[box]
[/box]
Various Artists
The Beautiful Old – Turn of the Century Songs
(Doubloon Records)
The idea of reviving songs at least a century old may seem odd in this age of hype and glamour, but to producers Paul Marsteller and Gabriel Rhodes, two members of the band Fiery Blue, the concept made perfect sense. Collect material that’s both ageless and obscure, recruit an all-star cast of musicians to sing them, and present them as they might have sounded when they were originally performed. It’s a novel attempt, and while the lure of headliners like Richard Thompson, Graham Parker, the Kinks’ Dave Davies and the Band’s Garth Hudson may have been designed to lure the unsuspecting, inevitably it’s the charm of the songs themselves — vintage standards like “The Band Played On,” “The Flying Trapeze,” “Let Me Call You Sweetheart” and “After the Ball” — that provide an unexpected draw. Reflections of more innocent times, it’s all too obvious why these sweet melodies pleased the populace back in the day. The fact that none of the artists involved seem to alter the arrangements or impose their own personalities gives further credence to the music’s ageless appeal. (www.theBeautifulOld.com)
The McEuen Sessions
For all the Good
(Fontana)
Here’s a threesome that needs no introduction, courtesy of the surname that binds this musical trio together. John McEuen, the senior member of the group is none other than the John McEuen, a charter member of the Nitty Gritty Dirt Band, one of America’s preeminent Americana outfits and a group that epitomised that distinction well before the term had even been conceived. John’s production of the landmark Will the Circle Be Unbroken album, now marking its 40th anniversary, found the link between traditional music and new auteurs who took it forward. Sons Jonathan and Nathan learned their lessons well while nurturing solo careers that take those teachings to heart. Not surprisingly then, the union of father and sons proves a formidable combination, one that establishes its cue from bluegrass, contemporary country and back porch leanings. A mix of covers (by Rodney Crowell, Dan Fogelberg and Jonathan’s own mentor, Dave Mason) with a handful of originals, For all the Good is both vibrant and striking, an expression of enthusiasm that does credit to all concerned. Crowell’s “Long Hard Road” takes on a new life with the McEuens’ enthusiastic read, while Jonathan’s “Hills of Sylmar” boasts an upbeat, down home delivery with plenty of instrumental interplay. Still, the standout of the set is arguably the trio’s take on Fogelberg’s “Leader of the Band,” a version rendered with such tenderness it suggests an ode sung to the song’s writer himself. For all the Good couldn’t have been given a more apt title, except if it was to substitute the word “superb.” (www.johnmceuen.com) (www.jonathanmceuen.com) (www.nathanmceuen)
Clarence Bucaro
Dreaming from the Heart of New York
(228 Records)
No matter if you haven’t heard of Clarence Bucaro, or simply haven’t heard Clarence Bucaro’s music. His new album, Dreaming from the Heart of New York — the latest in a string of superb offerings he’s produced over the past few years — is an ideal place to start. Opting for a stripped down motif — mostly acoustic instrumentation and tasteful additives courtesy of producer Anders Osborne — Bucaro paints a series of tender and touching vignettes, rich in imagery and allusion. At times he recalls a mix of early Jesse Winchester or peak Harry Chapin (“New Sky” is a clear example of the latter), but these beautiful songs also bow to Bucaro’s agile way with a melody and affecting use of language. Highlights are many — the insistent “Oh My Mila,” the gentle plea of “Let Me Be Your baby Tonight,” the soft and supple “Jagged Love” — yet the economical settings and melancholic designs ensure that every track weaves a delicate impression. Likewise, the poignant “Clarence Mayfield” offers a touching tribute rarely expressed so meaningfully in song. A sleeper perhaps, and sadly so, but then again, anyone with an affection for varied folk and Americana musings will find this an album so exceptional they’ll instantly succumb to its charms. (www.clarencebucaro.com)
David Mallett
Greenin’ Up
(North Road Records)
David Mallett’s been an indomitable presence on the folk scene for several years now, and while he’s occasionally strayed into more Americana realms, he never sounded more at home than he does on Greenin’ Up, a genuine tribute to his rural routes. While most of the songs suggest he’s celebrating life in the great American heartland, it’s more than a primer about the family farm, although the proceeds are intended for the Maine Farmland Trust. Several songs rank among the best he’s ever offered, among them “Fat of the Land,” “Aurora Borealis” and the sweetly sentimental “Summer of My Dreams.” Likewise, most of the material — “I Knew This Place,” “Garden Place” and “Dog & Horses” being prime examples — sound like they’re plucked from a traditional template. Happily then, Mallett’s undeniable charm makes it all sound fresh and vibrant. As befitting the cause, he gives ample support from his family members, including Will Mallett on banjo and guitar and Luke and Molly Mallett singing some lovely, lilting backing vocals. Greenin’ Up couldn’t be a more appropriate title, given that this is the sunniest collection to come along in quite awhile.(www,davidmallett.com)
