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3/2/2024 Sarah Jarosz (from the album Polaroid Lovers
Sarah Jarosz (from the album Polaroid Lovers available on Rounder Records) (by Lee Zimmerman)
There are times when an artist’s initial claim to fame is based solely on age, especially when they’re described as prodigies early on. Such was the case with Sarah Jarosz, given the fact that she was signed to Sugar Hill Records at age 16, and released her highly acclaimed initial album, Song Up in Her Head shortly thereafter. Then, after one of its songs, “Mansinneedof”, was nominated for a Grammy for Best Country Performance, it became clear that her age ought not even be considered. That was evident once again with the success of her second studio album, Follow Me Down. One of its songs, "Come Around”, garnered a nomination for Song of the Year honors from the Americana Music Association. The accolades then continued with the release of her third effort, Build Me Up from Bones, courtesy of two Grammy nominations — one for Best Folk Album and another for Best American Roots Song bestowed on the title track. Then, with Undercurrent, the album that followed that, she managed to take home two Grammys, one for Best Folk Album, and the other for Best American Roots Performance given the track titled “House of Mercy”. She was a mere 25 at the time, but her success story was just beginning. The 2020 release of World on the Ground, her first offering in four years, found her winning streak continuing unabated with another Grammy added to her mantle place, this time for Best American Album. Clearly then, she’s set herself a very high bar, one that makes the arrival of her new record, Polaroid Lovers, all the more auspicious and highly anticipated as well. It makes a formidable initial impression with the lead track, “Jealous Moon”, a song driven by its forthright frenzy. So, too, “Runaway Train” remains true to its title due to its own determined delivery. The persistent pulse that carries “Take the High Road” takes its own sweeping stance, minus that emphatic energy. Other than those few exceptions, the album pursues a more reflective motif, whether it’s the quiet, calming caress of “Mezcal and Line” and “Don’t Break Down on Me”, the slow saunter of “When the Lights Go Out”, or simply the lazy, somewhat lethargic pacing given “Days Can Turn Around” and “Dying Ember.” “I’ve been told that you don’t know what you’ve got ‘til it’s gone,” Jarosz coos contentedly on “Columbus and 89th”, one of several songs cowritten with producer Daniel Tashian. ‘That you’ll recognize the real thing when it comes along…’ It might not be the most original sentiment — just ask Joni Mitchell — and yet it still rings true. One other thing is certain as well. The recognition Jarosz’s received has never been more deserved. (by Lee Zimmerman) Listen and buy the music of Sarah Jarosz from AMAZON For more information, please visit the Sarah Jarosz website The Blog Tags widget will appear here on the published site.
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2/24/2024 The High Hawks (from the album Mother Nature’s Show
The High Hawks (from the album Mother Nature’s Show available on LoHi Records)
Suitable to Soar…Chad Staehly of The High Hawks Offers Insight Into the Band’s Influences and Inspiration (by Lee Zimmerman) Given the fact that they could be considered a one-off supergroup of sorts, there was no guarantee that The High Hawks would stick around to deliver a follow-up their 2021 eponymous debut. Yet with their sophomore set, Mother Nature’s Show, they’ve demonstrated the fact that with all the talent at their command they weren’t content to be a one-hit wonder. That’s hardly a surprise considering the fact that four of the six members are seasoned songwriters and they’re a prolific bunch at that. Vocalist and guitarist Vince Herman is a founder and frontman for Leftover Salmon and singer/keyboardist Chad Staehly hails from another Roots supergroup, Hard Working Americans, as well as Great American Taxi. Bassist Brian Adams and drummer Will Trask were also members of Great American Taxi. Vocalist, fiddler, and guitarist Tim Carbone plays in the band Railroad Earth, while singer/guitarist Adam Greuel is a veteran of the band Horseshoes & Hand Grenades. As a result, Mother Nature’s Show is as expansive as its title implies. It’s essential Americana, from the insistent sounds of “Fox River Blues” and “Temperature Is Rising” to the rugged resilience of “Somewhere South”, the perky pace of the title track, the funk-fueled “Blackwater Voodoo”, and such instantly infectious offerings as “Radio Loud”, “Shine Your Blues”, and “Top Shelf, Rock Bottom”. So too, the sentiment shifts as well, veering from the rockier sounds of “Somewhere in the Middle” and “Same Old Stories” to the emotional embrace shared by the tender ballad “This Is What Love Feels Like”. The Alternate Root was recently given the opportunity to speak with Chad Staehly, who graciously gave us his thoughts about the prowess and personalities involved with this exceptional ensemble. Lee Zimmerman (LZ) Congratulations on this wonderful, wonderful album, Chad. It’s like a down home journey. There’s some great storytelling shared in these songs. Chad Staehly (CS): I’m so glad you dig it. We always tell everybody that we formed this band so that we can have an excuse to hang out. And that's the god’s honest truth. We