week.19
J Shogren "Jahamericana" (Jaha Records)
"Blending more styles than we can list here, Shogren somehow ties it all together for his own unique sound. Thoughtful and larger than life songs, set to a hard acoustic background, make for some exciting listening. He’s traveled the world and the stories are plentiful in these grooves. At the end of the day, though, it’s Americana at its best!"
- Bill Lavery / Village Records -
"What is on offer here, is an earthy form of unostentatious acoustic blues and country, that won't win any awards for originality, but is competent, and occasionally, pulls a surprise out of the hat - the coloufully melodic sheen of 'Outsider', in particular, managing to leave quite an impression".
- Sean McGhee / Rock'N'Reel Magazine -
week.18
Watermelon Slim & The Workers "The Wheel Man" (NorthernBlues/Rootsy)
"'The Wheel Man' is the follow-up to The Workers' debut album, one of last years' best blues records. The new album has the same drive, same fine batch of songs, composed entirely by Bill Homans, or Watermelon Slim, if you will. The only thing the new album hasn't got compare to its predecessor, is the thrill of the news. Otherwise, there is all the good that's associated with Slim and his gang of workers:
A hell of a swing, and material that contains everything from acoustic slide blues a la Blind Lemon Jefferson, to harmonica numbers a la Sonny Boy Williamson, and a voice that can be not only raw and melancholy but tenderly soul-sensitive. On the tracks this time, there's also a couple of guest musicians, where Magic Slim is the most famous. It sounds good, quite simply, no strings attached - blues with rolled-up sleeves.
In the sixties there was a loudly discussion going on in the music press whether white musicians really could, or should, play the blues. That discussion is long since dead, shut through the heart repeatedly by musicians such as Alexis Korner, Michael Bloomfield, Johnny Winter, Peter Green and others, and now, most recently, by Watermelon Slim."
- Peter Linde / Otakt -
"Bill Homans was a truck driver from Oklahoma. He doesn't exist anymore. Bill Homans has become Watermelon Slim, and he's now a travelling, fulltime blues musician. But it started long time ago - In 1973, Homans was the first Vietnam veteran to make his debut while the war was still
in full flair. His own career would remain sporadic for long, but his songs were sung on record by, among others, Country Joe MacDonald. It wasn't until a couple of years ago that Homans became Watermelon Slim to a full extent, a fortunate move as it turned out, when the previous album became blues album of the year in Mojo. The record that's now out in the stores - "The Wheel Man" - is nominated best blues record at this year's Blues Music Awards.
This is blues, sounding as if time stood still. Left-handed Slim gives his National Guitar some real beatings to stompy accompaniment and architypical, yet quite funny lyrics. He carries traditions of which names such as Jimmie Rodgers, instantly comes to mind. Even Muddy Waters of his later years and the records that Johnny Winter produced for him, function as a reference.
The title track with Magic Slim on guest vocals, the humorous 'Newspaper Reporter' and the guitar solo of 'Peaches' are the high lights of this album, an album that doesn't stand for anything new - In fact, it's so significant and predictable, that it's dangerously close to becoming a parody - but even then, you're having quite fun in the company of Watermelon Slim. Straight ahead, pure blues, nothing strange about it."
- Niclas Gustafsson / Musiklandet -
week.17
Hayward Williams "Another Sailor's Dream" (Machine)
"There isn’t one weak moment on this platter - From William’s own voice, that ranges from lovely and tender, to raw and hoarse, to his brilliant lyrics & songs - This is the perfect marriage between folk, blues, country and rock!”
- Benny Metten / Ctrl Alt Country -
week.16
Paul Reddick "Revue" (NorthernBlues/Rootsy)
"This here is an absolutely marvelous record for those who hasn't heard of Paul Reddick before, and this includes this author. I rolled this CD firstly because one of my favorite guitarists - Colin Linden - produced and played on several tracks. This proved to be a smart decision. The music won't cause the pressure cooker to explode though, but has other qualities - well-blended ingredients, good taste, well-cooked etc. Given that you like a steady meal (68 minutes) of blues.
