declined, citing his preference to record more straight-up songs. However, when Kortchmar was offered an opportunity to record a solo album for a Japanese label, he enlisted his colleagues, Postell included, thanks to the experience and expertise he possesses on his own.


That album, Honey Don’t Leave LA, and a subsequent live album were released only in Japan. That was followed by their initial American release — an EP titled Slippin’ and Slidin’ — and a newer EP called Can’t Stop Progress. A full length self-titled outing followed. So too, this coming February will usher in the release of a new album, the aptly titled Skin in the Game.
 
That said, it’s one thing to be labelled a supergroup but quite another to measure up to that hallowed stature by not only living up to expectations, but also providing a path forward towards the possibilities of achieving even greater glories. So, while The Immediate Family clearly deserve the kudos that come with recognition of their superstar status, they also make it clear they're not content to simply rest on their reputations. This is indeed one band whose credibility and accomplishment is as much a part of the present as their history affirmed early on.
 
What’s more, as this remarkable self-titled documentary affirms, each of these individuals — Kortchmar, Wachtel, Sklar, and Kunkel in particular — played a vital role in creating some of the most memorable music of the late ‘60s and mid to late ‘70s. Their names appeared on countless albums a first for session players at the time — and while they mostly played supporting roles to those in the spotlight, their efforts were as important to the creation of the music as those of anyone else’s, artists and producers included.
 
‘We didn’t sit around thinking we were going to be big stars’ Kortchmar insists. Yet clearly, as both as a studio band and ever-devoted road warriors, they became known as the best in the biz.  As James Taylor puts it so succinctly early on, ‘the creative input of these guys cannot be overstated’. So too, as they themselves insist, they’re probably the best cover band alive, although the covers they do in concert are all hits they themselves originally help create.
 
‘When you get to play with James Taylor or Carole or Jackson Browne, you get spoiled’ Kortchner says. ‘We were called to be ourselves, to do what we already do’. It worked, and yet the feeling of gratitude and humility is evident throughout, owed to a combination of talent, luck and pure chance. In that regard, the film offers an intimate look at each of the musicians’ backstories, which, in turn, becomes a veritable history of popular music from past to present. It’s documented in an array of archival clips as well as the testimony of those that they’ve worked with, among them, Keith Richards, the late David Crosby, Jackson Browne, Linda Rondstadt, Stevie Nicks, Lyle Lovett, Phil Collins, Carole King, Don Henley, Billy Bob Thornton, and Peter Asher, each of whom testify to their passions and prowess. So too, it delineates early influences, some as incongruous as Liberace, Gene Krupa, Les Paul aside, of course, from the early pioneers of primal Rock’n’Roll.


Still it’s the affection they have for one another — bonds that go back over 50 years — and the joy they still possess in being able to share studios and stages with those they admire and adore. ‘I got to meet and play with my heroes’ Kortchmar says at one point. I’m still in shock that I get to do this’.
 
It’s all about the comradery, the mutual love and the mutual respect, Sklar insists, and not a moment passes over the course of Immediate Family’s one hour and 40 minutes running time where that isn’t obvious.  The fact that each of these men come across as decidedly down-to-earth everyday individuals, albeit those who possess tremendous skill and savvy — can’t help but leave an indelible impression on the viewer. Indeed, in many ways, it’s hard not to envy the fact they’ve achieved so much and not only feel fulfilled, but genuinely happy to be doing what they’ve done. Likewise, who wouldn’t want to share the bonds of friendship and fellowship with those they’ve known and been involved personally and professionally for over half a century or so.
 
The members of The Immediate Family certainly set their own standard years ago, but now they have the luxury of basking in a reputation that’s currently at its crest. As this film points out, their’s is indeed a family affair and an auspicious one at that. (by Lee Zimmerman)
 
 
For more information, please visit the Immediate Family website
 
Immediate Family Trailer
 

Little Jane and the Pistol Whips (from the album Long Road Ahead available as a self-release) (by Bryant Liggett)
Montana seems a fitting place of origin for a band like Little Jane & The Pistol Whips. A rural sound from a rural environment and filed under RIYL Country Rock or rocking Country, all while flying a subtle twangy flag whether the band is banging out a rocker or bringing home out a ballad. With their latest in Long Road Ahead they nail the Alternative Country sound while also dropping in hints of old-time traditional influences throughout the dozen tracks.
A Bluesy riff kicks the record off on “Keep it Simple,” giving way to delicious chicken-picking guitar and Cajun fiddle. Little Jane and the Pistol Whips deliver a heavy ballad in “Long Road Ahead”, a story with a big reminder to slow down as Ashley Jane sings ‘take it slow, dance with me, give me your hand, I promise I won’t leave you my friend’. “Montana Can’t You See” is a big nod to the big state, “Little Gold Heart” has NewGrass bounce, and “Lost to the Trade” drops the back-porch twang and picks up an ambient, Indie Rock vibe.
Little Jane and the Pistol Whips pick the Roots back up with the ready for two stepping “In My Past” and even drop a kids tune via the animated “Bumb-a-Lee-Bee.”  Long Road Ahead is a catchy record, with multiple tunes that will sit on repeat of your mind. This is also picking-party music, where old-time Bluegrass rubs elbows with back country Cajun, thanks to the dancing fiddle that is the support star of the show.   (by Bryant Liggett)
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Steph Green (from the album Lore available as a self-release (b Douglas DuPont)
Legend has it Steph Green recorded Lore on a borrowed 16-track reel-to-reel. Given the hauntingly beautiful undercurrent and low-fidelity feel to her sophomore full-length record, that checks out. Opting for the low-fidelity approach allows the musical-minutiae and lonely-lyrics to pack that much more of an emotive punch. It is important not to misinterpret this intentionally gritty recording as an underproduced one -- make no mistake about it, this is one of the most captivating Folk and Alt Country releases of 2023.

