Thanks to those of you who've taken the time to listen (and comment): appreciate it. Here's the next batch of belters. You can still hear the accompanying Gilded Palace Radio Show broadcast at Totally Radio. The final five will follow on Monday. Have a great weekend!
Malcolm Holcombe - Down The River (Gypsy Eyes Music)
There’s no sticker on the sleeve announcing the appearance of Steve Earle, Emmylou Harris, Darrell Scott or any of the other fine guests. That's not Malcolm's style. Never one to court the media (frustratingly so, sometimes!) he’d rather let the music do the talking. This kind of humility could come off as false, but I honestly believe that Malcolm is just grateful to be reaching an audience. Given his history (again something he shys away from in interviews), it is something that Malcolm is still with us and still making music.
Malcolm has always had a knack of dealing with our more melancholy emotions – and continues to do that on Down The River. 'The Crossing', 'Empty Jar', 'InYour Mercy' are all breathtakingly beautiful songs. With this album, he begins to broaden the focus of his songwriting – as if he can’t ignore injustice any longer, but also as if he’s finally found the voice (and the clarity of thought) to do so. 'Butcher In Town' opens the album with Malcolm growling and spitting his way through the song. While he never names the target of his ire, it’s clear he’s pissed off (“You ain’t from here when the shit hits the fan”).
The title track closes the album and picks up a (kind of) gospel mantra – people pulling together while ”the ones that buy and sell the rest of us down the river” are busy making “laws to suit themselves”. Even with such weighty concerns, Malcolm reminds us that the simple things are often most important.
Yes a compilation, but as their first UK release it's most likely the first chance a UK audience has had to hear Wussy. Props to Damnably Records for pulling together an excellent selection from Wussy's five albums - can't have been easy whittling it down.
There was a audible buzz of excitement around their trip to the UK this year. The largely faultless ears of Messrs. Coe, Lamacq and Riley on 6Music championed them, and not even the news that they were to be trimmed to a duo (financial constraints?) dimmed the response from those who saw them play. Fate (cruel or fickle) saw me on the road at the same time and I missed every one of their shows: as a long-time fan of both Wussy and Chuck Cleaver's previous band, Ass Ponys, missing them has to go down as one of my (musical) lows of 2012.
Anyone versed in late-80's American 'college rock' will feel right at home listening to Wussy. You'll hear Guided By Voices, early REM, Pixies, Throwing Muses (and 'next generattion bands like Belly and Breeders). But they're not simply revisionists: Ass Ponys were part of the scene back then (yeah, he's that old), which makes Wussy what reviewers like to call the 'real deal'. If Chuck is the Robert Pollard/Black Francis here, Lisa Walker is the Kim Deal/Tanya Donnelly - the best part of Wussy is you get all of those great bands in one. Buckeye demonstrates the consistent quality of their songwriting (honestly, ‘Maglite’, ‘Pulverised’ and ‘Motorcycle’ would have been touchstone tracks had they been recorded at Fort Apache back in the day. Even Chuck's minimal backing vocals on ‘Muscle Cars’ send shivers down my back. Oh, and the bassline...? Swooning, woozy perfection.
And, yes, ‘Funeral Dress’ nicks the melody and riff from ‘Teenage Kicks’, but does so shamelessly, knowingly, and is therefore a classic in its own right - so there!
Richard Dawson - Magic Bridge (Pink Triangle(CD)/Box (vinyl))
While there are comparisons to be made (start with Daniel Johnston or the mythical Michael Hurley and continue on your own path - although I insist you journey via Vic Chesnutt) Richard's is as unique a voice as Iris Dement, Malcolm Holcombe or Anais Mitchell. The longer I listen to music, the more important I find it is to hear new voices - something unfamiliar to jar you out of whatever comfort zone towards which old age might be lulling you. Too often lately, I'm left underwhelmed by the nagging sense that few artists are brave enough to wipe the slate clean and strike out on their own path. The cliches are too obvious, the reference points too blatant - even when I like the source... that, or I'm too bloody picky.
I probably heard Richard Dawson first on the excellent Simple Folk Radio show, but was really only made aware of him when inspired billing by the promoters saw Richard opening for Malcolm Holcombe in Newcastle in 2011. While Richard may have little in common with Malcolm musically/stylistically, their passionate, hell-for-leather performance belies a kinship at a primal level. So it was that, for the first few songs of Richard's set, I sat dutifully at Malcolm's merch table, thinking, "What on earth has the promoter booked here...?" and then - with 'Wooden Bag' (on this album) I fell in. Up to my neck. He's making music for no-one but himself, singing about stuff that matters only to him (that wooden bag, for instance) and I love the vicarious thrill of listening to him do so.
Battering away on acoustic guitar (like Malcolm, the vigour of his performance can't disguise the skill of his playing), his vocal melodies sometimes apparently following a different tune. ‘Black Dog In The Sky’ evokes comparisons with the now-defunct Men Diamler: striking, semi-vulgar lyrical imagery, coupled with forceful, fingerpicked and over-driven acoustic guitar.
I wouldn't be surprised if he left that Malcolm Holcombe show having made few new converts. He probably could have cared less. That I haven't seen him play since - despite numerous trips back to Newcastle - only serves to heighten my anticipation of seeing him again… that, and immersing myself in this truly idiosyncratic and (unadornedly) beautiful record.
PS Actually a 2011 release, but I wasn’t aware of its existence until the vinyl issue of 2012 - so stat-fans can rest easy. Like I said before, my list..
Comeback album of the year? Not 'alf! After so long, it was inevitable that Iris Dement's new album would get country fans excited. Admitedly, it wasn't a given that she'd make a great record: after all, sixteen years is a long time between albums. Not to worry: she still has a voice that sounds like no-one else and pulls out song after song to do it justice.
The album opens with the strident piano of 'Go On Ahead and Go Home', and immediately you know she’s still a force to be reckoned with. She’s still at odds with religion (which will please the bigots who’ve railed against her in the past), but still careful to put her ‘heresy’ into context. ‘The Night I Learned How Not To Pray’ is a compelling attempt to reconcile a child’s prayers going unanswered. On ‘Living On The Inside’ she “don't wanna know about nothin' unless it's something I can see or touch”.
Just once or twice when listening I’ve wished the instrumentation was a little less prevalent: there are a couple of occasions where her voice is lost behind the band (Whole Lotta Heaven), but it’s a small complaint (more about deciphering lyrics). I still enjoy the songs. And the best is saved until last: the epic 'Out Of The Fire' would be just as awe-inspiring as a spoken-word peformance. The lyrics are pure poetry and conjour images that last long after the song has faded (and it’s almost eight minutes long at that!).
It’s so good to have her back. Hopefully she won’t go away for another 16 years, but if she does we have another stunning collection of her work.
The third album from Brooklyn's Yarn; the fifth, if you count their 'outtakes' releases (Leftovers Vol. 1 and 2) – and their third collection of original material released in 2013.