'Revue' means overview and what we get here is exactly so over the career of blues singer, Canadian and harmonica player Paul Reddick. The tunes are taken from records he has done with his trio The Sidemen, with Linden, and from several other side-projects. The music has an all together raw, folksy tone with inspiration from the Mississippi delta, but one can also hear modern sounds here with associations to Texas blues a la the Vaughan brothers and on some track, it sounds as if RL Burnside was in the studio.
Yes, it's varied and that's the strength of this album. Another one is the fat voice of Reddick. It's slightly remeniscent of David Hidalgo of Los Lobos at times, or there is some of Lobos roots music in the sound itself, especially in the songs he does with The Rhythm and Truth Brass Band.
This is a kind of blues that could possibly get across to most aficionados of the genre - it's got the most of it - the feeling, the voice, the brass and lots of harmonica."
week.15
Anshelle "Rewind Please" (Rockarchive)
"Anshelle and singer Michèle Bachmann of Switzerland have gone through something of a metamorphosis. Having been more directed towards dancefloors, 'Rewind Please' is, in fact, a fresh showcase of soft rock and pop, slow and faster, of a quite subliminal kind. It's quite obvious that there's a willingness and an aim with both music and words.
Because, even though the songs could easily fumble in the overflow of similar-sounding music that's streaming towards you, this often sticks out, almost like separate entities at times, prooving that only with purpose can show the vitality of a genre. OK, at length, it might become a little too much, you end up sort of full. You end up sort of tired. But not tired enough to just lie down and give up. There's still something interesting there. Seek and you shall find....."
- Magnus Sjöberg / Groove Magazine -
week.14
Doug Cox & Salil Bhatt "Slide To Freedom" (NorthernBlues/Rootsy)
"The unlikely is now likely. I don't think this is the first time that blues guitarists and Indian classical musicians have joined forces. But now, with the fantastic instrument satvik veena, you can only imagine.
Doug Cox is a great guitar player. Mostly, he plays the blues, directly out of the delta. Now, he and his resophonic guitar have come together with Salil Bhatt (satvik veena) and Ramkumar Whisra (tabla).
Honestly, I don't know that much about Indian multi-stringed instruments, but it's a real nice meeting between Canadian Cox and Indian Bhatt, a meeting that you just can't keep from enjoying or getting fascinated by.
It's kind of cool to realise that it takes exeptionally great knowledge to get the full measure out of that many strings during a recording. It's a real heavy fact that Salil Bhatts father Vishwa Mohan Bhatt (who played with Ry Cooder in the 90's) makes guest appearances on mohan veena, that they spend a year of rehersals before they recorded. I had no idea of any of this before I opened the super handsome sleeve of "Slide To Freedom". Only such things can make a record good. That's kind of enough. 'Cause the record is cool, but unfortunately, I can't say whether those different veenas justified themselves.
It sounds heavy and the meeting between the instruments makes me happy. Sometimes, that must be enough..."
- Peter Dahlgren / Dagens Skiva -
"It's not blues and it's not Indian ragas, but something blended together. Just as a slice of cheese on a roll of french bread in the oven becomes a toast. Nothing fundamentally new, but it tastes good without me wanting more.
I'm thinking about Canadian slide guitarist Doug Cox who has recorded an album with Indian Mohan Veena instrumentalist Salil Bhatt and tabla player Ramkumar Mishra earlier this year. Salil Bhatt is a tenth generation musician and his father, Vishwa Mohan Bhatt, was the inventor of the 20-string Mohan Veena Guitar which reminds you strongly of a lovechild between a Swedish nyckelharpa (key harp) and an old big band guitar.
The music on "Slide To Freedom" is dominated by this multi-stringed instrument. Cox is a little drowned out and is actually only featured on a couple of more bluesy numbers where he and his resonator guitar become the main figures. Those are the ones I like the most.
The Indian part demands a lot of relaxation and focus in order to be appreciated to the full extent and right now, this does not exist in my world of listening. But if you like Indian ragas and don't mind some long, soaring, instrumental tunes, then this record might be something. And those of you who've been listening to records by old man Bhatt while he played with Ry Cooder, Jerry Douglas, Béla Fleck or Taj Mahal, yes, to you this CD should be a must-have!"
- Peter Linde / Otakt -
week.13
Ted Russell Kamp "Divisadero" (Pomo Records)
"Kamp musters all his forces to produce a sumptuous blend of americana, country-rock and inspired song-smithery on his new album. A thoroughly consisent collection of songs that wouldn't sound out of place in the Steve Earle-songbook, Kamp has a real knack for composing believable story songs, so much so that it's difficult to choose the choice cuts.
