Archive for the ‘Folk’ Tag

Raven and Red- We Rise Up review   Leave a comment

raven-and-red-we-rise-up-album

Raven and Red We Rise Up Line Crossing Records www.RavenandRed.com

Youthful, Raven and Red is a polished Nashville-based acoustic Americana trio. Featuring a pair of classically-trained, recent North Carolina university graduates, Brittany Lynn Jones (vocals, violin, and more) and Mitchell Lane (vocals and guitars), alongside a still-teenaged and high school attending mandolinist/vocalist in Cole King, the group shows great interest in the history and foundations of folk and country music while bridging the past with pop and rock influences and conventions: energetic, sensitive, andmost importantly—interesting.

Without doubt, Lane (the ‘Red’) can flat out sing. With a strong tenor, the Georgia native propels these songs (mostly) co-written with Lynn Jones (the ‘Raven.’) “It Could Have Been You,” “Living and Loving You” and “Lead Me Back to You” may not be lyrically groundbreaking, but they are not obviously formulistic, and their performances are impressive with Justin Collins’ percussion providing a touch of flamboyance to “Lead Me Back to You” not often revealed in similar settings. The affirming “We Rise Up” will provide inspiration, while the New Christy Minstrels’ “Today” is an appropriate throwback to the gentrification of mid-century folk music. Lynn Jones’ powerful, substantial harmonies give Raven and Red’s songs supplementary heft.

Jeffrey Shore and Jonathan Quintero’s “Grandpa’s Beer,” is a strong ‘generation-passing’ song given a fairly homey arrangement with lots of fiddle; Lane’s performance here reminds me of a one-song (“Guy Clark”) favourite of mine, Eric Burton (who, it appears, has disappeared from the Webiverse). “Moonshine and Makeup” and “Another Empty Bottle” (sensing a theme here) are additional superior tracks that work well within Raven and Red’s modern country/folk approach. “Wild Roses” is—arguably—a little wordy, but is works as a tribute to an early love lost to the lure of music. Later, “Wild Roses Reprise: Winter Raven World Traveler” provides Lynn Jones with a violin showcase augmented by her companions.

We Will Rise is a fine debut recording for the trio Raven and Red. It doesn’t have enough gravel to become a Fervor Coulee favourite, but I acknowledge the group’s talents and the quality of their performances. There is something here, and I’ll be keeping these gnarled ears open.

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Posted 2018 February 3 by Donald Teplyske in Uncategorized

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Caroline Cotter- Home On The River review   Leave a comment

Cotter

Caroline Cotter Home On The River CarolineCotter.com

Bridging the English folk music tradition with a contemporary Americana perspective, Caroline Cotter’s album, Home On the River, is a delightful surprise.

Blessed with a beautiful ‘honeyed soprano’ voice, Cotter is a world traveller finding inspiration for her songs close to home.  Backed by Danish band The Sentimentals (last heard backing Ana Egge) on half the numbers, Cotter has crafted an engaging, compact set of songs searching for truth and comfort.

Notably, the lead song “Peace of Mind” opens with a declaration of “I don’t want to keep up with fashion, I don’t want to pick a fight. I don’t want to say I love you, just to make this feel alright. I don’t want to make a buck, just to spend it to feel fine.” No, she isn’t one for the superficial and artificial. This country-folk song continues with a challenge to set aside our preoccupation with all that is negative in this world—and there is no shortage of that, certainly—and seek something closer to, perhaps, an inner peace.

Having recorded several albums while exploring the world, Cotter’s perspective is informed. She understands what is important to her, and is confident in her vision. There is an appealing assuredness in her writing and singing.

The title track, seemingly inspired by a foundation of love and acceptance, and “1 4 3” (‘I Love You’) are comfortable, warm, and inspiring visions of family legacy. Elsewhere, darkness creeps into “Hey Mama” and “Can’t Stop the Waves,” but they also contain comfort. Not so “My Washroom” which is troubling and stark. Reminiscent of Meg Hutchinson in mood and tone, Cotter’s songs are obviously personal with nothing contrived: she reveals herself throughout the album. “I don’t tell lies,” she sings within “Eternal Light,” and this honesty is apparent and appreciated.

Musically, the album is relatively unadorned. No one goes off with extended solos or breaks, and the collective of musicians provide Cotter with exactly the support her gentle songs require.

Listen to Caroline Cotter’s Home On the River and let its songs take you away to a better place.