You might criticise many artists with a similar rate of output for a lack of quality control, but that’s not an accusation that could be levelled at Yarn. As Almost Home demonstrates, their songs simply ooze class – I’m just baffled as to how they come up with so many of them!
While the lyrics are as world-weary as they come, the songs don’t lack energy. ‘Soft Rock Radio’ (great title) isn’t the only track to feature a guitar solo to keep fans of Deep Dark Woods very happy. Appropriating its title from the Stones, ‘It’s All Over Now’ tops ‘Soft Rock’’s guitar with some belting mandolin. The title track has become one of my late-night-sing-alone-in-the-van favourites. Seems Cosmic American Music is not only alive and well – it is living in Brooklyn. I for one wouldn't mind it paying a visit to the UK
An unashamedly country-rock album, then, and one that trades on familiar themes like love, loss and liquour, so why get excited? Maybe I’m growing up, getting old (I have been spending quite a bit of time with Eggs Over Easy lately - ). Although I’m not the biggest Dire Straits fan, they are another comparison that springs to mind. Elsewhere, 'I’ve Seen The Difference' is a ringer for the Grateful Dead’s ‘Ripple’. With references to Jim Croce here too, you’d be forgiven for thinking the past forty-odd years haven’t made much of an impact on Yarn. I for one am grateful for that.
Buy: http://yarnmusic.bombplates.com/merch - right now, they have a 'sale' on all 6 CDs for $55 - trust me, there's not a dud amongst them (although UK users watch out for the import tax!)
Here's the first batch of commentary on my favourite albums of the past year. Others will follow (five at a time, I reckon). Hope you find something new to enjoy amongst them. I'd be keen to hear what floated your boat - beside the obvious, that is (I read the music press too, just didn't find a lot of what was being touted actually lived up to the hype). You can listen to the radio show at Totally Radio. Still, the easiest way to listen is clicking the 'beta player' on the home page and scrolling down the list of show until you see the 'Gilded Palace' name.
As well as albums, I wanted to mark a couple of other notable events in 2012.
Single Of The Year: without a doubt this would have to be THE ROCKINGBIRDS' 'Til Something Better Comes Along' (Spring Records): it sounds as if they never went away - superb country-rock from Alan and the boys. I was excited when they got back together for a few dates in 2011 and daren't hope that they would make it a more permanent arrangement. They did! Better still, a new album is about to be released on Loose (in Feb/March). Hmm, looks like the 2013 chart is already writing itself...
Gig Of The Year: I've seen a few(!) and was beginning to think I was getting harder to please. The ever-remarkable Malcolm Holcombe remains the person I would see if you ever compelled me to give up live music, but I could not have been prepared for the exhilarating spectacle that was LARRY AND HIS FLASK at The Hydrant in Brighton. I'd been forewarned (by our departed, lamented Tom Sheriff after he'd seen them in Canada - 'best live band I've seen'). Still, I was overwhelmed: not only do they out on a great show, but they have the songs and the chops (oh, the harmonies!) to back it up. I've been reliving the show ever since. Like nothing else I've seen before - and I cannot wait to see them again! You should make it a priority for 2013: http://www.larryandhisflask.com/shows/
So, on with the albums...
ALBUM OF THE YEAR: The Spook Of The Thirteenth Lock - The Brutal Here And Now (Transduction)
The Brutal Here And Now is the second album from Dublin’s The Spook Of The Thirteenth Lock. Still, nine months after I first heard it, The Brutal Here And Now is unlike anything else I heard this year. That first listen was a truly memorable experience: utterly mesmerising, at times frighteningly so. I was almost scared to listen again in case it wasn’t as good. It was – and still is.
Not just a distillation of all great Irish music and - as if that wasn't enough - a little Italian too. There is enough here to remind you of their heritage, but still they are in a league of their own. Most clearly, they still call to mind Lift To Experience (as they did on their self-titled debut), then again, on ‘Black Diaries’ they sound like Clutch, on ‘Rattling Hell’ like The Dubliners. Though the influences are many - and hugely varied (Gaelic, krautrock, folk and hardcore) - the net result bears comparison to so few of the bands they've probably listened to.
The album was released only recently in the UK, but has been out in Ireland for the best part of the year. Already they've had excellent reviews - notably one from Robin Denselow in The Guardian, four stars in Mojo and three in Q.
I’ll wager Cory Branan's motto is "...why not?" Why not have bare breasts on the album cover? Why not give it a title potentially taunting critics to compare it to a dogs' breakfast? Why not completely lift the riff from Jack & Diane - and why not call the track 'Yesterday'? Why not have Tom Waits horn player on the most Waits-ian song on the record?
Whether intentionally or by force of circumstance, Cory Branan doesn't make records in a hurry. This (his third) comes six years after the last: rather like waiting for a John Prine album, you're impatient to hear more and wish he'd up the pace a little, but never tire of listening again and again to what you can get.
Don’t think he doesn’t care, though: the craft is evident in the treatment of the songs. When he decides Bad Man is going for a Springsteen feel, it’s done with kitchen-sink gusto, all stabbing piano and grooving saxaphone. There There Little Heartbreaker is a lullaby as sweet/scary as anything Danny Elfman might pitch for the next Tim Burton movie (it’s only one night alone, just keep away from the windows and stay well away from the phone). Following this (a song featuring harp as its lead instrument) he happily brings clarinet and violin to the fore on The Snowman (that Waits song I mentioned). You can bet that punk audience he’s been courting on tours with the likes of Chuck Ragan has heard little like this.
As with previous albums (The Hell You Say and 12 Songs) the songs on Mutt are varied enough to make it hard to pigeon-hole the album into a genre. Some of them have been aound for a few years (if you’ve caught a Cory Branan live show you were likely familiar with The Corner and Survivor Blues when the album arrived, and there are video performances kicking around dating from at least two or three years ago). What’s remarkable is how fresh the songs still sound. This is in large part down to Cory’s exceptionally dynamic playing and singing: a beautiful trilling riff will suddenly crash to a halt with him dragging as hard as a hammer on the strings, his voice cracking (perfectly) on the high notes. I see a lot of similarities with Malcolm Holcombe in the guitar playing (I know Cory’s a fan) and really he wouldn’t need anyone else to back him up. Tim Mooney’s production is all the more remarkable, then, for adding to (rather than muffling) the textures of Cory’s writing. It is a real tragedy that Tim worked on some of his most highly-regarded albums right before he died (check out reviews for John Murry’s album too). Music will miss him.