The autobiographical 'Music Is My Mistress'. the engrossing heartbreak tale 'Gypsy's Tune', the plaintive pedal-steel colored 'Looking For Someone', the strutting funky country sass of 'Better Before You Were Big Time', and the gloriously compelling stripped-back mandolin and voice of closer 'The Road Keeps Getting Longer' are all serious contenders for contemporary classic status.
One word; Discover!"
- Sean McGhee / Rock'N'Reel Magazine -
week.12
Mason Casey "Sofa King Badass" (NorthernBlues/Rootsy)
"Here's a new blues voice to remember - Mason Casey, who, when at his best, has got that rough, primitive, effortless drive, significant for great, ruined vocal chords like those of Tom Waits, Tony Joe White and Billy Gibbons.
Casey is mostly known as a harmonica player (he played on Wilson Pickett's final recordings), but on his own debut album, 'Sofa King Badass', it's his voice that dominates. The harmonica playing is rather held-back on the 14 tracks of which all, except one, are his own originals.
The album is recorded in Nashville and additionally at Dan Penn's and producer Jon tiven's houses. Steve Cropper on guitar and organ player Felix Cavaliere (Young Rascals) are other famous names appearing on these very soulful tracks. It's competent party music with brass only when necessary. It's traditional R&B and blues with a lot of swing and pressure, produced with intimacy and a great sense of variation and attitude.
Mason Casey is definitely an artist that Jake & Elwood Blues would've enjoyed. And, hell, if not Mason Casey, as well, is sent by God?!"
- Peter Linde / Otakt -
week.11
Nathan Holscher "Even The Hills" (Nathan Holscher)
"An observer of life through the eyes of a compassionate bystander caught up in nature’s complexities, Holster certainly knows how to write a song. The likes of “Hard, High And Blue” and the opener “My Sweet” are almost Ritter-esque in design, storytelling songs that put you both in a place and time that seems somehow familiar. “Maria” is prime-time Zandt for sure – simple yet evocative reflections on the way love enraptures the heart regardless of the eventual outcome. Standout track though is the finale “Back To New Mexico” that will give all the Ryan Bingham fans something else to spend those Christmas vouchers on. A fabulous album!"
- Del Day / Americana UK -
"'Even The Hills' is the second album from Nathan Holscher. Another series of absorbing songs, Holscher fixes his thousand yard stare on the landscape whilst looking inwards, taking acoustic country-steeped folk on a painful emotional journey. His is the voice of the last man left in town. Scarred, torn and twisted lives scream an emotional fragility that's superbly at odds with the strength of the songwriting. The world-weary sense of despair is evidence of an astonishing maturity, as Holscher fashions scenes from far beyond his mere 25 years.
Straight up, this is a hands-down success, and a triumph of skill and artistry over commercial potential that carries its understated appeal far beyond the alt/country/Americana sphere!"
- Mike Roberts / Whisperin' & Hollerin' -
week.10
Jackson Browne "Solo Acoustic Vol 2" (Inside Recordings)
"Vol 2 showcases the same sense of intimacy and live energy on exhibit at Jackson's recent solo acoustic concerts. He's singing to you!
It's very rare that a live album is able to capture the true energy and vibe of a live performance the way Jackson Browne's 'Solo Acoustic' CDs have. They are both essential for any fan of Jackson Browne's music, but also indispensable to those who want to study song writing by a master craftsman. This is the way music should be done."
- Russ Paris / JRP Graphics -
week.09
Rachael Sage "The Blistering Sun" (MPress Records)
"As a woman in tutu, bangles and other fancy stuff, who sits at a piano singing high, bright and agile, Rachael Sage attracts easy Kate Bush/Tori Amos comparisions, but 'The Blistering Sun' deliver a warm intelligent voice of her own. Inspired by notably non-girlish Elvis Costello, and backed by brilliant East Village friends of Rufus, Antony and such, Sage hits somewhere between the bedsit, and the cellarful of noise and it does you really good!"