 

Posted 2018 January 27 by Donald Teplyske in Uncategorized

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The LYNNes- Heartbreak Song for the Radio review   Leave a comment

lynnes

The LYNNes Heartbreak Song for the Radio www.TheLynnes.com

Lynne Hanson and Lynn Miles, the two well-established Ottawa singers and songwriters who meld their names as The LYNNes, need no introduction to those familiar with the Canadian folk scene. For the rest:

  • Lynn Miles has been a force within the Canadian music industry, recording more than a dozen albums
  • She received a Juno Award for Best Roots and Traditional Album for Unravel, a recording that has stood the test of time to be regarded in some circles as essential listening, and has been recognized with Canadian Folk Music Awards
  • Nominated for additional Juno Awards, Miles has produced albums for Lynne Hanson, and has toured the country on numerous occasions including with Keith Glass
  • Her “Black Flowers” was a highlight of Claire Lynch’s North By South
  • Lynne Hanson has recorded six albums, including a pair produced by Miles
  • Recognized with nominations at both the Canadian Folk Music Awards and the Kerrville Folk Festival, she received the Colleen Peterson Songwriting Award in 2010
  • Her albums Uneven Ground, River of Sand, and Once the Sun Goes Down are among the finest country-folk/Americana albums one can hope to encounter

Heartbreak Song for the Radio is stellar. The pairing of Miles and Hanson is natural, their harmonies clean and tight (but not staid) and as they take turns in the lead position, their songs have vibrant energy compelling the listener to lean in and absorb each note, word, and phrase.

The title track is an elegy for a broken, impossible relationship, and a better title for the album is hard to imagine: each of the ten tracks captures folks in places best left to the songwriter, as others would crumble under the intensity of the emotions explored.

While some of the experiences may explore emotional darkness, the album isn’t burdensome. Most of the songs maintain that which would be categorized as ‘mid-tempo,’ but there is nothing about Heartbreak Song for the Radio that drags. Like early albums from Mary Chapin Carpenter, Lucinda Williams, and even Guy Clark, the songs are sufficiently balanced to maintain buoyancy.

“It’s only walking through the fire, you learn just who you are,” they sing on “Blame It On the Devil,” just one of many songs that seem to have more than a little duo-ography within it. And Miles and Hanson are certainly self-aware. They play to their strengths—keenly revealed portraits of those gaining forbearance and wisdom from introspection and realization.

“I can’t make a door if you’re only building walls,” Hanson sings in “Blue Tattoo,” perhaps the album’s finest track, embracing the pain of the needle to counteract the numbness of absence. Individual credits aren’t provided, but one guesses it is Kevin Breit’s guitar providing the melancholy lead notes punctuating the number.

“Heavy Lifting,” “Halfway to Happy,” and “Cost So Much” bring additional energy, while “Recipe For Disaster” and “Cost So Much” are unadulterated country. The album is replete with intelligent but never too clever lines, ones that provide uncontrived insight. “Wouldn’t have gone and paid my dues, if I knew it was gonna cost so much” being just one example.

These songs are real, ones that if they haven’t been lived by Miles and Hanson have been experienced by others sitting at lonely tables, contemplating choices made.

Beautiful stuff, this. Seek it.

Lynn Jackson Follow That Fire review   1 comment

Lynn Jackson

Lynn Jackson Follow That Fire Busted Flat Records

Every province, state, city, and area has them—the singer or guitar player that everyone loves and respects, but who strikes a collective shoulder-shrug outside their home range. Pay attention, then.

I had never heard of Lynn Jackson before encountering the previous Songs of Rain, Snow, and Remembering a couple autumns ago. The Ontario-based singer-guitarist is very good, and Follow That Fire is her ninth album over the course of two decades. In 2015, I compared her to the likes of Mary Chapin Carpenter and Lynn Miles, and those remain fair, in my way of thinking. Like those songwriters, Jackson gets to the core of the heart fair quickly.

Produced this time by Michael Timmins (a new Cowboy Junkies album would be welcome any time, by the way) Jackson sounds subdued across that album’s three-quarters of an hour, holding her cards close as she shares these song.

Still, there is a hint of playfulness in the way she approaches “Mystery Novels, Short Stories, and Car Songs,” bringing to mind another Timmins sibling, an effect one suspects is deliberately repeated on the closing “No Regrets.” Obviously a narrative songwriter, Jackson’s “Alice” may be the saddest song I’ve heard all year, filled with hope and ache, betrayal and murder. Jayzus, it might not work as a bluegrass song, but I would love to hear Dale Ann Bradley give it a try. As it is, Jackson’s (sounds like) finger-picking gives the song all the atmosphere it needs.

