​Marfa Lights (from the album Marfa Lights as a self-release) (by Danny McCloskey)


A commercial for Ford’s Ranchero series begins the song cycle for Marfa Lights’ recent self-titled release. The vehicle is a central figure in the story that unravels over the course of the album. The tale centers on a Gen X’er making a road-trip trek from Colorado through Texas and down to Mexico City. Sitting behind the wheel of old Ford Ranchero, recently inherited from his father, with nothing but a case of 8-track tapes for entertainment and Jack Kerouac’s incomprehensible Mexico City Blues. The adventurer looks back at life decisions, acknowledging his failures as he answers the siren call of the Southwest desert lands. As he rides, his thoughts take a virtual turn when he considers how technology has intersected with popular culture. Once surrounded by the beautiful people and traditions of Mexico, our hero realizes Jack Kerouac was right when he said ‘I have nothing to do the rest of my life but do it, and the rest of my life to do it’. Marfa Lights sings a contemporary tale. A road fable that mirrors a million stories that came before as it creates a bridge of traditions for the future adventurers. 
 
Sonically landing somewhere between Calexico and Vandoliers, Marfa Lights offer diverse musical accents that flicker across solid beats, Southwest guitar strums, and a wandering Tex-Mex trumpet. The album sees the world changing when it acknowledges that some pieces of life are becoming lost in “Nobody Reads the Paper Anymore” as Marfa Lights follow strict guitar chords into “Tulum”, citing other stops with the spoken word short of “Terlingua and the Truth” and the bright bounce of “Mexico City”. Taking time to dance, Marfa Lights spins a Latin rhythm in “The Wolf (Bossa Nova)” and slows the pace for the sway of an instrumental referencing “A Cross Chihuahua”. Spaceships blips and choral harmonies introduce the nostalgic 70’s style that rides underneath “8 Track Cadillac” as Marfa Lights conjure up a Rock’n’Roll rhythm in “Heart Like a Bruise”. (by Danny McCloskey)


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​Michael McDermott (from the album Lighthouse on the Shore / East Jesus available on Pauper Sky Records) (by Danny McCloskey)
With a piano as a guide, Micheal McDermott opens his recent double-disc release, Lighthouse on the Shore / East Jesus, with a happy/sad story in “Bradbury Daydream”. Disc one is a beautifully flowing keyboard reverie as Micheal McDermott cries out a love letter in “Goddamn Lovely” and becomes a barroom piano man singing a song for a patron in “Hey La Hey 23”. Scratchy chords and strings introduce Maggie in “Nothing Changes” while an echoey train-track beat partners with a Soul shout calling out “Gonna Rise Up” and the sound of bells offers peace for the questions in “I Am Not My Father”. Both discs include a title track, with “Lighthouse on the Shore” a gently drifting love song.
For its title track, East Jesus views the past, present, and future against aggressive acoustic guitar strums that begin the sonic suite that supports the questions in the tale with diverse sounds and styles. The beat of an after-dark city rumbles underneath “Berlin in Night” as Michael McDermott follows a chorus of chanting voices into the Rock’n’Roll rhythms of “Quicksand”, falling into the Blues Rock backbeat-driven storyline for “Lost Paradise”. If the two discs were siblings, it is safe to say the Lighthouse on the Shore is the artistic child while East Jesus bites back. A Rock’n’Roll groove hits the road for “Behind the Eight” as Michael McDermott makes a confession in “The Circus” and wraps a jangle of notes and a hearty hammer-beat around “Charlie Brown” while East Jesus exits pondering “Whose Life Am I Living?” against a rhythmic patter. (by Danny McCloskey) 
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Ruthie Foster (from the album Mileage available on Sun Records) (By Lee Zimmerman)
 
Ruthie Foster’s early albums seemed to share a particular promise that was boldly expressed in such titles as Crossover, Runaway Soul, Stages, Heal Yourself, and most particularly, The Phenomenal Ruthie Foster and The Truth According to Ruthie Foster. As an artist that’s always made it a point to push her parameters, Foster’s has never been averse to expressing both her verve and vulnerability, courtesy of one of the most dynamic voices in modern music.
 