made a band so that the six of us could hang out together, because we're all old friends from the festival circuit. And some of us have played in bands together before. So, it's truly a passion project. And what's fun about it is that there's no expectations with this band versus maybe with some of our day job bands. People expect a certain thing from Leftover Salmon or from Railroad Earth or Horseshoes and Hand Grenades. But with this band, there are four songwriters, everybody brings the songs in and we kind of just get to let it loose and do whatever we want with the songs. It's really fun to have that that freedom. LZ: It sure sounds just like a great time, and that maybe it’s as much play as it is work. Still, it’s obvious you put a lot of effort into it. And what a great feeling it must be to gather with your friends and make music. CS: I'm glad that's translating to the listener, because that's definitely how we went in and approached it. We got to hang out at Pachyderm Studios for like eight or nine days up in Cannon Falls, Minnesota. That place is a real jewel in the rough. You live right there — there's a house of the on the five-acre property, the studio is like just a short walk away and it's just like the ultimate play pad. You can really focus in on what you're doing. It was last January, pretty much exactly a year ago, that we were there. The snow was flying, and there was nowhere to go, nothing else to do except focus in on making this record. So, what that allowed us to do was immeasurable. It just really opened up a giant toolbox for us to work with including tons of instruments, all great gear and a great crew that works there. It just really makes it all easy and allows us to do the best work we want to do. LZ: So, when you're in a band, and you tell the other members something to the effect of ‘I think I'm gonna go off and do my own thing’ or ‘I have other people I want to work with’ is there any resentment from the other musicians? CS: That's a good question. We're all human right? And we all have egos, some bigger than others, and some more fragile than others. We all have levels of jealousy. We all have insecurity. So, all those things definitely come into play. I think that when band members from one band start to do another project, there's probably some folks in their current band that get a little uneasy or upset or jealous. I'm not saying that's happening anywhere with these bands, but it definitely can happen. I mean, I've been on the other side of it, and have had those feelings. They're human, you know? LZ: As you say, it seems only natural. CS: I always say that being in a band, and having traveled in bands for 20 or 25 years, it's like, they're your wives, man. Your band members are all like wives or partners, domestic partners that are working together. That's not an easy thing. It's a very intense relationship. So, yeah, I think there's probably some of that that happens, where maybe other band members get a little bit miffed that someone's going to doing something else or they’re choosing to play in another band. LZ: Hopefully though, they’re happy for you. CS: Especially kind of in this jam, grass and Americana scene, it’s all a very close knit community, and everybody plays with everybody, whether it's at a festival where one jumps up with another band, or people collaborate in one-off projects. It's all it's all a big, great giant community, and everyone gets along really well. LZ: So do you see The High. Hawks fitting into that category of a supergroup? CS: I guess it kind of creates that impression and it was the same with Hardworking Americans too. But, it's understandable. I think people want to label things and categorize them. All that we like to call ourselves is to say we're a Super Friends Group. And beyond that, I'd like to say this is a band of joy merchants. It’s really the positivity that comes from this group of individuals — individually, collectively, musically. It's really special and that's why we're together wanting to play together. If you want to refer to it as a supergroup or any of those monikers, that's cool, too, we’re just grateful for the fact that people are paying attention to what we're doing, right. LZ: So, when you come into a group like this, and everybody is so accomplished, and so skilled at what they do, is it intimidating at all? Do you feel like ‘Oh, my God, there's a high bar, I got to bring my best shot here’. Does that feeling enter into it at all? CS: Not with this group at all. I certainly felt some of that with Hardworking Americans, walking into a room where there’s somebody like Dave Schools from Widespread Panic, because of his illustrious history. That's not to say that but I didn't know those guys as friends before that band started out. I put Todd Snider and Dave Schools together to play a gig and they had so much fun. They wanted to do more of it, so we started talking about making a record and put the band together. The High Hawks came together out of total friendship, plus, we had all worked together in various capacities. So, there wasn't any of that. There was really the best environment I’ve ever been a part of in terms of being supportive, and like feeling really safe to like introduce a new song. I think all the songwriters in this band maybe have had situations previously, where we felt a little intimidated or insecure about presenting a song we had