Stand-out tracks include “Satchel” and closer “Kettle Valley” on-account of their objective quality, but there ain’t a bad song on here. The record is full-of organ, steel-guitar, and eerie vocal layering, all to great-effect. This eight-song project is just-shy of a half-hour, demanding repeat listening. The strikingly tender Lore is recommended for fans of singer-songwriter type music, as well as down-home Country, Americana, and Folk. (by Douglas DuPont)
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Kevin Daniel (from the album The Life and Adventures of Kevin Daniel available on Organic Records/Crossroads) (by Lee Zimmerman)
 
Kevin Daniel pulls no punches. That’s immediately apparent given his gruff, no-nonsense delivery. Raised in North Carolina, but now based in Nashville, he wears his feelings on his proverbial sleeve, sharing the sometimes-tattered tales of his life as viewed through his own rearview mirror.
 
Indeed, his musical career began on a tragic note, prompted by the death of his mother and father in a private plane crash. Shortly thereafter, he channeled his grief into an initial six song EP he titled FLY. That was followed by his second EP, Myself Through You, which began his venture into a kind of terse Americana, a sound that carried over to his initial full-length LP, Things I Don’t See, and which now finds further fruition on his current offering as well.
 
The song titles are certainly revealing. “Happy for a While”, “Heart Like Mine”, “Feel Like It Should”, House Don’t Feel Like Home”, and “Dragging Me Down” are both candid and confessional —mostly Country-tinged, first person narratives that are, by turns, both revelatory and reflective. He concedes that he’s happy with his ability to make music for a living without having to contend with the usual 9 to 5, but there’s no small amount of grit and gravitas in the mix as well. His emotions remain unsettled, and despite a sometimes-spirited sound, there’s clearly a cautionary tone infused in the music as well. 
 
Ultimately, The Life and Adventures of Kevin Daniel is as striking as the name suggests, ten songs that are daring and descriptive in equal measure, and told from a decidedly candid point of view. Daniels is an insurgent at heart, but his unflinching honesty makes these songs especially intriguing. ‘All my friends are married, starting families with the ones that they love, hoping they’ll be happy for awhile’ he sings in a somewhat strained voice on the track titled “Happy for Awhile”. While more or less setting himself apart, even at the outset, he also expresses the fear that he won’t find that same sort of satisfaction for himself. In the very next song, “Heart Like Mine” he poses another question. ‘Why can’t I let go, of things I don’t know?’ he asks, as the tune takes on its measured tone.
 
The remainder of the album keeps to an easy, unassuming saunter, all in keeping with Kevin Daniel’s decidedly down-home demeanor. Yet despite that casual, nonchalant, matter-of-fact attitude — or maybe even because of it, in fact — the music comes across as all the more affecting. (by Lee Zimmerman)
 
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Boy Named Banjo (from the album Dusk available on Mercury Nashville Records) (by Lee Zimmerman)
 
Granted, any band that refers to itself as Boy Named Banjo could be accused of relaying a slightly stilted impression. One could easily be led into thinking it’s simply a precocious youngster fascinated with Bluegrass, much like the backwoods boy who traded licks for the unsuspecting city slicker in the film Deliverance.
 
As it turns out, the name isn’t wholly a misnomer. The band members — Barton Davies (banjo), Ford Garrard (bass/upright bass), Sam McCullough (drums), Willard Logan (manolin/dobro/electric guitar), and William Reames (acoustic guitar/harmonica) — actually founded their band while they were still in their teens.
 
Nevertheless, it’s not the novelty that matters here, but rather the marked maturity that’s shared in their songs. Dusk is an incisive effort that blurs the boundaries between Bluegrass and Americana, all while underscored by the relentless pulse of some rocking rhythms. There’s no need for posturing or pretense, given that they’re clearly stirred by sentiment and conviction. “Something ‘Bout A Sunset”, “Whiskey Dreams”, “Mama, I’m Misbehavin’”, and “Goodbyes Are Sad” come across as relentless Rockers, while “Feel For You (Dusk)” and “Young Forever” convey sentiments both compelling and convincing. On the other hand, the jubilant sound of “Lonely in This Town” and the solid stomp of “Heart Attack” add a hint of relief, even though for the most part, Dusk is driving and determined, a sound that’s solidly in sync with today’s populist precepts.
 
Considering the fact that Boy Named Banjo is still in its relative infancy — this is only their second full length effort, not to mention their first for a major label —  it’s clear they’re off to an auspicious start, one that bodes well for whatever’s to come. They excel at both songwriting and execution, no small feat for any band, much less one so young. Their unobtrusive handle aside, Boy Named Banjo can take pride in that marked maturity. (by Lee Zimmerman)
 
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