|
Last Train Home - Album -
“Travelogue”
(Laughing Outlaw Records, 2002) 
 The new album (or rather compilation of tracks from their
first two records) by Washington based outfit Last Train Home kicks
off with a track called “Louisiana,” a song which if you didn’t know
any better you’d be forgiven for thinkig was an out-take from Elton
John’s “Madman Across the Water” album, complete with the almost
identical voice and trademark piano. And then it changes into
something entirely different with “All Eyes Do,” a piece of
country-tinged almost college rock. And then it changes again
into something more different still with “Tonight,” a hillbilly
number sounding like it came straight out of a Johnny Cash
songbook. You get the picture then - this isn’t a
straightforward album, meandering its way through everything from
pop to country to folk. And yet it kind of works when it
comes down to it - there’s a consistency to the whole thing through
the strong songwriting and obvious interactivity of all the band
members, lead vocalist Eric Brace perhaps having the lion’s share of
tracks but without a monopoly on the talent. Songs like “Long
Time Gone” and “Angelina” gently pull all the right strings without
any hint of overproduction. Despite the variety, the album
does occasionally become over-familiar too quickly towards the end
of proceedings - it’d be nice for them to break out a little more -
but then maybe it’s not that sort of record, and it ends with a
cover of the Blasters’ “So Long Baby Goodbye” which really is about
as good as it gets. More please. MW
Len’s Lounge - Album -
“Road Dog and More Train Songs” (Northern
Aggression Records, 2001) 
 It’s quite telling looking at press releases when you look
down the list of who a band have opened for in the all important
support slot - and Cincinnati outfit Len’s Lounge have more than
their fair share of eclecticism when it comes down to support -
they’ve played with everyone from David Gray and Clem Snide to Peter
Case and Will Oldham. It’s safe to say that the music’s not
comparable to any of the aforementioned artists, but has more than a
hint of each - David Gray’s ear for a tune, Will Oldham’s darkness,
Peter Case’s lingering depictions of landscapes, and Clem Snide’s
hybrid of indie and country. That said, “Road Dog...” actually kicks
off things in a fairly subdued fashion with “I Guess You Lay” and
well into proceedings, you’d be forgiven for thinking the band are
competent if not inspiring - but that’s on first listen.
Things do get better once you spend time with the record - the
unexpected strings of “Illinois Central,” the wonderful Johnny
Cash-esque vocals of “This Train” and the sublime chord changes of
“USS Wichita.” Jeff Roberson’s lyrics are vivid and
descriptive too, conjouring up atmosphere even when accompanied by
the sparsest of arrangements, and very much akin to the Handsome
Family on more than one occasion. Not every track hits the mark
every time, but safe to say that it’s a well produced thoughtful
record that deserves a place in every thinking person’s americana
collection. MW
Gingersol - Album - “The
Train Wreck is Behind You” (Idea
Prone Recordings, 2002) - Review by Niek De Boer 
 “Nothing
Stops Moving,” the first CD from Gingersol which was introduced in
2000 was a great debut from Steve Tagliere and his band. Recently
they [have returned] with "The Train Wreck is Behind You,” a record
with influences of the Beach Boys and bands like the Pernice
Brothers and Bellweather - Small songs with perfect melodies from
Tagliere's and Seth Rothschild's voices. Here and there Rotschild's
piano and synthesizer fillings are beautiful and in harmony with
their voices. Sometimes the songs go into one another and it
looks like Gingersol make a complete landscape of thoughts and
melodies which belong to each other. As Neil Young said: "It's all
one song". You hear catchy drums and desolate piano tunes changed
with nice guitar twang. Steve Tagliere is already busy making his
own solo album. His brother Phil made a record allready last year
(he is not playing in Gingersol) This is a band who is independent
and has no record company (yet!!) I know there are a couple of bands
at this moment who are in the line of Gingersol. However, these guys
do really have a sound which is quite different from others. All you
Americana/Alt.Country fans (or whatever) buy this record. You won't
be disappointed. Gingersol won't stop moving!
Fortress Madonna - Album - "One
Hundred Beacons" (Laughing
Outlaw Records, 2002) 
 Alex Serikov. Born 1972. Gymnast.