Skydigger Josh Finlayson (bass) and Cowboy Junkie Peter Timmins (drums) form the rhythm section, and combined with Michael Timmins’ production choices, a most compelling and consistent ambiance is created. Andy Maize (The Skydiggers) joins Jackson on “Meet Me In The City,” in a better world a song that would be heard on every country, rock, and pop station across the country. “Meet me in the city for one last go ’round,” she sings. “We’ll take all the time you need” is revised to “I’ll take all the time I need” by song’s end. Another radio-friendly (in an alternate time, perhaps) number is “Tossing & Turning,” a soulful little song about a love that should know better.

Aaron Goldstein’s pedal steel works nicely in concert with Aaron Comeau’s keys (“Night Comes Down,” “Ghosts”) throughout the set. Inspired by the loss of a friend, one of the more introspective numbers is “Random Breakdowns, False Starts, & New Beginnings.” approach.

I know I meant to search out previous Lynn Jackson albums last time I reviewed her. Follow That Fire is a reminder that I need to get onto that project. The rest of the country needs to start paying more attention, too. Damn, she’s good. Great songs, great voice, inspired production: get this one. Fingers crossed: this is Lynn Jackson’s Car Wheels on a Gravel Road.

Between the Cracks, Summer 2017: what have we missed? reviews   1 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

 

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

Corey Isenor- A Painted Portrait (of The Classic Ruse) review   1 comment

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Corey Isenor A Painted Portrait (of The Classic Ruse) www.CoreyIsenor.Bandcamp.com

Back in the halcyon days of alt.country (damn it, I am old), No Depression was one of the few publications one could turn toward to be informed on the kind of music ‘we’ liked. Discount the occasional foray into areas that had little to do with country, no matter how alt. (The Shins, anyone? Black Keys?) and ongoing fascination with all things Jayhawks, No Depression allowed a continent of left-of-center music to find its way to my attention.

To the best of my remembering, the first issue I purchased was the one with Robbie Fulks on the cover. It was a thing of beauty, from the striking orange/yellow/green cover to the features of Ray Wylie Hubbard and Jesse Dayton, live reviews of Jimmie Dale Gilmore/Ana Egge and George Jones, and reviews of recent bluegrass and country releases: I felt I had finally found ‘my people.’

I didn’t love everything about the magazine, naturally. I found several of their reviews fawning and some of their writers calculatingly obscure (or obtuse, depending.) But, much more often than not over the next 60+ issues, they kept me coming back to discover and re-examine music I may have otherwise missed, overlooked, or disregarded.

Why have I written the above three paragraphs to open a review of Corey Isenor’s sixth album, A Painted Portrait (of The Classic Ruse)? Much as I might have a almost two decades ago, when I first listened to the album it brought back that rare, sparkling novelty of hearing an artist for the first time whom I felt l had been listening to forever. Part of the attraction, without a doubt, is that Isenor sounds not a little bit similar to Paul Burch, one of the many artists I ‘discovered’ via No Depression. It goes deeper.

For me, alt-country was less about wannabe rock ‘n’ rollers injecting Haggard and Williams into their raucous mix, and more about finding a way to expand the finest qualities of country music—story, melody, hooks, familiarity, history, and wordplay, rhymes, and puns—to something that was more than hair, sparkly suits, and Hee Haw cornpone. That’s what attracted me to the likes of Hubbard, Eaglesmith, Harris, Russell, Lynne, Fulks, and the Bottle Rockets from the first time I heard each, whether that was early 80s Emmylou or years later when I heard the most desperate words of ignorance I could imagine: “If kerosene works, why not gasoline?”

Isenor brings all that and more to this collection. There are times, as in “From Towers to Windmills,” that I am reminded of New Order (“Love Vigilantes.”) At other points Isenor’s approach reminds me of Matthew Lovegrove’s Woodland Telegraph, sparse, minimalist and achingly poignant (“Queen of Calgary” and “Diamonds on the Moon.”)

“The Navy Blues” is catchy and complex, with Andrew Sneddon’s pedal steel providing additional melancholy. Rebecca Zolkower and Desiree Gordon’s vocals lend depth to several songs, as do Liam Frier’s guitar contributions.

I hadn’t previously encountered Isenor prior to hearing A Painted Portrait (of The Classic Ruse.) Listening to his songs on Bandcamp, I know I have much exploring to do. “The Ballad of Emily” is already a favourite. Isenor is from Nova Scotia and in addition to being an incredible roots music talent as a songwriter, singer, instrumentalist, and producer, he is an accomplished artist, photographer, and graphic designer. I hate him.

A Painted Portrait (of The Classic Ruse) has become one of my favourite country/folk what-have-you albums of 2016. Had I read a review of it in No Depression, I might have been intrigued. Having heard it, I am significantly enthralled.

Thank you for sticking with me at Fervor Coulee for these many years: hopefully you are finding roots music opinions of values as you traverse the crowded modern music landscape. Join me at @FervorCoulee for additional unremarkable insights.