written. But with this group, everyone’s really supportive and ready to latch on to something you've written and support it and try to play a part in it, and give it a shot versus kind of like turning up their nose or giving it a half-assed effort. This group is really an incubator for creativity and support. It's really special that way. LZ: So, nobody has to feel like they're the George Harrison of the group? CS: This whole thing's a little young yet, so maybe that'll happen at some point. But no, I think all four songwriters would say that they feel 100% safe and secure in presenting some new song or idea. And I think that goes for our rhythm section, too. They're not songwriters, but the parts that they come up with and what they do allows everyone to feel supported. There’s no ‘you should play this, or could you play that?’. It's like, that's cool. That’s what your heart is saying. ‘Let’s use that. That's great. Let's, let's roll with that’. There’re just no expectations with this. This is art for art's sake and friends for friendship’s sake. So, it's, it really opens it up to make it a really cool space to hang out in and create. LZ: So, nobody feels like their ideas aren’t being represented? CS: I don't get any of that. I don't feel any of that. When you've got a group of well seasoned human beings, and everybody feels comfortable in their own skin, you can avoid a lot of that. This isn't a beauty contest. We're all in this together. We want to be here doing this. That’s something I always tell people what they ask me about this band. And I think it really speaks to what we are and who we are as people and why we're doing this. I take care of a lot of the managerial duties and logistics, and I've never had anyone in this band ask me how much they were going to get. LZ: That’s really something special. CS: I think that's a really cool thing. It really speaks to the love that goes into this band, and how everybody wants to be here. It's kinda like old college friends. You know how women will go off like on a lady's trip or a sister's trip or old fraternity brothers will take a ski trip. Well, with the High Hawks, that's kind of like our guy’s getaway. We all get to go hang out and play music. We love hanging out with people we love. It's really cool that way LZ: So, was the intention all along that this would be an ongoing effort. One might have imagined that the thought behind the first album was ‘let's get together. Let's do it. And then we go back to our day jobs’. So, was there always the idea that there would be a second album? CS: When we originally booked the first group of dates, everyone just wanted to find a space to hang out. It had been threatened for years amongst us all, that we'd get together and play at some time and in various conversations. So finally in the fall of 2019, we all discovered a hole in our calendars. And then we booked some shows. We showed up in Colorado, because that's where the first shows were at that time, and Vince was still living in Colorado. So, we went up to Vince's house, and we sat down and pretty soon the songwriters started pulling out some songs they had been working on with kind of like this project in mind. But we also thought we'd be playing cover songs, maybe some back catalogue stuff from other bands, or our earlier careers, etcetera. But all of a sudden, one after the other, we started pulling up the songs that we had written. And then all of a sudden, we found that lyrically and musically the songs were starting to flow. LZ: That must have seemed so fortuitous, like it was fated to happen. CS: We were like, oh, man, these songs are so cool. They all fit together, and we've developed this sound all of a sudden out of nowhere. Let's make an album. And then the first album came together. That was right before COVID started. So that kind of got put on the shelf for a minute. Then it came out in 2021. We had some great album release shows. It was all really well received in the press, radio, and all that, and it was like, well, we got something here. And then we continued to play some shows. And then all of a sudden, it was like, let's make another record. Vince and Adam write a whole lot. Vince had moved to Nashville, and so he’s writing in a bunch of different writers’ circles in Nashville. He's got songs just flying out of his brain. So, there was a lot of material, for this and for their other day jobs. So that that kind of brought up the second record. And thankfully, we've got this wonderful support from our friend and executive producer Jim Brooks, and from Lo Hi Records. LZ: Given your busy schedules, it seems like it would be somewhat of a challenge to get everybody on the same page and focused on this particular project when there's so many other things everyone’s involved with, including their day jobs. CS: It's not easy as far as that goes. As far as calendar space of organizing periods of time, it's really difficult. It's tricky. Because not only does most everyone have a regular full-time band or gig, everyone does a million other things. Three or four guys in the band produce records and work on video and film stuff. Tim has a studio of his own. Adam’s got two or three other bands, and Vince has his solo band. It's crazy, but everybody in this band is a workaholic, although I don't know that I would refer to it as work because it's all just labors of love. And everybody just stays