That’s especially true with Mileage, her aptly dubbed new album — and her tenth in total. It finds Ruthie Foster sharing a travelogue of sorts, one that allows Foster to dig deep into the emotions and experiences that have framed her life, both personally and professionally. It took root through a series of heartfelt conversations with producer Tyler Bryant and Rebecca Lovell, Bryant’s wife and one-half of the duo Larkin Poe, that, in turn, allowed the music to emerge organically and in ways that were both illuminating and emphatic. It also makes for a set of songs that possess a true creative synergy and symmetry, all well worthy of an artist whose multiple Grammy nominations and multiple Blues Awards testify to her talent and tenacity. The fact that it finds her recording for the legendary Sun Records also underscores the significance of this particular effort given its mix of memories, emotions, and indeed, a shared humanity.
 
The most immediate result of this new association comes in the form of a subdued take on the Arthur ‘Big Boy’ Crudup classic “That’s All Right”, a song that’s indelibly inscribed in the American songbook courtesy of innumerable covers, including the one that helped propel Elvis Presley to initial stardom. Yet due to the profound and prophetic delivery of the other offerings in the set, all of which were borne from those connecting conversations with Bryant and Lovell, it seems more or less incidental. Ruthie Foster’s dynamic delivery elevates the intent, especially on such mighty songs as “Mileage”, the soul-stirring “Rainbow”, the earnest and expressive “Good for My Soul”, the rocking and robust “Slow Down”, the immensely affecting “Six Mile Water”, the gospel flourish of “Done”, and the powerful yet poignant “Heartshine”. Likewise on offerings such as “Take It Easy” and “See You When I See You Again”, she offers life lessons well worth heeding. Her delivery is a wonder to behold, a powerful presence that’s nothing less that truly awe-inspiring from beginning to end.
 
‘I’ve been lost, I’ve been found and I’m proud of my mileage’ she steadfastly proclaims on the aforementioned title track. That’s hardly a surprise. Even if judged by this effort alone, she has more than enough reason to feel supremely satisfied. (by Lee Zimmerman)
 
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JD Simo and Luther Dickinson (from the album Do the Rump! on Forty Below Records) (By Lee Zimmerman)
 
As solo artists and sidemen, both Luther Dickinson and JD Simo have resumes they can heavily lean on. Dickinson, is, of course, a principle in the accredited duo North Mississippi Allstars as well as a guitarist for hire with The Black Crowes and John Hiatt. Simo gained his credence as a session player for Jack White, Beyonce, Chris Isaak, and a contributor to the film Elvis. The pair met while the two were touring members of Phil Lesh and Friends.
 
Their collaboration, Do the Rump! draws on music that’s integral and essential to both men’s roots — Swamp Rock, gritty grassroots Blues and primal Rock’n’Roll. The slithering pulse of opening track “Street People” sets the tone while the elastic rhythm of “Right Down There” gravitates towards a groove that maintains that feral thrust. The spooky sounding “Lonesome Road”, and the tumultuous tones of “Serves Me Right to Suffer” and “Do the Rump, Louise” add to the overall cacophony. “Come On” provides a steady strut just as the lengthy closing track, “Peaches”, integrates a swampy sound into the pair’s muscular motif.
 
Eschewing any production trickery or instrumental flourishes beyond the two musicians with drummer Adam Abarashoff in tow, the music comes across as a elemental display of rudimentary riffing with a decidedly dark demeanor. It’s a sound that consistently pivots back to the basics while seemingly relishing a freedom of expression that makes no concessions to modern designs.

Whether Do the Rump! signals collaborations to come remains to be seen (JD Simo and Luther Dickinson are currently touring the northern and central East Coast through the end of October - editor). Given the drive and determination that resonates throughout, it’s hard to imagine Do the Rump! will lead to any sort of sophomore slump. (by Lee Zimmerman)
 