Represents Russia in the 1988 Olympics. Studies English at
University and is then recruited by the KGB. No, this isn't
the plot for the new Bond film but it certainly isn't your average
band bio either. It's an incredible story but why is he only
credited with the cello on the sleeve? Irrespective of this,
Serikov, along with a cast of 15 other musicians has created a
psychedelic power pop collection to treasure. The guitars and
harmonies of "Serikov" shimmer and soar in all the right places and
"Fastest Loser" hurtles along, the guitars frantically trying to
keep up with the vocals and only just managing it. The perfect
pop of the all too short "Diminish" and "Volga" slow the pace down a
little but it's only a brief respite with the punk-pop rush of "Hit
the Ground" upping the volume again. It's not clear who plays
or sings what on what from the album's credits but when it's this
good, who cares? Alex Serikov is now apparently missing in
Russia, on account of money owed to some scary gentlemen. If
this is a wind-up then fair enough, they got me. But if it's not and
he had to go through all that to write stuff like this, then this is
where Noel Gallagher went wrong. Which is, incidentally, what
prevented this from being a five-star album. It veers a little
too close to Oasis territory at times for my liking. Only once
or twice though, nowhere near enough to spoil a wonderful CD.
You might wonder if such a British sounding record with no
discernible Americana influences has a place on this site but I'm
certainly willing to bend the rules a little for Fortress
Madonna. Oh, and it's on Laughing Outlaw too, which is fast
becoming a guarantee of quality. So what are you waiting for?
PB
Bumpercrop - Album - “Last Man Standing”
(Bumpercrop Records, 2001)
 Bumpercrop hail from Memphis and define their music as
lieing “somewhere in between smart pop and alternative country,”
which is probably as good a description as any. They also
mention that they’ve managed to avoid being compared to other
artists, which is a little odd as from the very first notes of their
new album “Last Man Standing” they sound almost note for note
identical to the wonderful Sister Hazel - and that’s a compliment,
not a criticism. Never particularly understated, the lead guitar
takes a central role in the majority of the songs herein, from the
opening of “Like a Villian” to the slightly clichˇd but still
enjoyable “Straight as an Arrow,” (incidentally with some great
harmony vocals). They’ve also got a Sister Hazel-esque knack for
catchy riffs and rootsy vibes - “Burn Everything” is full of hooks,
and “Henry Blythe” is an accomplished piece of fast-tempo murder
bluegrass/country. Occasionally, despite the professionalism
at work throughout, Bumpercrop’s songs feel a bit forced and songs
like “Please Let Me Run” are let down by the feeling that they tried
just a little too hard. That said, it’s a good album overall,
which sparkles more than it falters, and occasionally signals some
exceptional material we might be able to expect as par for the
course from the band in the future. MW
Orange Humble Band - Album -
“Humblin’ (Across America)” (Laughing
Outlaw, 2002) 
 OK, stop it, now - giving every single release by a label
either four or five stars is generally a sign that they’ve paid you
a lot of money, or alternatively but much more rarely, that they’re
just a damn fine label. In this case, it’s the former and their
records are actually shit. Nah, but seriously, we are still awaiting
that elusive rubbish album and the Orange Humble Band have ruined
that for this week. As Captain America pointed out, they’re actually
a bit like another version of alt-country supergroup Golden Smog,
featuring people who’ve worked with and played for everyone from REM
to Neil Young to Pavement to Golden Smog themselves, and all pulled
together by the not unconsiderable talents of lead vocalist Ken
Stringfellow (whose most recent album “Touched” was released on
Poptones in 2000) and moreover Darryl Mather. So the big
question is whether it actually works or not, and the answer has to
be a near-resounding “yes.” Near, because there are moments where
the disparate collection of influences don’t hang together totally
cohesively (“One Hour’s Lonely Play”) but in the main, the songs are
as strong as the musicians who play them. The opening
“Vineyard Blues” softly sets the scene with nicely picked guitar and
feedback, “What’s Your Crime?” is the perfect feelgood song for the
first day of spring (today as I review this...) and “Annie Run Run
Run” is gloriously infectious with its jangle guitar and Byrds
infused vocals. If you’re missing Golden Smog (and who
wouldn’t?) and can’t face returning to the Wilburys again, this is
chapter three - and perhaps the best one yet. MW
Big Bad Love - Album -
"Music From The Motion Picture
Soundtrack" (Nonesuch
Records 2002)
 Like most
things in life, soundtracks used to be so simple; it was just a
record of the music from the film and, more often than not, it
didn't have quite the same thrill without the visuals. Now, to
extract even more money from the hapless punter, we have the
soundtracks which don't actually feature music from the film in
question at all, they just happened to be 'inspired' by it.