at it. And we figure it out. It’s not easy, but we're able to find some time periods when we can get together and play and record and make records. It’s just about people wanting to do it. So, we figured out how we could find the time and space to do it. LZ: In the press materials that accompanied the new album, the songs are described as a kind of a a travelogue. Is that how it was first imagined, to create these aural impressions and kind of take the listener on a roadtrip so to speak. CS: Honestly, we didn't set out to do that. It really revealed itself after we got done with the record. We were sitting back at home a couple of weeks afterwards, and we had the rough mixes, and then I actually started the thread of this among the band. It struck me as I was listening to the running order of the songs. Usually, it's like you're going to press and scrambling to put together a running order for the album. But we had been holed up in northern Minnesota more or less snowbound. It was really wild. The last song we recorded was that song “Shine Your Blues”, the song that ends the album, which has a very New Orleans feel. And then there were these pieces in between the songs that just started to really show themselves like, wow, there's kind of the story that's unfolding. All these things all kind of started to open up. Thematically and lyrically, there was like this whole thing that just kind of showed up. It felt like it was moving along the river and kind of like Tom Sawyer or Huck Finn, kind of floating along the river and taking in this musical landscape where all these forms of music were born and raised right here in the good ‘ole USA. That’s something that this band can do, the result of all the different backgrounds and ingredients that come into this stew that we make. LZ: In listening to this album, traces can be heard of some genuine archival influences, such as The Band and the Grateful Dead, specifically the latter in their American Beauty and Workingman’s Dead era. It’s a similar homegrown, down home, natural organic sound. Were those albums an influence on you? CS: We were all born and raised at different times. This band spans three generations. Vince and Tim are borderline baby boomers. Brian and I are Gen Xers right down the middle of the road. And then we have two millennials in the band. It’s kind of a really cool thing to have these different generations come together. Those two bands you mentioned are major influences, but then there's a whole bunch of other stuff that goes into it as well. I attended Grateful Dead concerts. And then after Jerry passed away, that's kind of when I found the Jam Grass and kind of alternative Bluegrass scene, so to speak. Then I kind of went into that through the backdoor of David Grisman and Old And In the Way. The Telluride Bluegrass Festival and all that whole world kind of was like a continuation of the Grateful Dead world to me in the fact that people would go camp out at these festivals and hang out for three days, kind of like we would for a three-day Grateful Dead run. LZ: It’s part of the populist precept which drives bands like yours and so many other groups these days. CS: It was that community that led me to bands like Leftover Salmon and Railroad Earth and I felt transported back to another era, one that had to do with the rich history of our nation. All those bands just would encapsulate all that and put that it all together and celebrate it. I hope The High Hawks can be a continuation of that, because it's so important. All these new frontiers of music are awesome, and we need those, but we also need to stay in touch with these Roots forms of music. And that's really, I think, part of what The High Hawks want to do. We're trying to continue that tradition. Like those other bands you mentioned, we have four unique singing voices that are their own thing, but they also fit together through the storytelling thing. That's part of our folk tradition. It’s part of our DNA really, right, I mean, it's print. And so, celebrating that and trying to be a vehicle for that, I think, is a big mission of this band, for sure. LZ: So, you do feel like you’re actually on a mission then? CS: That’s very astute of you to point that out and mention it and talk about that. You know, it's not necessarily top of mind. I don't think it’s a conscious thing we're trying to do. We talk about the roots of this music we play. We talk about all these old records we listened to from the 1920s and 1930s. That's all part of our lexicon and what we've learned from. So inevitably it just comes out. When we go to sit down and create a song, it’s just a product of who and what we are. It's like you said at the beginning of this conversation, it's a very organic thing. There's nothing contrived here. It’s not like we set out to do this or do that or try to be the next Band or the next Grateful Dead or any of that stuff. We just happen to wear our influences on our sleeves. Listen and buy the music of The High Hawks from AMAZON Visit The High Hawks website for more information Spotify EMBED: <iframe style="border-radius:12px" src="https://open.spotify.com/embed/album/5z80uTTpwU2ZJdTo1y96IL?utm_source=generator" width="100%" height="352" frameBorder="0" allowfullscreen="" allow="autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture" loading="lazy"></iframe> The Blog Tags widget will appear here on the published site.