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The Cactus Blossoms (from the album Every Time I Think About You available on Walkie Talkie Records) (by Bryant Liggett)
Mellow and moving, hip and cool. You could also call The Cactus Blossom’s latest in Every Time I Think About You an electric Folk record with Garage Pop leanings, or an Indie Roots wonder. All would suffice as valid descriptors for a record that will slip into your head with ease and leave a few cuts swirling around in your head until something catchier comes along, which could take a few.
It’s kick-off catchy from the git-go. The opener “Somethings Got a Hold on Me”, with its references to Tulsa, Texas ,or Tennessee is a casual romp with a cool vibe. Its left of the dial great. The romp slows down with the tender and aching ballad in “Go On” before they drop a lounge-heavy number in “Be What I Wanna”. That aforementioned descriptor of ‘casual romp’ comes back around with the uber-catchy “There She Goes”, “Keep Walkin’” is a fantastic dose of subtle Power Pop, “Statues” is a harmony heavy ballad with a slow-dance on a beach vibe, “Honey I’m Homeless” is a weeper, and The Cactus Blossoms close with “Out of My Mind (On Sunday)” which is stripped down with great harmonies.
This is a record where there’s a lot with a little. The harmonies are thick, the melodies catchy, it’s a what-you-hear-is-what-you-get offering that pulls no tricks, a straight up album that is straight up great. (by Bryant Liggett)
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Guy Davis (from the album The Legend of Sugarbelly available on M.C. Records)  (by Danny McCloskey)
As a welcome into his album, Guy Davis introduces “Sugarbelly”, rightfully the opening cut on his recent release, The Legend of Sugarbelly. Against rapid-fire finger-picking, Guy Davis becomes the storyteller, telling a tale of love and death as he encourages “Little Davie Play on Your Harp” while he kicks up sawdust to shuffle and shout “Come Gitchu Some”. The Legend of Sugarbelly counts “12 Gates to the City”, sings of “Firefly” over the sparkle of banjo notes, and quiets to a hush with “In the Evening Time”. Bringing a talent for multiple instruments into the studio, Guy Davis backs his voice with six- and twelve string guitar, mandolin, harmonica, and five- and six-string banjo, supported on The Legend of Leadbelly by Chris James on mandolin and Professor Louie on organ.
 
Musician, actor, author, and songwriter, Guy Davis has soaked up art since birth, perhaps born in the proverbial NYC stage trunk as the son of Ossie Davis and Ruby Dee. For forty years, Guy Davis has played a musical pastiche of Roots, Blues, Spoken Word, Folk Rock, and world music. He added Broadway for stage performances in Mulebone and Robert Johnson: Trick the Devil. Among his accolades, Guy Davis was awarded the Blues Foundation W.C. Handy Keeping the Blues Alive Award, and he showcases the reason for the accolades by bringing the history of rural Blues into 2024 with The Legend of Sugarbelly. Adding to his original songs on The Legend of Sugarbelly, Guy Davis asks “Who’s Gonna Love You Tonight” with a cover of the Sam Chatmon tune, offers a song for Lead Belly’s “Laura”, and delivers a variation of Blind Lemon Jefferson’s “Black Snake Moan”. (by Danny McCloskey)
 
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The Deslondes (from the album Roll It Out available on New West Records) (by Bryant Liggett)
 
The Deslondes aren’t your typical New Orleans band. As a side note, there is no common sound to any New Orleans band, so, please, get out the notion of your head. Not everything in The Big Easy comes with horns and Mardi Gras bounce. Roll It Out, the latest from The Deslondes, is a melting pot of music, everything from Country Soul to Garage Roots with subtle hints of twang, The Deslondes idea of ‘the melting pot’ brings in influences from not only The Crescent City, but everywhere else the band has laid a head or hung a hat.
There’s the weeper of an opener with road tune flair in “Hold On Liza” while “Take Me Back” is a great splash of Roots Pop, Pop music continues in the skip-a-long and optimistic cut “I’ll Do It”. “Grand Junction” is another road cut that also moonlights as a dark murder ballad, “Pour Another Round” nods to the outsider twang of The Felice Brothers, and “Old Plank Road” is ripe for a front-porch pick. “Who Really Loses” is country R&B, “Go Out Tonight” is piano Blues with soaring pedal steel that gives it a nice dose of twang while The Deslondes drop some New Orleans boogie with “Mercury on Parade”.
The closer in J.J. Cales “Drifters Wife” is a solid cover, a cut that’s straight out and ready to score a drive through the vacant west. With five vocalists you get five different sounds, and that’s all good. Chalk this up for multiple year end lists thanks to its heaviness and headiness delivered in a Grass Roots package. (by Bryant Liggett)
 
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Grant Maloy Smith (from the album Mississippi: American Stories available on The Cabin Record Co, Tiger Turn, and Suburban Cowboy ) (by Danny McCloskey)

For the third release in his American series of song, Grant Maloy Smith takes a trip down the Mississippi River. Simply titled, Mississippi: American Stories, Grant backs his songs with a Country Folk that serves the tales well. Choral harmonies back “River of Ages”, slowing to a hush with the quiet notes weaving around “The River Runs for Everyone”, and adding a sea shanty backing for “Headstrong Waters” as it floats down the river towards New Orleans. Grant Maloy Smith is a natural storyteller, his emotions clearly heard in the excitement he brings to each tale. Hefty guitar notes course through the Rock’n’Soul rhythms in “All I Gotta Do” as Mississippi: American Stories lazily drifts on the soft current of melody into “Memphis”, featuring Janis Ian, while a marching beat trudges into “Vicksburg Town”.
 
