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6/29/2024 The Secret Sisters (from the album Mind, Man, MedicineThe Secret Sisters (from the album Mind, Man, Medicine available on New West Records) (by Lee Zimmerman)
Grammy-nominated duo The Secret Sisters — siblings Laura Rogers and Lydia Slagle — are clearly in a meditative mood. Or. at least, that’s the indication implied by their new album, aptly titled Mind, Man, Medicine. Producers Ben Tanner and John Paul White effectively channel The Sisters’ soothing and serendipitous sound into a series of mellow melodies, each a clear indication of the honest emotion invested in each one. Indeed, the pair make no secret of their dreamy desire. ‘Bring me your buckets of rain, I’ll pour in sunshine’ they coo on “I’ve Got Your Back”, a most effective coda for the album overall. ‘Bring me your mountains of pain, And I will make them mine’. That’s comfort and caress ramped up to maximum warp. In fact, the entire effort conveys that silky sheen. There’s a tentative tone shared on opening track “Space”. and while the stealth-like “Paperweight” owns up to its title, the rest of the set follows suit with a series of sweetly seductive melodies, each plied with both charm and intrigue. The measured pace of “All the Ways” (featuring a cameo from Ray Lamontagne), the calming caress drifting through “Planted” and the unassuming airs of “Never Walk Away” all conform to the intimacy and emotion embedded in each of the entries overall. Credit can also be given a highly capable support crew — Tanner (piano, synthesizers, organs, Wurlitzer), White (acoustic guitar), Larry Campbell (electric guitar, fiddle), Zac Cockrell (bass), Jeremy Gibson (drums), Ken Lewis (percussion), Parker McAnnally (bass, dulcimer), Austin Motlow (synthesizer, electric guitar), and KS Rhoads (piano) — for bringing these delicate designs to fruition. They work in tandem to leave a marked impression through a series of graceful, unhurried, atmospheric vignettes flush with reflection and reassurance. Again, the lyrics leave no doubt as to their desires, as evidenced by this modest refrain from “All the Ways”: ‘Well, if you need, need, need Someone to love Oh, let me love, love, love you All the ways…’ In terms of a come-on, it certainly doesn’t get any more irresistible than that. Bring it on, ladies. Bring it on. (by Lee Zimmerman) Listen and buy the music of The Secret Sisters from AMAZON For more info, check out The Secret Sisters website The Blog Tags widget will appear here on the published site.
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6/29/2024 Big Head Todd and The Monsters (from the album Her Way Out on Big Records)Big Head Todd and The Monsters (from the album Her Way Out on Big Records) (by Lee Zimmerman)
Big Head Todd and The Monsters have paid their dues the hard way — that is, via constant touring, steadily building a legion of fans, and releasing a dozen albums over the course of a prodigious 40-year career. The band — consisting of Todd Park Mohr (vocals, guitar, keys, sax, harmonica), Brian Nevin (drums), Rob Squires (bass, vocals), and Jeremy Lawton (keyboards, lap pedal-steel guitar, vocals) —have continued to excel on both stage and in the studio, providing a crossover appeal that’s bolstered their popularity on both fronts. They also secured their standing in the cosmos when they performed their song "Blue Sky" live from NASA Mission Control to the Space Station. That said, the band doesn’t rely on any sort of pretension whatsoever. The music is mostly straight ahead Rock’n’Roll, a passionate display of fully fueled revelry unabashedly expressed via such songs as “Her Way Out”, “Thunderbird”, “Rainbow Girl”, “King King”, “My New Number One”, and “Glorious Full Moon”. The focus falls on upbeat and emphatic barnburners powered by relentless riffing and hard rock happenstance. It holds to a tempestuous template throughout, with a certain populist proviso encased within each of those offerings as well. It’s all shored up by a drive and determination meant to get a stadium sized crowd waving their cell phones in unison while a host of air guitarists punctuate the proceedings with poise and posturing. The energy and intensity are fully affected and ignited, as befitting a band with an impressive pedigree. That’s not to say the band abandons melody in the process. “Into the Light” and “Don’t Kill Me Tonight” are built on a steady stride and a compelling clarity that makes the music all the more memorable in terms of the exacting execution. Still, Big Head Todd and The Monsters remain, at their core, crowd-pleasing, irrepressible agitators and insurgents. It’s that spirit that finds Her Way Out winning out in a decidedly upbeat and emphatic way. (by Lee Zimmerman) Listen and buy the music of Big Head Todd and The Monsters from AMAZON For more info, check out the Big Head Todd and The Monsters website The Blog Tags widget will appear here on the published site.