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2/24/2024 Blackberry Smoke (from the album Be Right Here
Blackberry Smoke (from the album Be Right Here available on 3 Legged Records/Thirty Tigers) (by Danny McCloskey)
Starting off with a stomp and holler Blackberry Smoke bust down the doors to their recent release, Be Right Here, on a funky strut shouting “Dig a Hole”. The storyline starts a theme for the album of DIY suggestions on how we can make it through life in 2024 by making plans and taking a stand. No finger-pointing rather a buffet laying out the good days and simple joys of life, pointing a bright light at quick-flash moments of luck before the memories slip away. Be Right Here reminds us to ‘don’t worry about the darkness, it’s just the other side of the light’ (“Other Side of the Light”) while a revolving rhythm makes a wish to “Be So Lucky” as “Whatcha Know Good” trudges over a swamp-thick muddy groove offering solace through backwood wisdom (“I don’t worry. Don’t get in a hurry. Ain’t no reason to fight if the fish don’t bite’). Produced by Dave Cobb (Jason Isbell, Sturgill Simpson, Chris Stapleton) Be Right Here delivers a new batch of anthems from Blackberry Smoke. Harmonies slowly rising up to grab attention before Rock’n’Roll chord chops lead the way into “Little Bit Crazy”. “Azalea” blooms over a rattle of rhythms as heavy footstomps bare teeth to introduce “Barefoot Angel” while Be Right Here offers a cautionary tale with “Hammer and the Nail”. Blackberry Smoke are the teachers in a classroom blasting Rock’n’Roll Country jam motivations as the lyrical lessons provide counsel for how to live your best life. Listen and buy the music of Blackberry Smoke from AMAZON For more info, check out the Blackberry Smoke website The Blog Tags widget will appear here on the published site.
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2/24/2024 Eric Brace & Thomm Jutz (from the album Simple Motion
Eric Brace & Thomm Jutz (from the album Simple Motion on Red Beet Records) (by Lee Zimmerman)
As difficult as it must have been to deal with, the tragic loss of friend and collaborator Peter Cooper didn’t not deter his bandmates, first with Eric Brace, then as a trio that included Thomm Jutz from maintaining the musical mission that the three had carried on so successfully. Eric Brace, whose day job includes running his own Red Beet Records and helming the acclaimed Americana band Last Train Home, and Thomm Jutz, a much in-demand producer and solo singer/songwriter, clearly excelled on their own, but it was their combined partnership with Cooper that gave them added musical intuition, and the ability to enhance their individual efforts. The pair carry on here with exuberance and enthusiasm, but even so, Cooper’s memory still looms large, not only in the dedication inscribed in the inner sleeve, but also through “Can’t Change the Weather”, a track co-written by Cooper and Jutz. Not surprisingly, Peter Cooper gets a mention in the lyrics, which serves to illuminate the contemplation and contentment that serves the song’s theme in general. The rest of the material is similarly easy and assuring, each an original composition written by the two men in tandem, solo or in collaboration with others. That soothing sound is sustained throughout, whether found in the gentle sway of “Frost on the South Side” and the title track, the calming caress of “Burn” and “Just A Moment”, the mellow musings shared in “Sea Fever” and “Nashville in the Morning”, or simply the Folk-like finesse given “Ramble” and “Adam & Eve.” Each selection maintains an inherent appeal, and even when Brace and Jutz add a jauntier drive to “When London Was the World” or wax philosophical for the future on “What You Can Get for Getting Older” (a Jutz cowrite with frequent performing partner, Tammi Rogers), the sweetness and sentiment remain intrinsically intact. Its name aside, Simple Motion is an exceptional achievement, especially due to the fact that Jutz and Brace found the ability to pick up the pieces after their partner had passed. While it’s doubtful that the task was in any way as easy as the title implies, it’s certainly an impressive testament to the power of perseverance. (by Lee Zimmerman) Listen and buy the music of Eric Brace & Thomm Jutz from AMAZON Visit the Eric Brace & Thomm Jutz website for more information The Blog Tags widget will appear here on the published site.