Treetop Flyers
The Mountain Moves
(Partisan Records)
It’s a fairly well known fact that many British bands are enamoured with Americana, particularly the style that originated in Southern California during the late ‘60s and early ‘70s. Bands like Unicorn and Starry Eyed and Laughing made music that proved a dead ringer for the bands they attempted to emulate, be it the Byrds, Buffalo Springfield or Moby Grape. Nowadays, that fascination continues, as evidenced by the Treetop Flyers, a U.K. outfit that borrows their sound from many of the same sources. At first glance, they would seem to be especially intent on replicating the earnest, wide-eyed sound of America — the band, not the nation — an impression that’s especially pronounced courtesy of the harmony-laden initial entry “Things Will Change.” Fortunately though, as The Mountain Moves progresses, they manage to put some distance between their music and that of any influence. So while there’s a decided jangle and overall roots rock slant, it becomes harder to determine from which groups they’re gleaning. That offers more opportunity to judge them on their own merits and size up the individual songs, whether it’s the tenacious “She’s Gotta Run,” the catchy and captivating “Postcards,” or the particularly pretty ballad the closes out the set, aptly entitled “Is It All Worth It?” If the latter title begs an answer, let’s hope the response is yes, because we can only hope that there’s more terrific tunes to follow. (www.treetopflyers.co.uk)
Tom Shaner
Ghost Songs, Waltzes and Rock & Roll
(Mother West LLC)
If Tom Shaner’s new album, Ghost Songs, Waltzes and Rock & Roll, seems to boast an all encompassing title, suffice it to say it delivers all those possibilities. The truth is, Shaner’s music covers a wide gamut of styles and sounds, and over the course of 15 tracks he demonstrates how adept he is at exploring these various genres. Just when you think you have him pegged as a jaunty singer/songwriter type, he opts for a lovely ballad like “Downtown Has Done Damage” and then follows it with a gentle Celtic serenade, “The Streets of Galway” or a full-blown rave up such as “Unstoppable Hipster” or “Cold Water.” Shaner’s voice has an unmistakable edge, sometimes bringing an unlikely resemblance to Marc Bolan taking on a slight Dylan-esque delivery. That makes “She Will Shine” and “Sister Satellite” particularly enticing, a further result of his unmistakable charms. Yet, it’s also to Shaner’s credit that he manages to avoid the most obvious Americana cliches (“Forever” resembles a gypsy waltz while “Silent Parade” comes across like a serene late night serenade) and still managers to purvey a sound that sounds both fresh and familiar at the same time. Credit Ghost Songs, Waltzes and Rock & Roll with elevating expectations through its own example of truth in advertising. (blog.tomshaner.com)
Tallahassee
Old Ways
(self-released)
The only thing seemingly askew about Tallahassee is their name. They hail from New England, not northern Florida. That’s a minor quibble however; one listen to the opening barrage of “Old Brown Shoes,” “I’ll Be Damned” and “Minor Blues IV” and it becomes clear that this is a band blessed with the ability to create an instant impression, courtesy of a stash of songs that are both visceral and circumspect. While some tracks — “Riding with the Devil,” “Best of Days” and “Where Oh Where” particularly — mine wearier terrain, the majority of these offerings simulate a defiant stance, with turgid rhythms that suggest a call to arms. While distilled in a homegrown tradition, they also come off as rugged and resilient, a sound that seems to grow richer and more robust with every listen. In fact, it’s that anthemic quality, imbued in this material, which enhances their delivery and begs the listener to take notice. Given sufficient exposure, they have the potency to stand alongside Mumford and Sons and the Lumineers when it comes to their solid dynamic and the ability to strike a commanding chord. (www.tallahasseeband.com)
Marc Carroll
Stone Beads and Silver
(One Little Indian)
Up until now, Marc Carroll’s remained mostly an unknown entity outside of his native U.K. That’s troubling, because Carroll’s clearly the kind of troubadour that possesses a wider view, an artist whose Dylan-esque designs broach a Southern California sound along with the folkier precepts inherent to English tradition. Stone Beads and Silver demonstrates his grasp of both melody and melancholia, from the sweeping sounds of opening track, “Muskingum River,” to the whiplash rhythms of the supremely catchy “(It Was) Love Not Lust,” a track highlighted by a falsetto chorus and a knowing refrain Tom Petty would likely be proud to call his own. Other immediate standouts include the acoustic ramble “The Silence I Command,” the sublime. fiddle-stirred “Sat Neath Her Window” and the contemplative concoction “You Can Never Go Home.” Every track is a treat, a series of unerring glimpses into the heart of an auteur who deserves to be elevated to the highest rungs of todays’ singer/songwriter elite. Simply put, Stone Beads and Silver ought to be considered essential listening for anyone who appreciates songwriting skills in the classic tradition. (www.indian.co.uk)
Annie Keating
For Keeps