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6/29/2024 Ordinary Elephant (from the album Ordinary ElephantsOrdinary Elephant (from the album Ordinary Elephants available on Berkalin Records) (by Lee Zimmerman)
Their unusual name aside, Ordinary Elephant obviously don’t strive to be ordinary, even though they hold to the notion that the elephant in the room is all about maintaining a certain Folk finery. If their sound seems somewhat twee at times, it’s obviously also intended. In this case, the duo — Crystal and Pete Damore — opt for a markedly stripped-down sound that represents their purest and most personal effort yet. It finds them laying bare their emotions, courtesy of little more than a simple pluck and strum. Oftentimes it requires one to lean and listen, so as to not miss any single note or nuance. Naturally, that’s a fanciful combination, one that’s more or less expressed in the opening track “Once Upon A Time”: ‘Tell me that story again darlin’ The one where we all end up alright… Wasn’t it true once upon a time?’ That sort of optimism is rare these days, but it seems to suit Ordinary Elephant just fine. The kudos that accompanied their album Before I Go — which included a win for the International Folk Music Award for Artist of the Year — clearly seemed to attest to that. But then again, it’s also obvious that the pair possess an unwavering sense of conviction, which is so necessary when one takes an organic approach. Relying on banjo, guitar, and octave mandolin, the music weaves its tender tones. As a result, the mellow, meandering sound of “The Prophet”, the meditative musings of “Midlife”, and the calming caress embedded in the upward gaze of “Joy Has Not Forgotten Me” convey a feeling of unyielding optimism, patience, and purpose. So, while the rest of the album keeps to the same low-level designs, the overall effect is one of of serene and cerebral circumstance. Granted, at the same time, it’s sometimes difficult to distinguish one song from another. Yet, given the idyllic environs that Ordinary Elephant tend to survey, it’s hard to quibble with such solace and assurance. It’s a restful respite indeed. (by Lee Zimmerman) Listen and buy the music of Ordinary Elephant from AMAZON For more info, check out the Ordinary Elephant website The Blog Tags widget will appear here on the published site.
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6/29/2024 Swamp Dogg (from the album Blackgrass: From West Virginia to 125th StreetSwamp Dogg (from the album Blackgrass: From West Virginia to 125th Street available on Oh Boy Records) (by Bryant Liggett)
Genre bending Swamp Dogg has dug into Pop and Blues, Funk and Americana, in his decades long career. For his latest in Blackgrass: From West Virginia to 125th Street he’s stacked a band of some of the best in Bluegrass, Country and Indie Rock, recruits that are an all-star outfit in anyone’s book for this Roots-heavy release. He opens with high harmonies and driving banjo (thanks to Noam Pikelny) on the Bluegrass cut “Mess Under That Dress”, a tune that would come with Bill Monroe’s approval. Funky banjo follows in the skippy “Ugly Mans Wife” and he drops a loungey-ballad in “Have a Good Time”. Swamp Dogg gets great help from the ladies on a couple tracks. “To The Other Woman” is a weeper that features Margo Price, while “Count the Days” has a Gospel vibe with big angelic harmonies that feature Jenny Lewis. These two cuts are killer. “Gotta Have My Baby Back” is a song that would be ripe for the Rat Pack, and is even better in the hands of Swamp Dogg. “Your Best Friend” has more great Bluegrass instrumentation backing Swamp Dogg on this rootsy cut that “Rise Up” is another Gospel track that also features guitar great Vernon Reid (Living Colour) adding stabbing stunt-guitar right alongside Bluegrass picking. The album closes with the haunting “Murder Ballad” which is just that. With the aforementioned players along with Jerry Douglas Sierra Hull and Chris Scruggs, Swamp Dogg has dropped a festival ready release, something that would appease fans of anything Roots; Bluegrass, Blues, and Gospel, you can say he’s touched on the cornerstone of Americana, or you can drop genres and just say it’s a great record. Which it is. (by Bryant Liggett) Listen and buy the music of Swamp Dogg from AMAZON For more info, check out the Swamp Dogg website The Blog Tags widget will appear here on the published site.