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2/24/2024 John Leventhal (from the album Rumble Strip
John Leventhal (from the album Rumble Strip available on Rumble Strip Records (by Lee Zimmerman)
It’s hard to believe that with a career that spans 45 years, six Grammys, plus with work as multi-instrumentalist and producer alongside some of the most influential artists of modern times —- among them, his wife, Rosanne Cash, Sarah Jarosz, Jim Lauderdale, Joan Osborne, Marc Cohn, and The Blind Boys of Alabama, among the many — John Leventhal has never found the time or inclination to put out an album of his own. Consequently, the announcement that he’s finally getting around to a solo sojourn naturally brings with it a great deal of excitement and anticipation. After all, his name is not only a familiar signpost as far as credibility is concerned, but also a mark of quality as well. One can be assured that any album that bears his imprint is going to be one well worth hearing. In a sense, Rumble Strip deliberately downplays any hint of greatness or grandeur. Rather, it’s a set of most mostly instrumental offerings that are rich in melody, tone, and texture, and yet hardly the stuff that makes any sort of grand statement. That’s not to say that his talent isn’t fully infused within these tracks. To the contrary — the softer sheen that tempers the majority of these songs, from the whispered hush and pretty pensive sigh of “JL’s Hymn #2”, “Clarinet Country”, “Soul Up”, Who’s Afraid of Samuel Barber”, and “Inward Hill” to the slow saunter of “The Only Ghost” and the title track — makes the music memorable regardless. Leventhal himself hand a hand in writing all the songs and he naturally handles the bulk of the instrumentation as well. His solo piano playing on opening track “Floyd Cramer’s Dream” makes for an evocative album opener, but the infusion of brass on both “Meteor” and “Three Chord Monte” adds a bit of variation without disrupting the tender tapestry overall. Likewise, Rosanne’s shared vocals on “That’s All I Know About Arkansas” and “If You Only Knew” provide an emotive yet otherwise unobtrusive touch. While songs without words often blunt the accessibility factor, that’s hardly the case here. The melodies are beautiful and beguiling, a fine reflection of Leventhal’s taste and talents. It may have been a long time in coming, but clearly Rumble Strip is as moving as one out to expect. (by Lee Zimmerman) Listen and buy the music of John Leventhal from AMAZON The Blog Tags widget will appear here on the published site.
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2/24/2024 Albert Cummings (from the album Strong
Albert Cummings (from the album Strong available on Ivy Music Company) (by Bryant Liggett)
Strong is an appropriate title for the latest from Albert Cummings because it perfectly describes the songs inside. You will find the upper-level strength in the vocals as well as the melodies and guitar parts, from the small licks to the ripping solos. Come for the Blues, stay for the hot guitar playing, as Albert Cummings proves he’s more than adept at handling the heavy lifting when it comes to the six-string. File under Blues however Cummings is capable of stretching, as in album opener “Emmylou” and its tone of more Country and Roots Rock, (leaning heavily on the Rock) than traditional Blues. Every time Albert Cummings mutters the name “Emmylou” it follows with guitar theatrics. Both “Lookin’ Up” and “Fallen for You” have quick but biting guitar introductions, the riffs grabbing you by the neck and not letting go, Cummings again going heavier on the Rock in his Blues Rock sound. He stretches his legs in the six-minute plus “Goin’ Down Slow”, a burner where Cummings takes his time even with its hot solo. “Get Busy” is a big delivery of Boogie Blues where he claims ‘I won’t hit the snooze button, because there ain’t no time to snore’ the line of the album and proof that he is indeed ‘busy’. Every genre, and almost every band from the past eras will cover The Beatles, Albert Cummings no exception as he drops a gritty version of “Why Don’t We Do It In the Road” and the closer in “My Sisters Guitar” drifts gently from an album that rocks. It’s a soft closer that’s heartfelt and personal, sentimental and soulfully cool. (by Bryant Liggett) Listen and buy the music of Albert Cummings from AMAZON Visit the Albert Cummings website for more information The Blog Tags widget will appear here on the published site.