There are other notable contributors: Chuck Prophet, Luther Dickinson, Amanda Shires, Jeffrey Luck Lucas (new album please, Mr Lucas) but my favourite moment on the whole record is on opener The Corner when Jon Snodgrass (Drag The River) adds his burred, bruised harmonies to the chorus. Beautfiul. Guys, you send me…
Chris Smither - Hundred Dollar Valentine (Signature Sounds/Continental Record Service)
I happened to be on tour myself when Smither played London this year, so thought I'd have to miss him. When the schedule came in, however, I was excited to see that we had a day off on Feb. 29th, and needed to make our way from Liverpool (north-west of England) to Chelmsford (south-east). Even a cursory glance at a road atlas would tell you that passing London is the obvious route. The plan was sealed when we found both a cheap hotel and a much-needed amp repair guy within 20 minutes of Cecil Sharp House, where Chris would be performing. Bagging one of a handful of tickets remaining online, I jumped the Northern Line tube with half an hour until stage time. The venue was packed by the time I arrived. I was resigned to perching at the back on the odd, low-rise bleachers that ring the hall (they hardly afford a better view), but thought I had nothing to lose by taking a look near the stage. "Is this seat taken?", I asked, pointing at the vacant chair between two couples on the front row. Answered in the negative, I set myself down as hurriedly as if winning the last round in a game of musical chairs. I couldn't have been happier - or closer to the man who tok the stage minutes later. Nor could I stop myself grinning like a loon throughout the show.
Listening to Hundred Dollar Valentine elicits the same loon-grin, the same irrepresible laughter at the ain’t-life-a-smack-in-the-chops lyrics, the same tingling thrill at his beguiling guitar-playing. As often as losing myself in this album makes up for not seeing him again in concert, it also makes me look forward to it all the more.
I tried again (unsuccessfully - again) to read Moby Dick this year. It's been sitting on my shelf for a while now. Can't get past the feeling that Ishmail is a bit full of himself - although maybe that's the point. Either way, at least I knew what “scrimshaw” meant when this album arrived. Although I had heard of Nels Andrews before, this is the first I've heard of his three albums to date. I think I'm going to find the others easier to enjoy than Melville's 'classic'.
It took a few listens for the songs to sink in. I initially thought there was a seafaring theme running through - the album’s title, song titles like Tridents Starboard and Flotsam. The predominance of three-four time signatures only adds to the swelling, swimming feel of the songs. The whole album has a classic, stately feel (like hearing Justin Rutledge's No Never Alone - without pedal steel). Like Rutledge, the enduring strength of the songs here is in the literary lyrics. Metaphors can be clumsy (you're reading this, right?) but in the right hands they carry just enough weight to add to the resonance of a thought or a story. Nels Andrews demonstrates this beautifully. I may be underestimating the effort required to hone these lines, but the end result suggests he has an effortless gift.
It was also the first time I'd noticed producer Todd Sickafoose's name on a sleeve - and then later he also popped up on Anais Mitchell's new one. Not a fluke, then - he really does know how to get the best from the songs. Never showy, he always seems to pull away from a crescendo or climax; the production never overwhelms the music, and vocals and instruments are perfectly balanced. I really can't imagine this album sounding any better than it does.
Nels will be touring the UK in 2013, towards the end of April. Dates confirmed so far include April 18th at The Old Queens Head, Islington, 24th at The Musician in Leicester and 25th at Admiral Bar in Glasgow. Check here for updates: http://nelsandrews.com/gig/
Chris Knight - Little Victories (Drifters’ Church)
Not biased to include this simply because John Prine puts in an appearance, although I'll admit to a leap of joy when his voice comes in on the chorus of the title track. It’s so good to hear him singing new music (even if it is someone else's).
No, there are plenty of other reasons why Little Victories is here. Chris Knight records are bleak affairs pitted with nuggets (or pellets?) of hope - well, not so much hope as reasons to carry on. To paraphrase a couple of other songwriters, things aren't necessarily going to get any better, but perhaps they won't get much worse.
At times, one wonders about the political outlook of the protagonists in the songs. I’m fairly left-leaning in my own views, and I wonder if I’d see eye-to-eye with one or two of them. Despite this, he draws his characters so well, so sympathetically, you're rooting for them (even if it's as simple a challenge as getting the car to top speed - without the family groceries onboard). Frankly you won’t find a collar more blue, nor more dirt under fingernails than in a Chris Knight song – and I can get with that.
PS If for no other reason, this album would make my list for the guitar solo on ‘You Lie When You Call My Name’. Is it Dan Baird? Maybe it’s Buddy Miller? Regardless of who’s playing, it tops even anything Chuck "TBGPOTP" Prophet pulls off on his album... but probably because they didn't fade it out.
Playlist for show 30th June-14th July:
1-American Music Club - Challenger (Virgin)
2-Sun Kil Moon - Ghosts of Great Highway (Caldo Verde)
3-Cory Branan - Karen’s Song (Bloodshot)
4-Chuck Prophet -Waymore's Blues-Decor)
5-Jeffrey Luck Lucas - Just Like Moths-Antebellum)
6-Clodhopper - Thomas Hart Benton (My Own Planet)
7-Toiling Midgets - Mr Foster"s Shoes (Hut)
8-John Murry - Southern Sky (Bucketful Of Brains)
9-James Houlahan - Crooked Line (Continental Song City)
10-Mad Staring Eyes - Experiments (http://madstaringeyes.com/)
11-Heritage Blues Orchestra - Big Legged Woman (Raisin’ Music)
12-Hurray For The Riff Raff - Look Out Mama (Loose)
13-Arthur Alligood - Why'd You Let Me Go Cold (Newsong Recording)
14-Jodi Shaw - This Balloon (Continental Song City)
15-The Rockingbirds - Til Something Better Comes Along-Spring)
16-@The Rockingbirds - The Lonely And The Drunk (live in studio) (www.myspace.com/rockingbirds)
17-The Rockingbirds - Love Has Gone And Made A Mess Of Me (live in studio) (www.myspace.com/rockingbirds)
18-The Rockingbirds - Fixing The Roof In Your Dream (www.myspace.com/rockingbirds)
19-Farmer Jason w. Terence Simeon - Bayou Boogie (Hipp-o)
20-The Dreaming Spires - Everything All The Time (Clubhouse)
21-Matt Keating - Wrong Way Home (Sojourn Records)
22-Alexa Woodward - Alexander (Continental Song City)
23-Dirt Daubers - Devil Gets His Due (Colonel Knowledge)
24-Chris Smither - Hundred Dollar Valentine (Continental Record Service/Signature Sounds)
It has been a non-stop start (tautology?) to 2012. Pretty much worked (toured) relentlessly for four months. Great for me (cool bands like Rich Robinson, Dirt Daubers, Kevin Welch etc): not so great for blogging. So, in the meantime, I'll be chucking up playlists from more recent GP Radio Shows. The Totally Radio website now has a new radio player which allows you to stream shows more readily - and also features three (I think) different Gilded Palace broadcasts for you to stream free-of-charge. Hours and hours of great music :-)
Gone hefty on the honky-tonk on the latest show (running until May 6th). New tracks too from Small Town Jones, Geoff Farina and Cory Branan and more from The Spook Of The Thirteenth Lock's phenomenal new album. I still have to pick my moments when I choose to listen to this (not operating heavy machinery, that kind of thing...). Overwhelming,isn't the word - but it'll do for now. Enjoy!