- Phil Sutcliffe / Mojo Magazine -
"The cartoon illustration on the sleeve to this CD make Sage look like Tori Amos, and any Amos fans wouldn't be dissapointed - catchy, well-crafted songs, like 'Alright OK', show that singer/pianist Sage has shifted from Lilith Fair-approved folkie to a muscular and hugely talented studio pop songwriter, one part Elton John, one part Kate Bush, two parts Fiona Apple!"
- John Lewis / Uncut Magazine -
week.08
Mitch Marcus Quintet "The Special" (jazzcubed.com)
The Albums I Couldn't Find The Time For In 2007...
"Loud and clear jazz music, with a raucious and broken-sounded guitar as an unexpected bonus. Dirty sazophones and a great, adventerous swing. This one should, quite obviously, have had a real and sincere review!"
- Patrik Hamberg / Dagens Skiva -
week.07
Walt Wilkins & The Mystiqueros "Diamonds In The Sun"
(Palo Duro Records)
"Just like Poco, only more muscles. Or why not The Eagles, only a bit more traditional. All the same - It's a gem!"
- Kalle Oldby / Country -
"The whole 'Americana' scene is so stuffed with contenders desperately trying to push the envelope these days that, just sometimes, you really do yearn for a good, old-fashioned country-rock album along the lines of The Band or The Flying Burritos.
Well, if you add in that special, indefinable Lone Star State something that the likes of Townes Van Zandt, Guy Clark and Joe Ely have all displayed during their years as dusty Texan troubadours then that's what you've got with WALT WILKINS & THE MYSTIQUEROS' 'Diamonds In The Sun': a tremendously accomplished roots-rock affair performed by a quintet of guys who've travelled the US highways and byways more than enough times to know which way is up. When they're sober anyway.
Opening tune, 'Trains I Missed' gives you some idea of what to expect, delivering passionate, guitar-drenched roots-rock with a restless Van Zandt urge, more than capable Californian-style harmonies and leader Wilkins celebrating missing the forks in life he might have traversed, all the while knowing he can't go back now. Lyrically, he's already demonstrating that he's on drinking terms with the devil in the details and the way he delivers the simple-but-great wisdom inherent in lines like "here's to the the things I believe/they're bigger than me" immediately draws you in.
Great all these tunes are, though, it's with the aching ballads that the record's heart truly lies. Arriving four songs in, the album's title track (actually written by bassist Bill Small) seduces us effortlesly with its' sad and blue tinges of full-on Gram, though it's soon run close by the unadorned, southern country-ballad designs of 'Quiet Moon' and the tangible, 'Gilded Palace'-style beauty of the deliciously stately 'All These Memories': both of which benefit no end due to the desert wind drift of guest Lloyd Maines' silvery pedal steel.
'Diamonds In The Sun', then, is every bit the bleached and scuffed gem its' title suggests and its' allure is unlikely to fade in the future. Seems like we'd better add the name of yet another band of unmissable Texan troubadours to the Lone Star state's ever-expanding roll call of honour."
- Tim Peacock / Whisperin' & Hollerin' -
week.06
Kimmie Rhodes "Walls Fall Down" (Sunbird/Border)
"As carefree as her artistic front, that's how wonderful Kimmie Rhodes is. It sounds as though it's so incredibly easy to be an artist when listening to her stories. As if the songs were born out of her exhailing, sort of, with her slightly laid-back and even more slightly raspy voice. Can you talk of soft, mild country here? If so, the new songs are representative of such a sound. And when she includes a Townes Van Zandt tune as well as one by Rodney Crowell, it's not only for the sake of variation, the unjustly unknown Kimmie Rhodes take them over too, in that same super carefree way. First and foremost, it's Texas country, sounding a lot more like here and now, than once upon a time."
- Malena Rydell / Dagens Nyheter -
"Kimmie Rhodes recorded output is uneven. Her masterpiece is still 'West Texas Heaven' from 1994, on which she, among other things, successfully brought Willie Nelson back from his desert walk. That particular album even included fine duets with Townes Van Zandt and Waylon Jennings. The collaboration with Willie Nelson continued the following year on 'Just One Love', one of Nelsons greatest records ever. Even their duo album 'Pictures In A Frame' from 2003 belongs to the ones you can't miss.
