Archive for the ‘Country’ Tag

Matt Patershuk- Same As I Ever Have Been review   1 comment

Matt Patershuk Same As I Ever Have Been Black Hen Music

PatershukDon’t accuse Alberta’s Matt Patershuk of resting on laurels well-deserved.

While his previous album I Was So Fond of You was one of the finest country albums of 2016—regardless country of origin—this time out La Glace’s great hope has injected a whole lot of blues’ grit into his songs, especially early in the set. The David Lindley-esque guitar opening of the lead track “Sometimes You’ve Got to Do Bad Things to Do Good” is only the first hint that there’s something different this time out.

One suspects this was a mutual decision by Patershuk and producer Steve Dawson, and while I might prefer a more ‘straight-forward’ country approach, one cannot criticize the execution of this change of direction.

“Memory and the First Law of Thermodynamics” (there is a country title I never expected to type) starts out reminding us a little of “I’m Not Lisa,” but soon shifts deep into metamodern, esoteric Sturgill Simpson territory. “Boreal” makes a turn toward the type of songs this listener most appreciates, ones which remind us that there is beauty all around us, and no little bit of troublesome drama available if we make an effort. It and “Hot Knuckle Blues” reveal, perhaps—and I’m guessing here—a Hoyt Axton influence. “Sparrows” is an elegant and beautiful slice of country, a sentimental piece that slowly reveals a composition rich in emotional detail.

“Cheap Guitar” finds Paterchuk somewhere between the blues and Dave Alvin rock’n’roll (never a bad place to be), as do “Good Luck” and “Gypsy.” “Blank Pages and Lost Wages” cuts a little too close to home for anyone who has sat staring at their fifth cup of coffee going cold. While this might have been presented as a unabashed country song, robust blues flourishes offer a darker finish.

Patershuk experiments with an even deeper register on the title cut, and while it takes a moment to become familiar, by the time he hits the one-minute mark one has adjusted and eases into the comfort provided. The spoken-word recitation “Atlas” is another risk taken, and like the others Patershuk  takes across Same As I Ever Have Been, it works. These decisions serve as reminder of the greatness possible within country music: seldom did Waylon Jennings, Marty Robbins, or Johnny Cash ever record an album where all ten or twelve songs sound like they came from a Music Row algorithm. Patershuk demonstrates he isn’t fearful of taking chances, and if something rubs the listener a bit raw, he is confident enough in his material and presentation that the next song will bring ’em back.

Billed as Songs for Regretful Brutes and Sentimental Drunkards, Matt Patershuk’s Same As I Ever Have Been takes the emerging artist in directions one hadn’t expected. Such is the artist’s journey, following his muse to places unexplored. With a one-hour running time, this is a rich passage with Patershuk guiding the way.

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Skinny Dyck & Friends- Twenty One-Nighters review   Leave a comment

Akinny Dyck

Skinny Dyck & Friends Twenty One-Nighters skinnydyck.bandcamp.com

For as long as I can recall, the Alberta roots music environment has been healthy and exciting. From the big-ticket folk festivals in Edmonton and Calgary, and the more regional events held annually in Fort McLeod, Driftpile, East Coulee, and innumerable other sites, to a radio network that supports Alberta roots artists to an incredible level, a roots musician in Alberta seemingly has an entire province at the ready. Still, mainstream success remains rare, and while folks can make a living with their guitars, vans, and songs, breakouts are few—we can count the Corb Lunds and k. d. lang’s on one hand.

Not every artist contained on Ryan Dyck’s visionary Twenty One-Nighters collection is from Alberta, but all are western Canadian and the vast majority call the Wild Rose province home. Recorded adjacent to a Lethbridge pizza place over a series of evenings across nine months of 2016 and 2017, twenty folk and country troubadours answered Skinny Dyck’s call to share their songs, all original and most previously unreleased.