Playlist until May 6th 2012:
1) Nicki Bluhm - Carousel (Tim Bluhm)
2) Nels Andrews - Flotsam (www.nelsandrews.com)
3) Cory Branan - Bad Man (Bloodshot)
4) Jennee Halstead - Before I Go (Continental Record Service)
5) Twilight Hotel - Dream Of Letting Go (Cavalier)
6) The Spook Of The Thirteenth Lock - Bothar Crua Larthar (Transduction Records)
7) The Wilders - Happy That Way (Free Dirt Records)
8) Tom Armstrong - What Did I Lose? (Carswell)
9) John Lilly - Cold Comfort (Javelina)
10) Rachel Harrington - Love Him Or Leave Him To Me (Continental Record Service)
11) Michael & The Lonesome Playboys - The World Aint What It Used To Be (Black Water)
12) Barney Bentall - Hold My Heart (True North)
13) Lydia Loveless - More Like Them (Bloodshot)
14) Kevin Welch - Midnight And Noon (Music Road)
15) Richard Dawson - Ornithology (www.richardawson.net)
16) Small Town Jones - Oxygen (smalltownjones.com)
17) Geoff Farina - Hammer And Spade (Damnably)
18) Six Mile Grove - Fight Like A Man (Rena’s Kitchen Music)
19) Kenny Young Band - We’ll Find Love Again (Tommy Naples Music)
20) Grand Drive - Wheels (Loose)
21) Pig Earth - Everything (pigearth.com)
22) Garron Frith - Pretty Penny (Skiffler Records)
23) Society - Judge And Jury (society music)
24) Lucero - Sometimes (ATO)
25) Glossary - Shaking Like A Flame (www.glossary.us)
Another year over, and here's what I've done... the fourth Gilded Palace Festive Fifteen is with us! You can hear songs from each of the albums on this list on the current edition of the Gilded Palace radio show at www.totallyradio.com - the show will be free to listen (stream any time!) until December 23rd January 7th (a festive roll-over!). Happy New Year!
1 Good Luck Mountain – Good Luck Mountain (00:02:59)
Songs recorded for Drew Glackin, multi-instrumentalist with(amongst others) Tandy, who were helmed by Mike Ferrio. Drew passed away in 2008. With Drew gone, Mike was unsure what shape or name his future music would take, so integral was his friend and bandmate to the 'feel' of Tandy. It made perfect sense, then, when song ideas started to come which suggested a memorial to Drew was on the cards. And what a memorial! As high and grand and beautiful as (Mike tells us) is the crest in the Adirondacks of upstate New York that lends its name both to the band and the record.
The lyrics don’t really tell a story - not one we listeners can understand anyway. I have a strong feeling that Mike could piece one together for us though. However fleeting, the words do leave an imprint, so that after numerous listening you find yourself reciting lines about tweaking the tail of the Devil or children jumping through waterfalls. Out of context, you might wonder what it’s all about, but in the midst of the 40-odd minutes that this album bares itself, you 'feel’ it all makes perfect sense. In a lyrical and a musical sense, this album is an oasis of calm, affording time to reflect. At first you might set out to reflect on its own content and meaning, eventually - when this has eluded you – you realise just how much of your own experience is invested in listening. It has become ‘yours’ too. I think that’s something Mike (and Drew) would like.
2 Richmond Fontaine – The High Country (Décor/Diverse Records)
The High Country marks the point where Richmond Fontaine’s musical and literary (Willy’s books) efforts become one. It has been described to me as “Willy’s fourth book”, which in many ways it is. In fact it needs to be approached as such, at least in the first place: sure, there are enough echoes of Fontaine’s already eclectic musical palette (the thump of Safety’s Song For Dead Moon a template for On A Spree, the keening lament of Thirteen Cities’ Lost In This World mirrored in I Can See A Room), so fans can get a foothold, but this album could not be further from last effort We Used To Think The Freeway Sounded Like A River. Where that album was accessible and cohesive, this one is challenging and fractured – both of those are meant as compliments. I like challenging music; music that requires some effort on the part of the listener. No-one will understand this album on first listen; few will get it after the third or fourth. So many of Willy’s songs have been sung in the first person (him recounting what was happening to him – whether real or imaginary); here we get songs from all the characters in the story, whereby the work takes on a cinematic rather than simply literary quality (isn’t it easier to shift the focus between characters in films than it is in books?) So, what’s the story? I’m not telling: you wouldn’t believe me.
The tour undertaken to support the album added material that doesn’t appear on the record – including two of the story’s best songs. Timber Tom and C.H.A.I.N.S.A.W might arguably have stolen the (recorded) show; on stage, they proved that this is after all just a story and that the band don’t take it (or themselves) too seriously. The rest of the world are likely going to have to start doing that very soon...
3 Danny And The Champions Of The World – Hearts & Arrows (So/Loose/Diverse Records)
Admittedly, Danny Wilson would probably have to make a drum and bass album for me to give it anything less than top marks. He hasn’t gone quite that far with Hearts And Arrows. I guess it was hinted at on last album Streets of Our Time, where Follow The River got more than a bit anthemnic, and maybe Danny’s tendency to improvise/divert into a Springsteen song or two at gigs should have given us a clue, but he has still made a record quite unlike anything he’s put his name to before. Opener Ghosts In the Wire throws down the gauntlet (If you’re gonna cut me down, you’d better make it count!) and there’s no let up until Danny reminds us he’s not Too Tough To Cry. If this all sounds a bit clichéd, it is: it’s meant to be!
This is a record born out of a love for Graham Parker, Bruce Springsteen, Nick Lowe: rock and roll with an R’n’B pulse (and I mean what Doctor Feelgood called R’n’B, not the hip-hop stuff kids are gorging on nowadays). Tight melody, punchy rhythm section, terrace-chant backing vocals, soaring saxophone solos: it is the E-Street Band by way of Canvey (rather than Coney) Island.
As ever, Danny is at his best when he sings from his heart. Brothers In The Night does that so well here with its passage about pretending to be the Beastie Boys and getting into mosh pits, but the standout track for this and so many other reasons is Every Beat Of My Heart. It’s an anthem for UK alt-country, referencing The Arlenes, Rockingbirds and Bucketful of Brains magazine against a backdrop of a heady, emotional night at London’s Borderline. Maybe I like it so much because I happened to be at the gig in question, maybe it’s just a brilliant song,
It will be interesting to see where Danny takes this next: the band and the songs are so strong it would be a shame not to make another album in this mould, but he’s a restless soul, every Champs album so far has been a little different. Maybe another of these wouldn’t hurt, to let people catch up – I get the feeling a lot more people have heard about him/them in the past six months or so. Next, 2012? Who do we call about the Springsteen support slots…?