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6/22/2024 Dave Alvin & Jimmie Dale Gilmore (from the album TexicaliDave Alvin & Jimmie Dale Gilmore (from the album Texicali available on Yep Roc Records) (by Lee Zimmerman)
It’s fair to say that no two individuals better typify the archival sound of pure Americana than Dave Alvin and Jimmie Dale Gilmore. Gilmore, a seminal member of the legendary Southwestern supergroup The Flatlanders, along with Joe Ely and Butch Hancock, was born in Amarillo and is now considered part of Austin’s essential musical royalty. Alvin, a Californian, played a major role in two equally esteemed outfits, X and The Blasters, before embarking on a solo excursion that’s elevated him to the heights of fame and glory. Consequently, the partnering of these two men makes for an auspicious occasion, courtesy of the tellingly-titled Texicali. As its name implies, the album finds Alvin and Gilmore sharing songs that reflect their respective roots. Although the pair each contribute a fair share of the songs — either solo or in collaboration with some fellow travelers — they also opt to cover some classics — “Broke Down Engine”, penned by Blind Willie McTell, Butch Hancock’s “Roll Around”, “Betty and Dupree”, written by Brownie McGhee, “Down the 286”, composed by Josh White and Casey Papendieck, and “Why I’m Walking”, co-written by Stonewall Jackson and Melvin Endsley. Granted, most of those songs could be considered somewhat obscure entries, but to their credit, Alvin and Gilmore stay true to their rustic roots and weave a traditional tapestry that allows them to leave an individual imprint as well. For the most part, Gilmore’s signature style prevails. With his high, seemingly strangulated vocals, his singing often brings to mind Willie Nelson’s particular down-home demeanor. It’s also evidenced in the steady stride of “Borderland” (a particularly prominent example of Tex-Mex tenacity), and the sweetly soulful “Trying to Free”. On the other hand, the two offer homage to the source material as well, whether it’s the comfort and caress given the bluesy “Broke Down Engine”, the saunter and sway of “Roll Around”, or the sedate shuffle given “Why I’m Walking”. There’s a natural appeal that pervades the album overall, ensuring that Texicali finds common ground between Texas, California, and the disparate environs of the great Southwest. Credit Dave Alvin and Jimmie Dale Gilmore for diminishing the distance in-between. (by Lee Zimmerman) Listen and buy the music of Dave Alvin & Jimmie Dale Gilmore from AMAZON For more information, please visit the Dave Alvin & Jimmie Dale Gilmore websites The Blog Tags widget will appear here on the published site.
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6/22/2024 Cody Dickinson (from the album HomemadeCody Dickinson (from the album Homemade available on Strong Place Music) (by Bryant Liggett)
If anyone is capable of being a musical one man show, it is Cody Dickinson. An important figure from an important family for not only music of the South, but music of the world, Homemade finds this co-founding member of The North Mississippi All-Stars handling everything in front of the microphones and behind the console. It’s a solid nod to the music of Cody’s upbringing, from the grit- boogie of his North Mississippi back yard to the sounds that were made by the people that rolled through his father’s, Jim Dickinson, studio; Cody was, in fact, raised in a big, musical world. Album opener, “Homemade Blues”, mentions ‘electric washboard, slide guitar, play all night, play all day’ referencing his full-time musical endeavors, while loaded with the North Mississippi All Star world boogie. There are funky breaks in “Big City” while “Walk Right In” is the closest thing to traditional Blues on Homemade, and “Goodbye Albuquerque, Tuesday Night” with its kids-like keys, is low key and catchy. Cody Dickinson tosses out some garage-inspired bangers with “Easy” and “Homewrecker”, the latter sounding like it could have come from the New Rhythm and Blues Quartet (NRBQ). “As Fast as it Comes” is indie Funk, and a big, wonderful curve-ball comes in the hard-rocker “Worldwide”, which sounds like it was pulled from 1970’s era KISS. That’s a compliment in every sense. What a record! It’s got the Dickinson world- boogie with some Indie and Hard Rock thrown in, sounds influenced from musicians hiring the elder Dickinson for production work. This is top level audio from a dude who has absorbed American music and then some from every corner. (by Bryant Liggett) Listen and buy the music of Cody Dickinson from AMAZON For more information, please visit the Cody Dickinson website The Blog Tags widget will appear here on the published site.