Apart from this, I think Kimmie Rhodes' records so far this millennium, have appeared quite anonymous. But her comes 'Walls Fall Down', her best album since 'West Texas Heaven'. The approach is just as gentle as on the previous albums, but the material is stronger and the contributions from the musicians more distinct.
On a song like 'Make The Morning Shine' Kimmie shows herself from her most tender side. She sings soft and yearning, with strong dedication and a totally irresistable pleading in her voice, to the sparse acompaniment of strings and Annie Kinsella's slightly old time harsh second harmony.
'There's A Storm Coming' is more dramatic, a populisticly shine-through contemplation over economical depression and the most recent times natural disasters. The nearly rolling country guitar and precisely inserted slide notes of Gabriel Rhodes underscore the fateful (both existentially and meteorologically) atmosphere.
Even the title track is a small masterpiece. Kimmie Rhodes sings, in a harshly focused tone, her lyrics, critical of the civilisation, and the harmony vocals and the lap steel guitar of Gabriel Rhodes deepens the musical expression even more.
But it's not only the self-written songs that keep the highest class. Kimmie Rhodes also does entirely convincing interpretations of Townes Van Zandt's 'If I Needed You' (oh yes indeed, you can tweak a new meaning out of it!), Lennon/McCartney's 'The Fool On The Hill' and Rodney Crowell's playfully critical song of the human culture, 'Sex and Gasoline'."
- Magnus Eriksson / Rootsy -
week.05
Allan Thomas "Making Up For Lost Time" (Black Bamboo)
"When in the late 50's Allan Thomas started singing along to Sam Cooke's 'You Send Me' on his dad's car radio, it was already too late to stop the music bug. In that moment, he began a musical journey which would have brought him from vocal groups, to folk music, to the current mix of all the influences he has been absorbing along the way. 'Making Up For Lost Time' is Allan's fourth album and a wonderful collection of songs put together with the care of the craftsman and the heart of a man who is making music because he loves it.
Kauai resident since 1983, Allan beautifully blends together his early soul influences, songwriting skills, shades of Steely Dan and the energy he gets surfing the Hawaiian waves. Featuring Jimmy Johnson on bass (James Taylor), Tris Imboden on drums (Chicago), Michael Ruff on keyboard (Bonnie Raitt) and three talented guitar players (Bryan Kessler, Ken Emerson, Kirk Smart), the music is rich and sophisticated, creating the perfect environment to Allan's poignant lyrics and poetic watercolors.
The album opens with 'Ray of Hope', an excellent blues/jazz number featuring Graham Nash on background vocals. It is Thomas' take about the troubled times we are living and about the turbulent waters we all have to get across in our own personal lives. Lyrically the song sets the tone for the entire album, an adult look at what we have done and at the road ahead: 'Remember the Best', 'How Long 'Til Light', 'The Real Thing'. It is all here: our vulnerabilities and wishes, the good days and the bad times. Allan is brave enough to reflect upon his life with depth and sincerity, and while he brings us on this ride through the ten songs of the album, it soon becomes clear we all have a chance to make up for lost time."
- Francesco Lucarelli / California Stars 'N' Bars Revue -
week.04
Peter Cooper "Cautionary Tales" (Corazong/TMC Nordic/GDC)
"Normally, he's a much recognized music journalist with a good reputation within the industry. But now, it's time for Peter Cooper's debut album, praised by people like Kris Kristofferson and Todd Snider. And the crowd of musicians joining him is quite impressive, names like legendary steel guitar player Lloyd Green, Bill Lloyd, Nanci Griffith, Jason Ringenberg, Jen Gunderman and the above mentioned Todd Snider all participate. But it's Peter Cooper who shall be noticed in the first place and this because of a collection of self-penned, very strong songs that really crawls under your skin. Add to this a couple of well-chosen covers and you have an incredibly strong album.
The soundscape is dominated by a steel guitar, hammering out sweet notes at the centre, notes that sweap you away. It sounds a great deal like country, but influences from folk and rock are baked into this beautiful musical mix. All this makes it sound varied, making the listening experience more interesting. Ballads get mixed with more country-rockish sounds.