4 Elle Osborne – So Slowly Slowly Got She Up (Folk Police)
Timing is everything, so they say: so, it was appropriate to discover this record at a time when I was finding myself drawn more and more into English/British (as opposed to American) folk. I had been aware of Elle for a few years, quite liked her last record (we even promoted a show with her, alongside her friend James Yorkston). Hadn't seen her for a while, though, and wondered from time to time where she had got to. I was horrified to discover that she had been involved in a terrible accident in which she and her bicycle got the worse of a speeding car, and spent months recovering from both the physical and mental damage. That she came through that trauma to produce such a terrific record is testament to her strength of purpose and belief in traditional songcraft. Having learnt these songs the old way (first-hand) from the likes of Barry Dransfield and Shirley Collins, Elle gathered around her a cast of stellar (and sympathetic) players, including percussionist, Alex Neilson, (Trembling Bells).
Elle has made a record that is at once traditional but ground-breaking, that moves folk forward and that puts her alongside the likes of Yorkston et al. She deserves to be heard all over Radio 2 and a mooted live partnership (with Neilson and cellist Bella Emerson), could have many followers of Bellowhead and co. drooling with excitement when they see it.
It would be hard to imagine a record having a more troubled birth than Our Blood: tape machines dying, stolen laptops and homicide investigations bedevilled Buckner over a five-year period. It must have been for the good of the music: it’s hard to imagine him having made a better album. Even the title is appropriate – the feel of the record is a constant, pulsing presence (there are times when it feels so familiar you wonder if a song has been repeated – it hasn’t).
Stylistically, Our Blood shares a lot with other records on this list – in particular, Dolorean and Peter Bruntnell: lyrically it is similar to list-topper, Good Luck Mountain, with phrases appearing out of the mist of the music, becoming clearer (or, rather, having meaning invested in them) the more you hear them. “Near the start, spreading out and stranded somewhere, waving” only start to make some kind of sense when you’re familiar with them – and even then it’s not something you could explain particularly well. With Buckner’s vocals, it’s all in the delivery, his voice dipping and soaring with its customary (almost folk-like) phrasing, bending words as if to find new sounds and syllables. Where I think Our Blood works so well, is paring back the instrumentation to showcase his voice: less maybe is more after all. Perhaps this economy is out of necessity (recorded at the third attempt, time pressing etc.), maybe being forced to revisit these songs again made him realise how simple it could all be. Simple in execution, overwhelming in appreciation.
Arguably, his best record in a catalogue of great records, Our Blood feels like a synopsis of all that’s great about what Richard Buckner does. It has an immersive quality that gives the impression it has lasted twice the short 30-odd minutes it actually takes. Really what I suppose I want to say is I wish it would never end.
6 Southern Tenant Folk Union – Pencaitland (Johnny Rocks)
When I first heard this album (on a CD-R, without the benefit of a sleeve or song titles) I immediately had to listen back a second time – I thought I’d heard a fantastic concept album, but was missing out of the story. Turns out I wasn’t (it’s not exactly a concept album) but I kept listening. This is STFU’s most ground-breaking, inventive work yet, and is essential listening – story or no story.
Having undergone substantial line-up changes, it was already interest to fans (like me) to see what STFU would come up with next. The change in line-up has been music’s wider gain, of course – Pete Gow now working wonders with Case Hardin, for starters - but with accomplished songwriters like him and Oliver gone, how would “STFU III” fare?
Good as versions I and II were, III are a revelation. Most surprising is an apparent move away from any Americana or bluegrass stylings they might have displayed before. Anyone who saw STFU I/II in full flight, would probably agree that it was one of the strengths of the previous incarnations. This material is so different and so strong it doesn’t miss the fiery breakdowns of old. Instead, the tempo drops in favour of some quite stunning arrangements: I’m not up-to-speed on the background of the new members, but I can definitely hear the influence of Pat McGarvey’s love of soundtrack music (he’s recently got his film-score band up and running again) – shades of John Barry here, Morricone there... this is definitely more than a ‘folk’ album. I’m reminded of Chatham County Line, another band who do more than simply kick up a belting hoedown, and who are also pushing a ‘traditional’ idiom (in their case, bluegrass) somewhere new. With work like this, STFU are threatening to doing the same with (British) folk. All accomplished players – singers too (some beguiling harmonies on here!) – they seem hungry to do something ‘different’.
So, no concept, then, but a definite ‘feel’ – the plight of the worker (working class) maybe? - maybe not an unusual theme, but here the protagonists speak with such clarity and force. Given the numerous and varied song-writing credits (everyone in the band) it’s further to their credit that they’ve created such a cohesive and consistently excellent body of work. STFU III have set the bar for themselves and everyone else.
PS Don’t worry, they still fire things up nicely now and again (Ida Won’t Go will fit alongside all the old favourites). Lovely bit of gob-iron too ;-)
Dolorean do it again: and again, I wonder – more than all the bands that make these (my) lists – why aren’t they huge. They make accessible yet substantial music – easy to listen to, but properly emotionally engaging. That was never more true than on Unfazed’s opener, Thinkskinned, whose piano motif wouldn’t sound out of place on the soundtrack to Grey’s Anatomy or some other HBO-type drama. Rather than the music-as-substitute-for-decent-plot-or-dialogue, Al James has got the lyrical clout to tell the story too.
Maybe it’s as well that last album You Can’t Win didn’t scale the critical heights it deserved: it could well have proved an albatross in creating anything that followed (ha, yes, I’m trying to find positives here!). You Can’t Win is a masterful record – The Unfazed is too, but a more hopeful, resolute one. Whether writing from experience or empathy, Al James has perfected singing the underdog (Your life’s work is making me hurt…”) but here, things are set to change (“…it stops. Tonight!”). He’s moved out, he’s walking away, he doesn’t have to explain…
Instrumentally, too, things are strong: having drafted in Emil Amos for You Can’t Win, the long-standing core of the band (Al, Jay Bennett, Ben Nugent, James Adair) once again recruit stellar guitar chops – this time in the shape of Jon Neufeld (Jackstraw/ Black Prairie/ Laura Viers). It was a thrill to watch him play these songs ‘live’ when Dolorean came over back in February. The five of them work well together, expanding the ‘classic’ Dolorean sound with new ideas (even getting a little dub-wise on Black Hills Gold – excellent on record and ‘live’).
So, guys, you CAN win – you now know the obstacles that will be put in your way – this game isn’t over yet by a long chalk.
Link track: stream tracks from The Unfazed and others from earlier Dolorean albums...
8 Peter Bruntnell – Black Mountain UFO (ManHatOn Records)
Another regular feature on our Festive Fifteen, Peter Bruntnell doesn’t know how to make a bad record. I’ll bite my tongue before I launch into a why-isn’t-he-huge rant and instead concentrate on why he should be – why you should buy this and all of his records!