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6/22/2024 Sugaray Rayford (from the album Human DecencySugaray Rayford (from the album Human Decency available on Forty Below Records) (by Lee Zimmerman)
Sugaray Rayford is a certified soul man, and all it takes is a cursory listen to his new LP, Human Decency, to prove the point. His sound is a toss-back to an earlier era when Stax Records ruled the airwaves and crossover appeal was practically a given. Rayford clearly lives up to that legacy, but like many of his forebears, his desire to sing the Blues was spawned from genuine emotion. He was born into poverty and raised by a single mother whose bout with cancer found the family struggling to survive. Now all these years later, that experience continues to inform his sound, leaving no doubt as to his unfettered emotion. When Rayford wails, the sentiment shows. As a result, it’s little surprise that he’s received the highest levels of recognition and accreditation. His 2020 release, Somebody Save Me, was nominated for a Grammy. That was in addition to the five Blues Music Awards he’s won — for B.B. King Entertainer, Vocalist, Soul Blues Album (for his earlier effort In Too Deep), and Soul Blues Artist. That, of course, makes for an impressive resume, and so it’s little wonder that the new album boasts with such insight and expression. Indeed, the songs share themes that resonate with both humor and humanity. The former quality is especially prominent on the song “Hanky Panky Time”, courtesy of a soulful strut and a playful posture. The latter comes through in the title track among others, a solid statement about the need to show tolerance and understanding to one another, despite apparent differences in background or opinions. So too, producer Eric Corne brings out the best in Sugaray Rayford, allowing his stirring vocals to come center stage, while the robust arrangements effectively frame Rayford’s searing delivery. The organ flourishes which are so predominant on “Failing Upwards” and the riveting horns adding to the old school sound of “Strawberry Hill” ensure an insistent sound, part of a riveting regalia that’s so consistent throughout. In short, Human Decency is a powerful and propulsive effort that not only stirs the spirit but reminds us of what can occur when honesty and authenticity find common ground. Human decency has never been more effectively expressed. (by Lee Zimmerman) Listen and buy the music of Sugaray Rayford from AMAZON Please go to the Sugaray Rayford website for more information The Blog Tags widget will appear here on the published site.
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6/22/2024 Left Lane Cruiser (from the album Bayport BBQ BluesLeft Lane Cruiser (from the album Bayport BBQ Blues available on Alive NaturalSound)
Using the album title as a nod of tribute to Chris Johnson, creator of Deep Blues Festival, Indiana Blues-duo Left Lane Cruiser deliver Bayport BBQ Blues. The pair follow wriggling guitar lines into the album, pounding out a “Motown Mash” to begin the song cycle. Salvation marches alongside The Band’s “Ophelia” when Left Lane Cruiser bring the Blues to church as a drum rumble sets the pace for “Man Down the Road” while “Get Down” adds banjo to the guitar/drums make-up of Left Lane Cruiser and a shout out to a lady labelled danger is centered in “Crazy Love”. The riff heavy stomp through “Black Forest Blues” is balanced by the slow distorted chords framing “The Desert” where Left Lane Cruiser nod to the 90’s Desert Rock scene. The duo wraps each track in a thick blanket of the Blues. Freddy J IV (guitar, vocals) and Brenn ‘Sausage Paw’ Beck (drums, washboard, trash kit) make a mighty stomp and holler. The two-piece slam down any full band competition as Left Lane Cruiser fast-track a Blues wail for “Backyard” as Bayport BBQ Blues makes plans to dance all night with “Big Momma Shake”. (by Danny McCloskey) Listen and buy the music of Left Lane Cruiser from AMAZON For more information, please visit the Left Lane Cruiser website The Blog Tags widget will appear here on the published site.