Everything sounds very well-worked out and every musician involved leaves a magnificent little contribution, causing the music to lift even a higher dimension. Most of all, Lloyd Green takes the front position with his steel guitar. The small details are really it. Sometimes, it's the harmonica player from the higher schools that captures me , like on 'Take Care' or a painful accordian on 'Mission Door' and a pounding piano on 'They Hate Me' , giving it all some extra spice. Every song arrangement is perform with great precision.
Peter Cooper has a lot on his mind, lyrically. You can tell that he's used to writing, a painter with words. The words just flow out of his mouth with a poetic edge that's very sympathetic. He turns out to be a big-hearted man who can express himself with a lot of warmth or when he wants to, with irony or sometimes with a small dose of humour. And as allways, the voice is important, the voice that captures the listener, and Peter Cooper surely has it! He is very skillful when it comes to carrying out the various moods.
The expansion of new good singer-songwriters in America doesn't seem problematic at all and Peter Cooper belongs undeniably to the foremost. He's a talent out of the ordinary and it will be very interesting to follow him in the future. 'Cautionary Tales' is, into the smallest detail, a comprehensive album, warmly recommended. The year of 2008 couldn't have started in a better way!"
- Johan Annetorp / Rootsy -
week.03
Dave Gleason's Wasted Days "Just Fall To Pieces"
(Well Worn Records)
"This is Dave Gleason's 3rd album and like the previous two, it's packed full of honky-tonk weepers and country-rock swingers that'll have you crying in your beer, and bouncing round the dance floor. In a milieu that's damned by some pretty dismal pretenders, these guys are the real deal."
- Nick West / Rock'N'Reel -
"From the album cover, singer Dave Gleason glances back at me, dressed in a clear red tuxedo with silver broderies, his cheeks covered with black sideburns á la 'Ronny And Ragge' (popular TV personalities in Sweden in the early 90's). Here, I already start feeling dubious, but to my great joy, Dave seems to have clearly a better sense of music than clothes.
'Just Fall To Pieces' is the band's third studio album since the start in 2000 and this time, they're helped by legendary guitar heroes Albert Lee and Jim Campilongo. It's all about rather classical country with touches of rhythm & blues and good old rock'n'roll. Sometimes, it feels
as if one should have turned the storyline of an old Western movie into music.
Dave has a comfortable voice and the band consists of utterly competent musicians. Petty-flavoured 'Right Back To Her' along with the powerful 'Rusty Ol' Halo' are the most out-standing tracks. Attitude, catchy melodies and, quite simply, a real heavy groove."
- Thomas Rödin / Groove Magazine -
week.02
Eugene Ruffolo "In A Different Light" (Stockfisch/Creative Audio)
"He's got such a nice voice. And his melodies are so sweet. A classic singer-songwriter that reminds you of James Taylor, or why not, nowadays Michael Fracasso. His music could be categorized as the perfect background-sound for Sunday dinner with your loved ones. But this New York-singer should not be seen as something tedious or toothless - His voice and songs are all too good for that.
'In A Different Light' grabs ahold of you with it's soft-spoken melancholy. A bunch of older Ruffolo-songs, recorded once again, in a German recording-studio, with a stunning sound you simply could kill for!"
- Dag Ståhl / Otakt (04.01.08) -
week.01
Jude Johnstone "Blue Light" (BoJak Records)
"This an album of classic jazz and soul, beautifully and carefully presented. It’s not often that music can engender such a sense of well-being, so enjoy it when it does!"
- Michael Mee / Americana UK -
"Jude Johnstone has written songs for Bonnie Raitt, Johnny Cash, Trisha Yearwood, Jennifer Warnes and Bette Midler. But she has also made two fine records of country-tinged singer-songwriter music where she, with small gestures and her slightly raspy voice, has created a low-key and naked expression. On her new album, Jude Johnstone her songs gets a jazzier framework. She takes another step down the vocal register, slows the tempo down even more and lets a an abandoned saxophone or a sordinated trumpet underscore the held-back intensity, or paint soulful figures in the discrete soundscape. In this way, Jude Johnstone creates ideosyncratic and very beautiful music. She soars high above her colleagues in singer-songwriter land, nowardays utterly crowded, but besides, she creates jazz-impregnated pop atmospheres of a totally different tightness than fix stars like Katie Melua and Madeleine Peyroux."
For "Album Of the Week " 2007 go to.....
For "Album Of the Week " 2006 go to.....