Proving that you should never judge a book (or CD) by its cover, Black Mountain UFO looks like it will either be a Joe Meek tribute or a collection of B-movie theme tunes. While Peter may be Lost In Space to many in the music industry, he still manages to craft radio-friendly rock like St Christopher, Jack-Johnson-esque acoustica like Black Window and masterful pop like Bruise On The Sky. In the latter, he recounts the story behind the album title (abduction by aliens) and proves that old adage about some of us being able to sing the phone book. It doesn’t matter what you’re singing about (how weird, or how political), it’s nothing without the song. Reggie Perrin (one of two homages to British TV stars, along with Penelope Keith Blue) is simply gorgeous, its arrangement at once densely-textured and feather-light – how does he do it? And the title track is as show-stopping as the Bunnymen’s Ocean Rain (if slightly more restrained).
So, with this album, he moves further away from (mis)categorisation as an Americana artist. Sure, that hasn’t done him any harm, and I don’t think he’s complaining, but after this and (previous album) Murder of Crows, it’s becoming more difficult to label him – psychedelia-folk maybe (does that make him Julian Cope?), but still a rocker (plenty of storming guitar here – both from Peter and long-time foil, James Walbourne – and they will still melt faces when you see them live.
It's so good, I'll even let them off for using Comic Sans on the record sleeve!
9 Malcolm Holcombe – To Drink The Rain (Music Road)
Here’s where I try to retain some critical integrity: otherwise, Malcolm would be at the top of this pile. I count myself lucky to have spent three tours with him so far, and can tell you that if I ever in my life have to choose just one last gig to attend, without hesitation I’d be heading for a Malcolm Holcombe show. Totally arresting, you never quite know what he’s going to do (although you can be assured he will play out of his skin). While all his records are played often at Gilded Towers, To Drink The Rain is the first (I feel) that allows Malcolm’s character to come to the fore. His voice and guitar-playing take centre-stage here, both wonderfully expressive instruments. Every grunt, wheeze and growl counts with Malcolm – the struggle to get his starched trousers on so perfectly conveyed on One Leg At A Time: priceless! He’s not all bluster though: tender moments like Mountains Of Home illustrate the importance (to Malcolm – to all of us) in knowing our roots, remembering what makes us who we are. Simple enough? Yes, but it takes an humble soul to sing about these things so honestly, without making them feel insincere. Malcolm is a real poet: he might seem to be singing about nothing in particular (Mighty City, Reckon To The Wind) but when his lyrics hit home, you really feel it. Every time someone mentions even mountains now, I hear that song. Woods? The same (Down In The Woods, almost certainly inspired by the countryside around his North Carolina home and the respite it offers when he’s back from touring).
Credit to Jared Tyler (Malcolm’s dobro player and – here – producer) and Fred Remmert (mix/mastering) for leaving some of the “dirt” on these recordings. Everything serves the song, supports Malcolm – subtle percussion, even traditionally showy instruments like fiddle and (Jared’s own) dobro are only given the spotlight when appropriate. In the end, it’s all about Malcolm – as it should be. Now, get behind me in that queue!
This is Josh Small’s second album (his first, Small, was also released on Suburban Home). I never quite ‘got’ Small; it’s as if Juke knew that because… oh, it’s got me!
Brain Van is a diverting enough start, Josh’s trilling, intricate guitar moving things along at a nice pace, builds to a fanfare But nothing could prepare me for Everyone’s Daughter. How do I describe this song? If Brown Eyed Girl had appeared on Astral Weeks, it might have sounded something like this. It is a head-spinning, kitchen-sink arrangement, the joy of which only becomes apparent when it’s almost over and you find yourself grooving to a one-note gob-iron riff.
The song sounds like it’s going to fall apart any minute, though: Small pushes the rhythm as fast as it will go without ‘breaking’ things – it almost sounds like two songs at once, sparring with each other, but it works so well. No matter how often I listen, I don’t think I’ll ever get my head around this alchemical song.
I don’t want to give the impression this is a ‘drum-heavy’ record: quite the opposite is true. Unless I’m mistaken, there isn’t a kick drum anywhere to be heard. Take the waltz-y Grace Inez, for example: straightforward enough start, you’re lulling along to what you think is the beat of the song, then in comes a simple snare rim-shot and hi-hat playing something completely unexpected and it’s a totally beguiling combination – again, don’t know how it works, but it does!
Josh’s voice is pretty unique too: the best I can come up with is a gravely Tim Buckley, so you should probably listen for yourselves. It is a perfect complement to his scuffed. primitive-sounding instrumentation (steel-bodied guitars, banjos).
I could rave about every song… the trippy Sing Song, the almost-African Diver Down (not even two minutes long – and magic!), the tabla-hazy Atonal I Love You, and 15/20 (wow!) manages to cram three ‘movements’ into two minutes ( maybe 15/20 gives us an insight into Josh’s approach to arranging songs… it might well be the song’s time signature). Closer Somebody’s Queen sounds like nothing less than Marvin Gaye sneaking in an outtake from What’s Going On onto Sgt. Peppers. OK, that is almost all of the songs – and at 26 and a half minutes it’s all over far too quickly. I should stop though, for fear of realising I should have placed this way higher on the list. Yes, it makes a mockery of maths in more ways that one…
Link track: stream the whole thing, then just try to resist buying it direct from Sub Home...
11 Redlands Palomino Company – Don’t Fade (Clubhouse)
A frustratingly long in coming, Don’t Fade has been well worth the wait. Four years since their last record, their third proves ever more strongly that “The Redlands” are making classic alt-country that, by rights, should be whetting the appetite of anyone who claims to like (say) Ryan Adams, Jayhawks and other ‘bigger’ names. Now stabled (sorry, pun intended) at Clubhouse Records, this is another album released early in the year, and which has stood the test of competition in what I believe has been an excellent twelve months for music. This album is stuffed with killer songs – Call Me Up, Don’t Fade, Sirens, 1879... and the vocal interplay between Alex and Hannah (whether harmonising or call-and-response) raises goose-bumps on more than a few occasions. It’s diverse too; going from the tenderness of Sleep Song to the swagger of Sirens shows how confident they are. If the songs and the playing weren’t enough, the clever so-and-so’s produced the record themselves – and made a superb job of it. I wonder how long it will be before we’re seeing A Elton-Wall on the production credits of other artists?
A mention for Clubhouse Records too, who started a little over a year ago. Times are hard, we all know (we’re constantly reminded we’re all in this together aren’t we?) so I’m glad at least that these boys managed to get some money out of their bank before it collapsed. I mean, any bank willing to put it’s money behind starting up a UK-based Americana/country label, has to be two bales short of a haystack, right? Nice work: with Don’t Fade, you showed ‘em. Their money has been well spent!
12 Cowboy Junkies – Demons (Nomad Series Vol.2) (Latent/Diverse Records)
I count myself lucky to have spent time on the road with Vic Chesnutt (and Elf Power). Already a huge fan (of both bands) it was a treat to watch them play every night, and –during the day – chew the fat with Vic in the front of the van while most of the party slept in the back. After three weeks, there wasn’t much left unmentioned, I thought; even off-hand mentions of his earlier attempts to end his own life. “Oh, Zurich”, as we passed the Swiss city,”that was where I first tried to commit suicide”, shared with as much gravity as one might describe having had a bad meal on a previous visit. So, yes, in an admittedly short space of time we talked a fair bit. I never quite got over the awe of having this incredible songwriter/musician sat next to me, but I came to realise he was pretty awesome as a human being too. He lit up the time on the road, joking, teasing, even taking the piss out of himself (and his disability). He was fun to be with.