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6/22/2024 Various Artists (from the album We Still Can’t Say Good Bye - A Musicians’ Tribute to Chet AtkinsVarious Artists (from the album We Still Can’t Say Good Bye - A Musicians’ Tribute to Chet Atkins available on Morningstar Music) (by Lee Zimmerman)
The opening words of the liner notes say it all: ‘Few guitarists in any genre were as influential and reached across styles as snootily as the charming [Chet] Atkins’. Indeed, as an artist, innovator, record company exec, and winner of more prestigious awards than practically any other musician in history, Chet Atkins left a profound legacy that resonates with practically every guitarist that followed. And while he had hit songs, he accomplished far more than the sound he shared. He helped change the course of modern music in ways that are still being shared. It’s fitting then that this particular tribute features a diverse array of his fans and followers from across the musical spectrum, all offering their interpretations of songs that reflect Atkins’ influence. And while each is an accomplished artist in his or her own right, none of the participants try to tamper with the template, even on a well-known standard, such as The Everly Brothers’ “So Sad (To Watch Good Love Go Bad)”. Featuring a veritable super summit consisting of Eric Clapton, Vince Gill, Carl Jackson, and Bradley Walker, the music still retains the sweetness and fitness inherent in Atkins’ musical motif . So too, the timeless treasures that paid heed to Atkins’ approach — “Mr. Guitar”, “The Entertainer”, “Freight Train”, “Caravan”, “Alley Cat”, “Yakety Yak”, “Sleepwalk”, et.al, — still retain the supple sway so inherent in his style. That certainly says something, given the multitude of superstars taking part — Clapton, Gill, Tommy Emmanuel, Michael Cleveland, Jerry Douglas, Sierra Hull, Charlie McCoy, Bryan Sutton, Brad Paisley, James Taylor, Allison Krauss, Sierra Hull, among them — none of them attempt to impose their own presence on the proceedings. Taylor and Krauss’ lilting rendition of “How’s the World Treating You”, Vince Gill’s reflective read of “I Still Can’t Say Good Bye”, and Sierra Hull’s tender take on “All I Ever Need Is You” come close to being the exceptions since vocals rarely find a fit in these instrumental offerings. Yet even in those particular cases, the lithe arrangements ensure a certain serendipity. The nimble nuances and sublime suggestion reflect Atkins’ insistence that skill and subtlety can work well in tandem. Given that premise, We Still Can’t Say Good Bye pays heed to its title in the form of a welcome return. (by Lee Zimmerman) Listen and buy the music of Chet Atkins from AMAZON For more information, please visit the Chet Atkins website The Blog Tags widget will appear here on the published site.
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6/22/2024 The Mike Jacoby Electric Trio (from the album Rocket Fuel LogicThe Mike Jacoby Electric Trio (from the album Rocket Fuel Logic available as a self-release) (by Brian Rock)
The Mike Jacoby Electric Trio takes off on their sophomore album, Rocket Fuel Logic. Riding the wave of positive reviews from last year’s debut, The Long Haul, the band wastes no time building on their success. This album continues the CowPunk/PubRock fusion of the previous album with similar themes of heartbreak and hedonism accompanied by grinding guitars and pounding drums. Part Old 97’s and part Social Distortion, the trio puts out as much energy as a band twice as large. The lead track, “There Oughta Be a Law”, sets the tone with a searing rebuke to politically correct cancel culture. Honky-Tonk guitar and Rock and Roll drumbeats drive the rhythm as Jacoby sings ‘helpless gets you nowhere. Whining makes you weak. And who will be the next in line to steal your turn to speak’. A rousing anthem for free speech; the song is a defiant middle finger to the big tech, media, and political overlords who try to suppress it. Freedom is a recurrent theme throughout the album. “Stomp The Gas” is a high energy rocker that urges us to ‘get off your ass while you’re still alive’. “Resume Speed, Texas” is a tongue in cheek reference to the ubiquitous road signs in Texas that mark the end of small-town speed traps. Another hard driving song, it’s sure to get you driving way past the speed limit. “Here and Now” continues the crunchy guitar chords and the carpe diem messaging. Of course, with freedom comes consequences and MJT explores those with equal gusto. “Explaining to Do” is a harmonica laced Outlaw Country song that tries to make sense of a ‘stupid drunken night’. Honky-Tonk rhythms help convey the bitterness of divorce in “Your Love Song”. “Lie in Bed” slows the tempo and plays with the double meaning of the word lie in the title. Whatever the consequences may be, MJT proves they’re ready to dive right in on the Alt Country “Ready When You Are”. Understanding that our freedoms and our fates are directly linked, the band ends the album with the optimistic Alt Country ballad “Try”. After urging us to explore all that life has to offer, Jacoby suggests ‘hey, try ‘I love you’. Sound advice from a band with a dynamic sound. (by Brian Rock) Listen and buy the music of The Mike Jacoby Electric Trio from AMAZON For more information, please visit The Mike Jacoby Electric Trio website The Blog Tags widget will appear here on the published site.
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