A core band is featured, primarily Skinny Dyck, Tyler Bird, Evan Uschenko, Jon Martin, and Paul Holden on a variety of stringed instruments and drums in various configurations. With twenty different focus acts, the approaches to the music and songs are as varied as the lineups, but each of the seventy minutes the music envelopes the listener with waves of familiarity that are most welcome.

Picking highlights is the chore of a fool. The godfather of southern Alberta roots scene, Lance Loree  kicks things off with “Watching Daddy Dance,” definitely a noteworthy performance, but so is that of Leeroy Stagger and Mariel Buckley (the gorgeous and devastating “New Pair of Shoes”) and Fervor Coulee-mainstay John Wort Hannam (“Acres of Elbow Room,” a preview of the album coming in early spring.)

Sentinels of the pubs, bars, stages, and community halls abound: Tom Phillips, Kent McAlister, Sean Burns, Scott MacLeod, and Dave McCann offer-up terrific numbers, with McAlisters’s “Hall of Shame” and McCann’s “Sticks and Stones” weaving their way into the audio-memory. The legion of Carolyn Mark fans will be interested in “My Love For You,” a two-minute ditty that pulls in ’bout every rural Alberta cliché you would dare drop into a country song.

Many a clever turn of phrase are included on this wide-cut country collection, as are a number of folks we had not previously encountered, although they are certainly known to others—we can’t hear everything! Folks from whom I will be looking for more include Shaela Miller (The Virginian era Neko Case-y sounding “Willow Tree”) Justin Smith (“Seedin’ Time”), and Taylor Ackerman (“Layin’ By Your Side.”) Terrific stuff. Carter Felker offers up an outstanding new song, “I Can’t Believe”—a gem among jewels—and Steven Foord’s “Sweet Alberta” is deserving of airplay.

If there is a single discovery to be found on this album (and there isn’t—unless you were part of the core group putting this set together, I doubt many have heard everyone on this wide-ranging set: there is a lot to discover!) I would suggest it may be George Arsene who delivers a stunning song, “‘Ol #6,” a diner tale that brings to mind the master of the dusty road song, Robert Earl Keen.

Rather than reading my ramblings about this important set capturing the contemporary southern-Alberta roots scene, head over to https://skinnydyck.bandcamp.com/, give a listen, and then pick up a copy there or at one of the upcoming shows Skinny Dyck has planned for November. Original roots music appears live and well in the home province: support it, dammit!

Between the Cracks, Summer 2017: what have we missed? reviews   Leave a comment

A selection of albums that have worked their way my direction these last few months. Americana of a variety of flavours.

RERailroad EarthCaptain Nowhere One recalls RRE as one of the first ‘big tent’ bands to be selectively-shunned by bluegrass festivals. Lost track of them somewhere around The Good Life (2004), but became reacquainted early this summer when this six-track EP was released. Groovy, acoustic-Dead inspired rock’n Americana, Captain Nowhere is a concise encapsulation of the group’s drum-propelled music. “Adding My Voice” is especially relevant given recent political/civil events, while one can easily imagine “The Berkeley Flash” inspiring an extended live jam. [Review based on download.]

MOMatthew O’NeillTrophic Cascade (Underwater Panther Coalition) More natural-sounding and perhaps a little less rambunctious than previous music sampled from this upper New York-state resident, Trophic Cascade is no gentle beach listen. Imagine, if you will bear the indulgence, Bon Iver and Shakey Graves coming together in the forests of the Catskills with Crosby, Stills, Nash, & mostly Young to create a modern southern soul album. Lots of wailing guitars, layered vocals, some horns, and trance-inducing rhythms and melodies that soar and twist. Tapping into topic s associated with his evolving beliefs of Earth and our relationships with its people, O’Neill kept this listener engaged through 50 minutes. [Provided CD version reviewed.]