To compliment his music, Grant Maloy Smith offers a companion coffee table book for Mississippi: American Stories. He describes the backstories behind the songs, putting them into context with history and describing parts of the writing/recording process, including photographs and artwork for all of songs. Tenderly admitting “You Don’t Love Me Anymore”, Grant Maloy Smith stiches a dark edge into “When the Devil Comes” with a rumble of rhythms and sonics as “Paddle Wheels” turn on a bright groove, flowing steadily like the river it sings of while “Caernarvon Levee” talks of rising floodwaters. A flurry of guitar notes sparkle throughout the somber story of war in “Fade to Grey” as a dreamy soundscape floats freely across “Mother, Mother” while Grant Maloy Smith comes to the “End of the Line” on a lonesome melody.  (by Danny McCloskey)
 
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Shovels & Rope (from the album, Something Is Working Up Above My Head available on Dualtone Records) (by Lee Zimmerman)
 
Cary Ann Hearst and Michael Trent, otherwise known as Shovels & Rope, are the epitome of a dynamic duo, and with their new album Something Is Working Up Above My Head, they take that definition to a higher plateau. While previous efforts may have suggested a certain stereotype — that of a charismatic couple that leans towards some careful constraints — here they allow themselves to take some unexpected turns, veering towards a more insistent sound fueled by drive and determination. The steady thrust that powers songs such as “Something Is Working” and “Colorado River”, the sonic sweep given “I’d Be Lying”, and the stomp and sizzle underpinning “Two Wolves” allow the pair to toss aside any semblance of a reticent persona, substituting instead their insurgent stance.
 
That said, there are certain exceptions. The reverential “Dass Hymn” takes on a spiritual sensibility, while “Colorado River” is shared in the form of a nuanced narrative possessing dark drama and s tenuous tone. The album’s only real ballad comes in the form of “Love Song from A Dog,” featuring Gregory Alan Isakov as its backing vocalist. Otherwise, with the exception of the so-called ‘family choir’ on the aforementioned “Das Hymn,” Hearst and Trent perform the music all themselves, affecting a riveting and resolute delivery that could conceivably be translated into their live performances.
 
While the sound often shifts into high gear, the overriding element here is basic simplicity. The melodies come straight to the point, putting the emphasis on frenzy rather than flourish. In that respect, Something Is Working Up Above My Head appears to stay true to its title, finding inspiration in the energy and intensity that accompanies their DIY approach. The end result makes that suggestion all too obvious. (by Lee Zimmerman)
 
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Gillian Welch, Dave Rawlings (from the album Woodland available on Acony Records) (by Danny McCloskey)
The sway of a boxcar ambling across the open plains rides underneath “Empty Trainload of Sky”, the opening cut for Woodland, the recent release from the powerhouse combo of Gillian Welch and Dave Rawlings. The duo offer a even ten tracks of perfection, their music as fragile as fine china when they bid “Howdy, Howdy” while dark notes tangle for “The Bell and The Birds” and lazy strums provide support for “Here Stands a Woman”. Gillian Welch and musical/life partner Dave Rawlings are a tried-and-true brand, offering the comfort of a favorite shirt, an easy conversation with a longtime friend, the warmth of a winter fire, and the first fresh breeze of spring with words and music.  Sharp guitar notes are the trumpet call that enters the observations of “The Day the Mississippi Died” as Woodland heads into “North Country” with soft strums and a wriggling lead guitar line.
 
The album title references the legendary Woodland Studios in East Nashville USA, owned by Gillian Welch and Dave Rawlings. Of the studio, album, and its songs, the pair shared ‘Woodland is at the heart of everything we do and has been for the last twenty some years. The past four years were spent almost entirely within its walls, bringing it back to life after the 2020 tornado and making this record. The music is (songs are) a swirl of contradictions, emptiness, fullness, joy, grief, destruction, permanence. Now.’ Their words point fingers at life in 2024 as the cuts of Woodland reflect on the bridge between past and present for “What We Had” and describe a chance meeting in “Hashtag” while Gillian Welch and Dave Rawlings introduce “Lawman” against the bright sparkle of acoustic notes and chase a harmonica riff to say hello to “Turf the Gambler”. (by Danny McCloskey)
 
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