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2/17/2024 The Steel Wheels (from the album Sideways
The Steel Wheels (from the album Sideways on Big Ring Records) (by Lee Zimmerman)
There’s a longtime cliche that says Southern Rock and Roll is defined by a surly attitude, blazing twin guitars, and an approach that breeches the divide between pride and purpose. So, while The Steel Wheels certainly can claim the kind of birthright tying them to that template, they’re not bound to the sort of stereotypes that otherwise govern the sound and style. With a history that goes back more than a dozen years and half a dozen albums to their credit, The Steel Wheels have managed to stake out a sound that distinguishes them from every other regional rocker and allows them to procure a style that’s both imaginative and independent. Sideways is perfect example. It finds the band — Jay Lapp (vocals, guitars, mandolin), Eric Brubaker (vocals, fiddle), Trent Wagler (vocals, guitar, banjo), Kevin Garcia (drums, percussion, keys), and Jeremy Darrow (bass) — exploring new sonic realms loosely banded under the Americana brand. That diversity is readily apparent even at the outset, with the authority and assurance of “Wait on You” easily segueing into the Funk-fueled rhythm of “Baby Gone”, through to the beguiling balladry of the title track and forward into the soulful sway of “Hero”. To their credit, the band don’t allow themselves to be cast within any singular style, and as a result, there’s interest and intrigue spawned from practically every track. The lovely Celtic-flavored instrumental “Dissidents”, the down-home lilt of “Easy On Your Way”, the fiddle-driven “Morning Before Long” and “Past the Breaks”, and the south of the border pacing of “Morning Before Long” underscore that diversity to marvelous effect. Of course, none of that would matter if the songs themselves weren’t up to par, but fortunately The Steel Wheels have the proverbial ace up their collective sleeve in the form of Wagler’s superior songwriting. He makes every melody count, and as a result, every song sticks to a high standard. Credit is also due producer Sam Kassirer who ensures the actual cohesion and an approach that consistently works to the music’s best advantage. Happily, it all combines to keep The Steel Wheels as well-oiled sever. (by Lee Zimmerman) Listen and buy the music of The Steel Wheels from AMAZON For more info, check out The Steel Wheels website The Blog Tags widget will appear here on the published site.
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2/17/2024 The Dead South (from the album Chains & Stakes
The Dead South (from the album Chains & Stakes on Six Shooter Records) (by Lee Zimmerman)
The Dead South have never exactly been an easy band to classify. The Canadian combo resembles a group of Pennsylvania Quakers, decked out in their wide-brimmed hats, string ties, suspenders, and a somewhat stern demeanor. The fact that their last two outings were dismissively dubbed Easy Listening for Jerks, Parts One and Two does little to dispel that clearly curmudgeonly image. Nevertheless, its title aside, Chains & Stakes is more assertive than aggressive, a rugged set of songs that are both rambling and robust. Elements of Bluegrass, Country, Americana, and unsettling circumstance find equal footing in their songs and sound, while their ties to tradition are evident throughout. Nevertheless, their imaginative approach gives them contemporary credibility, and with it, an honesty and integrity that eschews any hint that they’re simply all about image. In that regard, it’s the music that matters, whether it’s the rolling ramble of “Blood on the Mind”, the strut and pluck of “Yours to Keep” or the quiet contemplation implied in the brief instrumental “Where Has the Time Gone”. Clearly, there are larger themes looming throughout, most having to do with the existential elements that life seems to serve up a daily basis. “20 Mile Jump” confronts the question of what constitutes true devotion, while the shifting stride of “A Little Devil” deals with the challenges and choices that everyone inevitably has to face. “Father Soul” describes a lost soul who’s only intent on finding his own redemption. In that regard, Chains & Stakes may sometimes seem deceptive. A song like “Son of Ambrose”, which ostensibly describes the plight of a veteran who’s trying to find his bearings in the world he’s returning to, suggests the need to confront deeper dilemmas. “Completely, Sweetly” leaves its own ominous impression. “A Place I Hardly Know” indicates that even when the familiarity factor is weighed in, things often aren’t the way they seem. The fact that these songs are cloaked a traditional tapestry of banjo, fiddle, mandolin, and guitar adds to the allure and intrigue. Yet comfort and clarity are muddled by a tangle of darker designs. Like the albums that preceded it, Chains & Stakes marks another intriguing effort from an otherwise earnest ensemble. It’s obvious yet again that in pursuit of their muse, The Dead South refuse to be bound and bridled. (by Lee Zimmerman) Listen and buy the music of The Dead South from AMAZON For more info, check out The Dead South website The Blog Tags widget will appear here on the published site.