JMJohn Mellencamp featuring Carlene Carter- Sad Clowns & Hillbillies The Lonesome Jubilee came out 30 years ago, and still battles it out with Scarecrow for top spot among my favourite Mellencamp albums; don’t read too much into that—don’t most of us have greatest appreciation for music we’ve lived with for several decades? Among his 23 (twenty-three!) albums (yeah, I’ve got them all going back to Chestnut Street Incident) there is no shortage of evidence of greatness, with even his more dire albums (1994-1999, maybe) revealing gems of considerable genius. [I long ago forgave his re-writing of Wreckless Eric’s “Broken Doll” as “Rodeo Clown.”] Teaming with touring partner Carlene Carter for several tracks, there is plenty of patented Mellencamp swagger and rhythm—that immediately recognizable groove—within these forty-seven minutes, and a number of songs (“Battle of Angels, “My Soul’s Got Wings,” “Damascus Road,” and a cover of “Early Bird Cafe”—don’t pretend you know the original) that stand with his finest.  Carter shines both as a featured vocalist and in a harmony role with “Indigo Sunset” and “Sugar Hill Mountain” ringing true. [Purchased CD version reviewed.]

bhBen Hunter & Joe Seamons, with Phil Wiggins A Black & Tan Ball An exquisite black & tan is a tough pour, I’ve found. Good thing this trio understands their art. Well-grounded in the various blues traditions, Seattle’s Ben Hunter and Joe Seamons along with touring partner Phil Wiggins don’t need me to tell them they know what they are doing. Pulling together all their influences—broad folk traditions, ragtime and jazz, even hints of country and mountain fiddle music, and always the blues—and both the good and bad of their (and previous) times, Hunter & Seamons hold a mirror to that which surrounds them, bask in that reflection, and give respect to the Black Americana tradition. Life may not get better than “Struttin’ With Some Barbeque,” “Longin’ For My Sugar,” or “How’m I Doing?” but it sure can get worse; the songs selected for this set keep things mostly breezy, and don’t delve on the most significant of matters, although “Bad Man Ballad” (recognizable as a derivation of “Little Sadie”) and “Hard Time Blues” acknowledge hardship. Loose/tight is a phrase I love for music making—allow for the joy and fun, but keep the quality—and A Black & Tan Ball captures it perfectly. [Provided CD reviewed.]

GGR SINGLE POCKET JACKET UPDATED 032112Amy BlackMemphis Featuring members of The Bo-Keys and those intimately familiar with the Stax and Hi Records Memphis traditions, Amy Black returns with an even stronger album than her most stout Muscle Shoals Sessions. Beautifully gritty and gloriously soulful, Black has written some terrific songs (“The Blackest Cloud,” “Without You,” and “Nineteen”) that fit ideally with her voice and approach, and selected tasteful and timely covers, notably Otis Clay’s “If I Could Reach Out (and Help Somebody).” With lots of guitar and B3, killer rhythm section support, plenty of horns, and a song for the ages in “It’s Hard to Love An Angry Man,” it is time to stop mentioning the likes of Dusty Springfield, Bonnie Raitt, and Shelby Lynne in reviews of Black’s albums, and realize she needs to be discussed on the same terms as these soulful singers. [Provided download only reviewed.]

zz andy hall roosevelt Andy Hall & Roosevelt Collier- Let the Steel Play Someone is playing a cruel joke on me. I will tolerate the resonator guitar in (very) select bluegrass situations, and I can appreciate it (in moderation) within a blues-setting, but it will never be an instrument I reflect upon and think, ‘Man—what this song needs is some hub-cap guitar.’ Imagine my surprise (chagrin?) to discover one of my favourite albums of this Summer of 2017 is the debut recording of Hall (The Infamous Stringdusters) and Collier, and it features NOTHING but reso. “Reuben’s Train” and “Power In the Blood” are trad. arr all should recognize, but I dare say we haven’t heard them like this. Coming from the Sacred Steel tradition, Collier approaches these tunes differently than I imagine Hall would on his own, and their collaboration is mind-blowing. Their originals (“The Darkest Hour” and “Rosebud” especially) mix well with the familiar pieces including The Grateful Dead’s seductive “Crazy Fingers.” [Provided CD reviewed.]