It became clear just how many of his peers missed him (tributes flooded in, all heart-felt) and I wondered who might be the first to make a tribute record. I learned around the end of 2010 that Cowboy Junkies, with whom Vic had already collaborated (and it goes without saying, struck up a friendship) would be making a record entirely of Vic covers in early 2011. Anticipation was high, and when I eventually heard the opening chords of their take on the album’s first cut, Wrong Piano, I was overwhelmed. As an opener, it is a show-stopper - Michael Timmins turns in one of THE great guitar performances, both musically and emotionally: it is truly cathartic, and symbolises all the frustration, anger at another’s suicide and sorrow felt by those left behind. It’s also remarkable how the material – taken from numerous albums spanning almost Vic’s whole solo career – feels so cohesive. He was something of a musical chameleon, a serial collaborator (and always seemed to adapt so well to whomever he chose to play with) so here we’re hearing the songs through one filter (as it were). They don’t put a foot wrong, either – even taking on recent compositions from At The Cut. Sometimes they’re faithful to the original arrangement (Betty Lonely, Flirted With You All My Life.. the latter already, bizarrely, one of his most up-beat songs – about suicide).
I do find myself wondering what Vic himself would have made of this: I recall a conversation about an album that had just come out at the time of our tour - I won’t mention names. It was an album of covers, a tribute to one artist. Most of us (me included) were raving about it, but he was insistent that the people concerned should be concentrating on writing their own songs. Maybe he was being Devil’s Advocate (he loved an argument!). maybe he really meant it (he was a serial songwriter himself, never lacking ideas). Maybe it’s appropriate that he’s not here to dismiss this tribute with a typical self-deprecating, sarcastic comment and so it can stand for what it is - as a towering tribute to a magnificent songwriter/composer/musician. I look forward to many more from others who were touched by him, The world will be a richer place for them.
Link track: stream the whole beautiful thing... then buy it!
Buy: From Latent in CAN/US http://latentrecordings.com/cowboyjunkies/demons-pre-order/ - oh, there's a bonus EP too!
Band Website: http://www.cowboyjunkies.com/
13 Deep Dark Woods – The Place I Left Behind (Sugar Hill)
Festive Fifteen regulars (second album, Hang Me Oh Hang Me, and third, Winter Hours, appeared in their respective years of release – we weren’t doing charts when the debut was released!), within the first 15 seconds of opener West Side Street it’s clear that The Deep Dark Woods have lost none of their class with a move to a bigger label. The harmonies, the keening sleep-walking vocals of Ryan Boldt, the flecks of fiddle and banjo, the shuffling drums: they’re all still there. In fact, if anything, this is a record made with a more restricted palette than the previous two: the pace rarely breaks a sweat (no ripping guitar solos to match Winter Hours’ Two Time Loser here). Instead, the variety comes from instrumental changes – organs and piano feature more heavily than (I recall) in the past. There’s what sounds like a Hammond on Sugar Mama that – set against some smooth picking, tambourine and trad/original lyrical motifs – provides a beautiful (dare I say groovy?) modern contrast to the rest of the performance. Existing fans needn’t worry though, the electric guitars still get a run out: the solo on Back Alley Blues wouldn’t shame Peter Green, with its poise and sonic economy.
Two tracks before the close, Dear John is something of a surprise, picking up the pace (to a trot) as well as switching lead vocals, but it’s back to the drama of epic Ballad of Frank Dupree and languid woe-is-me closer Oh What A Life.
Plenty of bands will try and combine banjos with guitar feedback, but few will ever do it with the effortless grace of The Deep Dark Woods. Like I said, this is a laid-back record. They sound like they’re in no hurry; people will catch on in good time.
I’m late to the party with Joe West, this being the first record of his that I’ve heard. Any frustration at missing out is tempered by the pleasure gained indulging in this release. Essentially a portrayal of a town and some of its idiosyncratic inhabitants; a musical soap-opera, if you like – and if it “was” a TV show, Aberdeen S.D would be Northern Exposure meets Twin Peaks. Join Joe as he walks to the store to pick up some milk, takes in a keg-party, meets Mark, the hoarder, and visits his storage units stuffed with ‘junk’ like a CW McCall CB box (no CB) and Toto cassettes.
While an over-riding sense of humour pervades the songs, Joe’s off-beat observations still manage to make you empathise with the characters – no-one here is a bad guy, they’re just different. So when he gets around to hanging out with “Old Friends”, you can feel them having a good time, accepting each other for what they are. Here too is where things get a little darker, when we the narrator confesses “the only thing different, the only thing new, we don’t talk about you” and before you know it – two tracks later - he’s pining for “Home”, a song that Willy Vlautin would have been proud to write and one which I can’t help but envisage as the soundtrack to the scene in The Swimmer where Ned Merrill (Burt Lancaster) completes his ill-fated journey. It is a gorgeously sad song: I confess a lump appears in my throat. There Goes Brooks does something similar – how can a field recording of a livestock auctioneer have you reaching for a tissue?!
Aberdeen SD is an album that works best listened to as a whole, but unusually for ‘story albums’ has enough songs that work individually. Reminiscent of Jim White’s Wrong Eyed Jesus or something Tom Waits might have come up with if he’d made Mule Variations and Closing Time in the same session. I can’t wait for the TV show!
I couldn’t help myself: had this album barely a week and just had to include it on the chart. What can I say… some records are born great! I’m further convinced by the knowledge that Tom Armstrong’s last album (released all of ten years ago) remains a bona-fide Gilded Palace classic, and – being in the same vein – has every reason to join its predecessor. Why so, Scorch, you ask? This is tragic-comic honky-tonk firmly in the tradition of Porter Wagoner (and modern-day contemporaries Cornell Hurd and Southern Culture On The Skids). Even the sleeve is a nod to Porter’s celebrated mocked-up album covers (see Skid Row Joe Down In The Alley, The Bottle Let Me Down for references). At least, I hope Tom hasn’t spent the last decade on a discarded mattress with a brown paper bag disguising his whiskey bottle!
Since giving up the booze myself, I’m often at pains NOT to use it as a metaphor for the qualities of music. It’s too easy to call any song with a pedal-steel on it ‘whiskey-soaked’, after all, but there really is nowhere better to assess these tunes than from the bottom of a bottle. Alcoholic references abound: the title track, for starters, Champagne Taste (On A Beer Budget), The Bar With No Name and my personal favourite, Happy Hour (“if you said this was the best part of the day I’d agree, but whoever called it happy hour, never met a man like me).