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2/17/2024 Watchhouse (from the album Austin City Limits Live at the Moody Theater
Watchhouse (from the album Austin City Limits Live at the Moody Theater available on Yep Roc Records) (By Lee Zimmerman)
When they suddenly and somewhat surreptitiously changed their handle from Mandolin Orange to Watchhouse, the duo — Andrew Marlin (vocals, mandolin, guitars) and Emily Frantz (vocals, acoustic guitar, fiddle) — didn’t automatically change their sound along with it. As evidenced by this sublime set recorded live for Austin City Limits in January 2020, they’re still making music of a similarly soft and supple variety. Aided and abetted by guitarist Josh Oliver, bassist Clint Mullican, drummer Joe Westerlund, and Kate Rhudy on occasional fiddle and backing vocals, Marlin and Frantz maintain the same gentle caress, with songs such as “Golden Embers”, “When She’s Feeling Blue”, “Cavalry”, “Hey Stranger”, “Wildfire”, and “The Wolves” coming across as a series of swaying serenades and a serendipitous sound that could be likened to a lullaby. While some might consider the music too light and airy to create a really formidable impression, these lilting melodies prove otherwise. So too, not every track maintains a mellow stance; “My Blinded Heart” and “Gospel Shoes” provide a combination of plucking and picking, making for mildly upbeat entries with a spark and shine. Likewise, in a song such as “Time We Made Time” the swelling arrangements help ensure that overall allure. So too, the evocative sentiments and comforting caress make no demands on the listener other than to simply relax, reflect and settle into a state of quiet contemplation. The tasteful instrumentation and effortless harmonies shared by Marlin and Franz convey a sense of serenity and pure emotional investment. Happily, while the moods and melodies may suggest otherwise, Watchhouse don’t always take themselves too seriously. Marlin’s rambling intro to “Hawk Is a Mule”, a fiddle-fueled instrumental that considers the possibility of using a bird of prey to carry weed across the border, has them musing mischievously. Closing track “Waltz About Whiskey” finds that light-hearted attitude still intact. Whether it’s a catch-up for the uninitiated or considered an essential acquisition for the Watchhouse/Mandolin Orange aficionado, Live at the Moody Theater is, in fact, an exceptional collection. Put on the music, light some candles and bask in the grace and grandeur. (by Lee Zimmerman) Listen and buy the music of Watchhouse from AMAZON For more info, check out the Watchhouse website The Blog Tags widget will appear here on the published site.
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2/17/2024 Tinsley Ellis (from the album The Naked Truth
Tinsley Ellis (from the album The Naked Truth available on Alligator Records) (by Bryant Liggett)
The latest from Tinsley Ellis sounds like it could be 60 years old. It is, however, not a throwback to an earlier era. This is everything Blues music should be, and was in its earlier incarnations. Stripped down, raw, and rough around the edges, and forever timeless. The Naked Truth is a perfect title for this record; no studio tricks and no added gimmicks, nothing stuffed in various pockets or sly underpinnings, nothing is fixed in the mix. It is an honest offering of musical reality. Album opener, “Devil in the Room”, is driven by hand-made percussion while “Death Letter Blues” and “Tallahassee Blues” are both dirty, raw, and sublime in their acoustic simplicity. This is also a showcase of Ellis’ ability solely as a guitar player, as the record has instrumental cuts that play out like a theatrical score. “Silver Mountain” and “Alcovy Breakdown” sound as if Ellis is ready to break every string through picking and strumming, while “The Sailors Grave on the Prairie” and “Easter Song” are mellow and ambient. Then there’s the infectious and wonderful “Grown Ass Man” that’s a juke joint or front porch boogie cut; with more hand percussion via snaps, Tinsley Ellis is showing he’s capable of rolling out a lot with oh-so little. (by Bryant Liggett) Listen and buy the music of Tinsley Ellis from AMAZON For more info, check out the Tinsley Ellis website The Blog Tags widget will appear here on the published site.
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