the_savage_radley_kudzu_DK_BrownThe Savage Radley- Kudzu Get ready: this one is going to club ya between the eyes and knock you on your arse. Kentucky’s The Savage Radley is an explosive slice of the modern south, not country, rock, or ‘grass, but a sweet distillation of all three, and a potent concoction it is. Shaina Goodman writes the songs and gives them voice while S Knox Montgomery keeps things moving from the drum kit. Also featured are multi-instrumentalist Eddy Dunlap (pedal steel, guitar, and bass), Ryan Cain (bass), and producer Skylar Wilson (piano). Rural tales of hardship and darkness abound, and while one might be reminded of the way Bobbie Gentry, Larry Jon Wilson, and even Rodney Crowell construct songs around ones’ experiences and ancestry, one hears flecks of The Alabama Shakes in the production choices: time-tested testimony, new approaches. “Blood Money” and “Little River Town” provided the narrative threads I appreciate. “Don’t call me honey, Honey,” Goodman sings in “Milk and Honey,” “It don’t mean nothing when you say it.” Harsh, but in keeping with the mood of the collection, where hope and dreams have been corroded with reality. [Provided CD reviewed.]

Some of what I’ve been listening to this summer. Thanks for visiting Fervor Coulee. Now, go BUY some music: keep the roots alive. Donald

 

Dwight, Buck, and Adcock vintage releases/reissues   Leave a comment

Three new reviews have been posted at Country Standard Time.

dwight-yoakam-buck-owens-live-from-austin-txA decade ago, New West issued several Austin City Limits episodes on both DVD and CD, and it appears they are in the midst of re-issuing some of these, this time in dual DVD/CD packs and on vinyl, which I didn’t receive; buyer beware, therefore: you may already have these on the shelves. My reviews of the Dwight Yoakam and Buck Owens sessions, on which each guests with the other, from 1988 are up at CST.

AdcockIn 1963, bluegrass banjo (now) legend Eddie Adcock put together a combo to attempt to broaden the reaches of the 5-string banjo in popular music. The result was Vintage Bluegrass Jam, a recording that was only recalled in the last year and has now been released. My review. It is uneven, but it grew on me.

Jesse Waldman- Mansion Full of Ghosts review   1 comment

mansion-full-of-ghosts-cover-copy

Jesse Waldman Mansion Full of Ghosts JesseWaldmanMusic.com

A music industry veteran with considerable soundtrack and live performance work behind him, Mansion Full of Ghosts is the debut album from Vancouver’s Jesse Waldman.

There was a time about 15 or so years back when a friend and acquaintance produced scores of house concerts and cafe shows in Red Deer, and no matter who was appearing—previously heard or more often not—you were ‘almost’ guaranteed a memorable evening of fresh roots music. Listening to this album reminds me of the first time Billy exposed me to Steve Coffey, Jack Harlan, Harry Manx, Old Reliable, John Wort Hannam, and a handful of other intense, focused, and supremely talented individuals, all plugging away making original music. Jesse Waldman would have been appreciated then.

Musically, Waldman reminds me of Joe Pug, a singer I happened upon a few years ago via eMusic and who I caught in a well-remembered show at Kansas City’s The Record Bar four springs ago. Like Pug, and I suppose all strong songwriters of their vein, Waldman weaves together apparently simple images and scenarios into songs of magic, creations that are so elegant, personable, and homey that one thinks they’ve encountered them before: the listener thinks, If I had the talent, that’s how I would have wroteit/sung it.