The music is a perfect companion to the hard-luck lyrics; sympathetically produced by Rob Douglas (Tom’s long-time bass-player) and recorded by Pete Curry (Los Straightjackets). The players have done time with Hacienda Bros, Red Meat, Wanda Jackson and Dwight Yoakham - quality? You bet! A record that could please both country purists and hip young things alike, you’d be as likely to hear this on playlists next to Ray Price or Richmond Fontaine.
Tom’s previous albums ('Sings Heart Songs' and 'Songs That Make The Jukebox Play') were both licensed to Spit & Polish Records in the UK in 2003, and can still be found in discerning record shops and online outlets. He self-releases his music in the US on Carswell Records. The new album is yet to get a UK release, but you can pick it up on CD at http://www.cdbaby.com/Artist/TomArmstrong1 where you can also hear previews of all tracks
Other accolades: Gig Of The Year: Richard Buckner, The Basement, Brighton - 13th November Reissue Of The Year: Life's Rich Pageant - REM
Monday, 10 October 2011
A quick recap on the playlist for the show broadcast from September 16th. Things were kinda hectic at the time, so I didn't get to post it when I should have. The new album from The Deep Dark Woods (The Things I Left Behind) is a stunner (these guys really do deserve to break through this time - maybe the hook-up with Sugar Hill will help that along...). And don't start me on Richard Buckner's Our Blood - phenomenal (and I'm very happy with the segue into Dolorean here)! And as for Joe West's Aberdeen, S.D... where the hell did that one come from?! Looks like the Festive Fifteen is writing itself... forming an orderly queue behind Good Luck Mountain, of course.
Gilded Palace Playlist 16th Sept:
1. Deep Dark Woods - Back Alley Blues - Sugar Hill
2. Jennie Lowe Stearns - Pale Blue Parka - Jennie Lowe Stearns
3. William Elliott Whitmore - We Will Carry On - Anti
4. Josh Small - Diver Down - Suburban Home
5. Victoria Wiliiams - Why Look At The Moon - Mammoth
6. The Lucky Strikes - The Fight - Stovepony Records
7. Patrick Sweaney - Corner Closet - Nine Mile Records
8. Isreal Nash Gripka - Fools Gold - Continental Song City
9. Joe West - Home - Stocktank Records
10. Catherine Maclellan - Trickle Down Rain - True North
11. Sunshine Delay - Band Of Rain - Sunshinedelay.Com
12. Sarah Lee Guthrie & Johnny Irion - Target On Your Heart - Ninth Street Opus
13. JT Nero - Roil Tide - Dishrag Records
14. The Carrivick Sisters - When Youre Gone - Carrivick Sisters
15. Elle Osborne - Fair Annie - Folk Police
16. Rita Hosking - Where Miners Sing - ritahosking.com
17. Richard Buckner - Gang - Decor (UK Tour in November)
18. Dolorean - Hard Working Dogs - Partisan/Fargo
19. Puzzleroot - Country Spiders - Puzzleroot
20. Jon Byrd - Alabama Asphalt - Longleaf Pine
21. Mike Cullison - Whiskey Memory - Breakin' Records
22. Otis Gibbs - Outdated Frustrated And Blue - Wanamaker Recording
23. Rod Picott - Your Fathers Tattoo - Welding Rod
24. Bill Bourne - Forever Truly Bound - Linus Entertainment
25. The Woodshedders - Viper James - Shepherds Ford
26. Tori Sparks - Tennessee Mine - Glass Mountain
27. Michael And The Lonesome Playboys - Selfish Heart - Black Water
It’s increasingly common for bands with press agents to fill the pages of both magazines and websites, even more so for the bands to be on the books of those agencies with the leverage/roster to (shall we say) ‘persuade’ journalists to cover them. So, here’s an occasional feature on Four New(ish!) Bands I Think You Should (But Might Not Otherwise) Hear - and from whom no fee or other inducement was received (I just like ‘em – a lot!) Go on, give them a listen. It’ll make a nice change...
1) Have Gun Will Travel (http://www.myspace.com/hgwtmusic): newly signed to our favourite label, Suburban Home, HGWT (for short) are from Florida. Like Chatham County Line and Frontier Ruckus, they're not averse to mapping traditional instruments onto tunes that range wider than simply roots, taking in rock and pop influences.
2) Puzzleroot (http://www.puzzleroot.com): if I say ‘quirlky’ don’t run off, ok - this is smart, witty and off-kilter roots music. Primarily a trio of guitar, banjo and upright bass, Puzzleroot sound like Pixies on a relaxing summer retreat and evoke memories of cult acts like Colorblind James Experience. You can also listen to a lot of Puzzleroot over at CBC: http://radio3.cbc.ca/#/bands/Puzzleroot
3) The Bloody Hollies (http://www.bloodyhollies.com): admittedly at the fringes of what you’d expect to hear on the Gilded Palace, these guys are everything your garage-rock fan wants. Tracing a lineage from the MC5 to The Jon Spencer Blues Explosion, these guys do not mess about.
4) Good Luck Mountain (http://www.goodluckmountain.com): – barely a ‘new’ band, as they may be more familiar to some of you as Tandy. This is very much a fresh start for Mike Ferrio and his revolving cast of players though; inspired by (and indeed memorialising) lost colleague and friend, Drew Glackin, their self-titled ‘debut’ album is a stunning piece of work. Cannot wait for Mike Ferrio and Ana Egge's visit in October: tickets for the Brighton show here - http://www.wegottickets.com/event/127011
(No flashy videos needed!)
Gilded Palace Radio Show: playlist until September 16th:
Puzzleroot - They - www.puzzleroot.com
The Country Devils - Omaha - Porkchop Records
The Sweetback Sisters - Love Me Honey Do - Signature Sounds/CRS
Eilen Jewell - Queen Of The Minor Key - Signature Sounds/CRS
Carrie Rodruigez & Ben Kyle - Unwed Fathers - Ninth Street Opus
Society - Wheels A Turning - Brickhouse
Chatham County Line - Chip OF A Star - Yep Roc
Anna Coogan - Come The Wind, Come The Rain - www.annacoogan.com
Paul Curreri - Miles Run the Daffodil Down - City Salvage
Blueflint - The High Country - Johnny Rocks Records
Richmond Fontaine - The Chainsaw Sea - Décor
Peter Bruntnell - By The Time My Head Gets To Phoenix - Slow River
Blame Sally - Throw Me A Bone - Ninth Street Opus
Sarah MacDougall - Sometimes You Win. Sometimes You Lose - Rabbit Heart
Have Gun Will Travel - Salad Days - Suburban Home
Frog Holler - Control Freak (I Know I Know) - Zobird
The Takers - Diamond Ring - Suburban Home
The Reid Brothers - Done And Dusted - Fat Hippy
The Bloody Hollies - John Wayne Brown - Alive!
Old Sledge - Aint No Ash Gonna Burn -www.oldsledgemusic.com
Richard Buckner - Witness - Décor
Peter Case - Steel Strings No 1 - Alive!
