Archive for the ‘Kent McAlister’ Tag

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!

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Kent McAlister & the Iron Choir / Things About Comin’ My Way   Leave a comment

Thanks for visiting this week. In Friday’s Red Deer Advocate I was fortunate to review two exceptional roots music releases; I’ve listened to both countless times this autumn and discover something new to appreciate each time. Kent McAlister & the Iron Choir recently released How I’ll Remian and it is a splendid collection of songs. Meanwhile, Steve Dawson & Co. have done it again with a fabulous tribute to the music of the Mississippi Sheiks. I’ve been spending a bit of time of late listening to old blues and jug band collections I’ve found myself tripping across and much of the impetus to do so has come from this remarkable album.

Kent McAlister & The Iron Choir

How I’ll Remain

Self-released

Based in Vancouver, Kent McAlister has quietly over a pair of whiskey-drenched albums established a nice portfolio of working man tales and jaded dreams.

Ballad of the Oar & Chain features primitive percussion of a style seldom heard within dusty roots music. Elsewhere, McAlister delivers in a talking blues manner not dissimilar to Corb Lund (Crossing Arm Blues) but with less novelty and even a bit more sophistication, as on What is this Evil?

How I’ll Remain is sparse and haunting, while Another Bridge lopes along like a Shawn Jonasson-Waylon tribute. Gillian Welch would be proud to call The Cane & The Switch her own- an abusive husband, a deep, dark well, retribution, and nervous horses all in five minutes.

McAlister’s voice is sturdy and smooth, lacking even a hint of slickness. 

Various Artists

Things About Comin’ My Way- A Tribute to the Music of The Mississippi Sheiks

Black Hen

Perhaps the roots tribute of the year, Steve Dawson and his spouse Alice have assembled a masterfully balanced collection of blues, folk, and unclassifiable renditions of music recorded by the Mississippi Sheiks during the early ’30s.

Picking highlights from such a storied collection is a fool’s game, but listeners are certain to be impressed by Oh Susanna’s take on Bootlegger’s Blues, The North Mississippi Allstars’ fiery We’re Backfirin’ Now, and Bruce Cockburn’s Honey Babe Let the Deal Go Down.

Rare is the tribute album that possesses the consistency and unity of Things About Comin’ My Way; from soulful sounds (The Sojourners’ He Calls that Religion) to softer vocal treatments (Please Baby  from Madeleine Peyroux) and banjo showcases (Too Long from Danny Barnes), every track resonates and no two sound alike.

Thanks again for dropping in, and I hope you’ll find some music to investigate- support the artists and the labels…no one is getting rich on our music! Donald