Waldman’s voice is at the fore of these songs, and nothing is lost within the atmospheric and near-lush instrumental and harmony accompaniment. “Wild Balloon” is as airy as it sounds, but the foreboding lyrics encourage restrained trepidation. “Hummingbird” is more gentle, but every bit as appealing: a fragile domestic scene we should all appreciate. Waldman is greatly influenced by his East Vancouver environ, but the appeal of his writing is universal. “EastVan Blues” and “Hope in Shadows” are likely as relevant to those in St. John’s, Asheville, or Dublin. Additional highlights include “Ashes,” a duet with Megan Alford, “Keep A Light On In The Dark,” and “The Rest of My Days,” perhaps Waldman’s strongest song included.

Comprised of 16 songs running over an hour, Mansion Full of Ghosts never labours, and our attention never drifts. With no two songs sounding too much alike, the individuality of his musicians are to be appreciated. Familiar names abound—Michael Simpsonelli, Michael Rush, Tom Hammel, Beth Southwell, Tom Heukendorff, Alford, Monte the harmonica player, and Marc L’Esperance, who also co-produced the album with Waldman—and they have come together to present as rich and diverse creation of voices and instrumentation as imaginable. Touches of country blend with Waldman’s folk outlook.

An incredible album with songs and sounds that would fit on any adventurous radio program beside the likes of Emmylou Harris, Rodney Crowell, Jenny Whiteley, and Ron Sexsmith. I’ve been listening to the album for a couple months now, and it moves me a little more each time I return. I suppose that is what great music does.

Beautiful.

Thank you for visiting Fervor Coulee. I hope you come back. Find me on the Twitter  @FervorCoulee

Lee Palmer- Bridge review   Leave a comment

album-cover-bridge-339m4egxkz8wv3wgz30g00Lee Palmer Bridge On The Fly Music www.LeePalmer.ca

Ontario’s Lee Palmer has made a string of satisfying albums in recent years, but with Bridge the prolific musician has raised the bar for himself and independently-produced, guitar-based roots music.

With a musical approach similar to that of Ray Materick a generation ago, Palmer explores a variety of topics within his mix of folk, country, and blues. Paying tribute to Glen Campbell on “That’s No way to Go” and J. J. Cale in “Tulsa Sound,” Palmer seamlessly bridges the variety of music that has influenced him, and allowed him the opportunity to explore the breadth of sounds he has over several recordings.

Concentrating his efforts to the vocals on Bridge, Palmer has elected to leave the guitar work to Alec Fraser, Jr. and Kevin Breit. Along with additional members of the “One-Take Players”—Al Cross (drums) and Mark Lalama (various keys and accordion)— as well as co-producer Elmer Ferrer (more guitars and such) this duo craft an unstoppable foundation on which Palmer builds his homespun truths and heartfelt observances. Among the standout tracks are mid-set triumphs “My Town” and “My Old Man.”

Mary McKay provides background vocals throughout, and duets with Palmer on “Did It Feel Like This,” one of the album’s most memorable numbers. Of note are Lori-An Smith and Patricia Shirley’s complementary vocals on “Tulsa Sound.” Radio-friendly (in a different, more open time) and mature, Palmer’s approach to roots music is welcome. A song such as “Well, Well, Well, Well” or even “Back to Lonely” might have expected consideration at radio back in the time when David Wilcox, Downchild, and Powder Blues received FM exposure.

But, those days are far and gone. Left to his own devices at independent and university radio outlets, Palmer likely doesn’t expect a grand break-through any time soon. He appears to be making music because he must, and we can be thankful for that. Fresh and flavourful, Lee Palmer’s Bridge is an album that should provide listeners with hours of pleasure.

Lesley Kernochan- A Calm Sun review   Leave a comment

lk-a-calm-sun-cover-webI received this album from the publicist a month or so back, listening to it a couple times right off, and knew I needed to write about it. I have since listened to A Calm Sun seven or eight more times- driving, while resting, and as I was writing- and could not be more impressed. It is a bold, mature recording, free of gimmick and insincerity. Give it a listen. My review is at LRR http://lonesomeroadreview.com/calm-sun-lesley-kernochan/

You can listen to “Country in the City” here.