(self-released)
One of the chief prerequisites for any singer/songwriter worth their weight in angst and emotion is the ability to vary their template from full frenzy to solitary suggestion. Annie Keating knows this well, and five albums and nearly a decade on, it’s telling that she should choose to cover Neil Young’s “Cowgirl in the Sand” as the final entry on her excellent new effort, fittingly titled For Keeps. Young’s original deftly towed the line between the agile and the assertive, and Keating, no doubt being aware of that precedent, transforms the song into a fitting send-off — graceful, yearning and immersed in a plaintive pastiche that even its author may not have imagined. Likewise, by starting the album with a visceral rocker like “Storm Warning” and then segueing seamlessly into a pedal steel-coated ballad, “Right For You,” she immediately makes it clear she can switch sentiments with the best of them. If that isn’t obvious enough, she even tosses in the horn-tinged funk of “Let It Come” for good measure. Mostly however, she navigates the easy, affecting Americana environs also inhabited by Emmylou Harris, Patty Griffin and Lucinda Williams, and in so doing, proves she’s every bit their equal. A flawless encounter from beginning to end, For Keeps is clearly a keeper. Fittingly so in fact. (www.anniekeating.com)
Joshua Radin
Wax Wings
(Glass Bead Music)
Joshua Radin has developed an impressive track record over the past decade or so, beginning with his early efforts on behalf of his friend and actor Zach Braff, and then continuing through his residency at L.A.’s Hotel Cafe, ground zero for many an up and coming singer/songwriter of Southern California vintage. Although his previous efforts have all been worthy contenders, the initial buzz surrounding Wax Wings suggests this may be the album that breaks him big… or at least it should if talent counts for anything. Radin has a sweet honeysuckle of a vocal, hushed and yet expressive, and even when it rises barely above a whisper the emotion is still implicit. “Beautiful Day” and “Cross That Line” tend to carry him into Nick Drake territory, marking him as a bruised, low-gazing troubadour. Yet as the set meanders along, songs like “Your Rainy Days” and “With Me” make it clear that pervasive pop is also well within his reach. Consequently, Wax Wings emerges as nothing less than a stunning set of songs, immensely enjoyable and irresistibly engaging to boot. Indeed, with Wax Wings, Radin clearly takes flight. (www.joshuaradin.com)
Various Artists
Way to Blue: The Songs of Nick Drake
(Story Sound Records)
Nick Drake’s influence on an entire generation of lowered-gaze singer/songwriters is undeniable, but the fact that his influence persists nearly 40 years after his passing makes him something of a cultural phenomenon. There have been tribute albums prior to this, but rarely to the extent of gathering such an exceptional cast, both in the concert which inspired this collection and on the album that evolved from it. While there few recognizable names in this cast — Teddy Thompson and Robyn Hitchcock among them — the presence of Drake’s producer and mentor Joe Boyd at the helm — with original orchestrator Robert Kirby commanding the string arrangements — ensures that the sound and spirit of Nick Drake’s melancholy musings pervade the proceedings. That dark and elusive air of mystery infused in the original recordings survives intact here, whether it’s Scott Matthews’ jazzy, husky voiced rendition of “Poor Boy” or the surprisingly effective instrumental by bassist Danny Thompson (Drake’s steadfast sideman) and Zoe Rahman that’s appropriated for “One of These Things First.” Newcomers to Drake’s legacy will find it conveyed imaginatively and effectively, while those already familiar and smitten will also appreciate the care with which its been preserved. Simply stated, Way To Blue is one of the most heartfelt and effective tributes of all time, and despite the overreach that that statement implies, it’s an assertion that can’t be denied. (www.storysoundrecords.com)
Honeychurch
Will You Be There With Me
(Siren Records)
One would be hard pressed to find another set of songs so intent on creating such a beautiful impression. The Pennsylvania outfit that operates under the name Honeychurch has been making their graceful sound for some time now, but the lush arrangements and gentle caress that accompany their latest, Will You Be There With Me, is absolutely addictive, an ideal antidote for these troubled times. The occasional rocker notwithstanding, songs such as “The Winter Part One,” “The Dream Is Over” and “Roll River Roll” convey a rich and effusive luster, their glowing sentiments masking a seductive sheen. There’s no room for false emotion here, given that every note seems tailored towards emoting sincere desire and steadfast deliberation. Crafted without artifice or pretence, Honeychurch reflects the best our rural environs have to offer, making the question Will You Be There With Me a foregone conclusion. (www.sirenrecords.com)
David Ullman
Light the Dark
(Dreaming Out Loud Records)
He may be a newcomer, but David Ullman sings with a passion and clarity that belies his relative rookie status. On Light the Dark, Ullman delivers eight songs wrought with obvious emotion, infusing a deliberation into his delivery that’s both striking and sincere. Case in point — “What You Say,” in which Ullman rails “Prove you have a plan/To make everyone fall in line/Somehow make me understand/How love can be a crime.” He amps up the volume and flails his emotion, almost to the point where the listener is compelled to hang on his every word. Yet while it may be the most demonstrative song of the set, it’s hardly the exception. Every track reflects the strength of an artist possessed, one benefitting from both confidence and craft. Naturally then, he follows in the footsteps of the great musical pundits that came before. There’s nothing halfway or compromising about what Ullman does; he puts his all into every offering and the results bear that out, even on first hearing. Consequently Light the Dark sparks a flame that’s bound to grow stronger with each new effort. (www.davidullman.net)
Nora Jane Struthers & The Party Line
Carnival
(Blue Pig Music)
Like Alison Krauss and Union Station, Nora Jane Struthers and company exude the kind of honesty and exhilaration that ensures honesty and enjoyment shine through. Awash in fiddle finesse and the strums of mandolins, Carnival is the kind of album that implores and entices, a syncopation of presence and technique that few bands are capable of pulling off. There’s a lot to like — a LOT — and inevitably it’s the kind of album listeners will want to return to again and again. Every song maintains the momentum — “The Baker’s Boy,” “Jack of Diamond,” Barn Dance” being among them. Likewise, it’s the sound of a modern hoedown personified, and even with a momentary respite — i.e. ballads like “Listen With Your Heart,” “Two Women” and “Mountain Child” — don’t deter the unabashed joy and pleasure that accompany this sophomore set. If sheer skill and the ability to convey it with deft expertise count for anything, then Struthers and company have already climbed to the top of the pantheon. Wonderful. (www.norajanemusic.com)
Heath Cullen
The Still and the Steep
(Five By Nine)
Heath Cullen’s latest album reflects the impact of innumerable influences – Leonard Cohen, Bob Dylan and Nick Cave among them – while also spotlighting a remarkable talent nourished from a singular stance. With his resonant croon and brooding persona, Cullen creates an indelible impression, whether it’s the somber strains of “From Father to Son” (“I’m too young to feel this old”) or the touching reflection that permeates the sentimental stream of consciousness fuelled by “Silver Wings” and the exceptional instrumental “The Rose That Grew So Tall.” Aided by distinguished guests like drummer Jim Keltner, bassist Larry Taylor and guitarist Marc Ribot, Cullen plows fertile terrain, areas mined by lingering memories and venerable circumstance. The result is a memorable set of songs that gets beneath the skin and then lingers there long after, a moody and sometimes melancholy survey of emotions that are common to anyone who’s felt the pull of the past and glimpsed possibilities for the future. In that regard, The Still and the Steep is nothing less than remarkable, a recording that ought to bring Cullen the extensive audience he deserves. (www.heathcullen.com)
Carla Olson
Have Harmony Will Travel
(Busted Flat Records)
Once the lead singer of the great yet underrated Americana outfit known as the Textones, Carla Olson has released a stunning series of solo albums over the years as well as several in tandem with the late great Gene Clark. In fact, it was her efforts in partnership with Clark that resulted in some of the fines recordings of his solo career as well. After Clark passed away, Olson continued to etch her own signature, and while she’s still struggling for recognition, her legacy will forever be linked to that of her friend and mentor. It’s fitting then that on her latest outing, Have Harmony Will Travel, she includes a tribute to the former Byrd man in the form of a stunning take on his signature song “She Don’t Care About Time,” which she sings with another revered master, Richie Furay. It’s one of a series of special covers and collaborations that distinguish Have Harmony Will Travel, making it something of a milestone, not only in Olson’s career, but in terms of Americana output in general. A stunning introduction for those unawares and a must-get for those already well acquainted. (www.carlaolson.com)
Suzzy Roche and Lucy Wainwright
Fairytale and Myth
(self-released)
Two members of one of America’s first families of song, Suzzy Roche and Lucy Wainwright make the sort of album that longtime admirers have come to expect, one filled with delicate harmonies, shimmering melodies and a hushed treatment so fragile one’s tempted to use caution when turning up the volume. Songs like “Everyone Wants To Be Loved” and “Broken Stemmed Tenderness” are of special note, but their gilded version of the Beatles’ “For No One” is the track that truly defines them overall. Producer Rob Morsberger gives the proceedings a tender touch, and the cameo by dad Loudon Wainwright underscores the advantages imbued by a family bond. Honesty and purity prevail, a rare phenomenon in this era of cynicism and caustic rebukes. No wonder then that Fairytale and Myth sounds so pure by comparison. Be assured, there’s no illusion in that. It couldn’t be recommended more. (www.suzzyroche.com www.lucywainrightroche.com www.robmorsberger,com)