Thankfully this album avoids that and is a pure labour of love by
compiler and film director Arliss Howard, who was inspired by the
blues he heard on his car radio whilst driving through the deep
South. This is hard blues from Mississippi hill country, mostly
drawn from the Fat Possum label and featuring R L Burnside, Robert
Belfour, Kenny Brown, T-Model Ford plus two new songs from Tom
Waits, two from Tom Verlaine and (grasping at an Americana link
here) Steve Earle's "Goodbye" from Train A Comin'. I've not seen the
film but, to its credit, this particular soundtrack stands alone as
a mostly fine collection of music. The music ranges from the solo
slide guitar of Kenny Brown on the opener "Boxcar Blues" through to
a storming full band version of Dylan's "Everything Is Broken"
featuring R L Burnside and Buddy Guy and on to "She Asked Me So I
Told Her" a wonderful racket by T-Model Ford, sounding like he's
standing in a hot bath banging the bottom with a cattle prod. The
Tom Waits numbers feature the usual weary vocals with oddball
accompaniment and are none the worse for it. Both Verlaine's
instrumental tracks are a disappointment, falling far short of
anything else here; when will rock musicians learn that guitars and
string quartets (in this case the Kronos Quartet) do not mix.
"Spiritual" is over 5 minutes of formless indulgent noodling which
perhaps does serve a purpose in the film (ideally behind the
credits, as everyone is leaving), but really it could have been
edited down. That aside, this album is worthy of anyones dollar.
TJF
Various Artists - Album - “The
Great Liverpool Acoustic Experience” (Viper,
2002)
 Like buses, Liverpool never gets mentioned once in the
reviews section and then suddenly two albums come along at
once... And while the city is hardly renowned for its seminal
contribution to americana, this album of acoustic material by
established and new Liverpool singer songwriters/bands should prove
that there is a connection there somewhere. Perhaps a good place to
start is the Hokum Clones, covering “If I Had Possession Over
Judgement Day” sounding like a long lost recording from some
derelict vault, the Clones switch between the country of Hank
Williams and the blues of, well, any US blues artist you can think
of from the first half of the 20th century with rough and thoughtful
ease. Steve Roberts who we’ve reviewed here before proves that the
simplest chords can carry a whole song if it’s done right, and “Holy
Moses” with its angelic chorus is full of atmosphere. Other
tracks from better known names such as Space and the Christians add
some weight to proceedings but being honest, don’t quite match up to
the standards of their newer counterparts - whether that’s Mike
Badger’s biting “Memphis Egypt” or the catchy as hell “Down” from
Junebug (presumably what merits the mention of “sun soaked pop from
California.”) It has to be said though, the whole thing’s
worth getting on the strength of one track alone - Nick Saunders’
“Resonance” is better than anything James Taylor’s done for years
but has all the substance and style of Taylor’s best work without
any of the over-sentimentality. Beautifully played, softly sung,
it’s the best example of, as Bernie Conner says in the inlay, “quiet
music making some very big noises.” Available now from Amazon for
£7.99 MW
Jason Walker - Album - “Stranger to Someone”
(Laughing
Outlaw, 2002)
 We’re still waiting for our first crap record from the newly
established (in the UK at least) Laughing Outlaw label, but one
title more and there’s no sign yet in a let down of the quality -
quite the opposite in fact. Jason Walker used to be a
guitarist with Sydney band Golden Rough before in his own words, he
“had a yen to pursue a more country orientated sound,” the result of
his aspirations manifesting themselves in this his debut
record. Produced by the really rather wonderful Michael
Carpenter (who’s had more than a bit of airplay courtesy of both Bob
Harris and Captain America lately), Walker’s songs retain
Carpenter’s sophisticated production values but err, as you might
expect, in a far more rootsy direction to Carpenter’s powerpop.
While the majority of the record involves cover versions from
artists as diverse as Freedy Johnston and Tom Waits (plus the
customary Gram cover - cue “How Much I’ve Lied”), there’s four
original songs here too witb perhaps the finest example of his own
songwriting skills being the newest track on the record,
“Tears.” Accompanied by the superb Audrey Auld you’d be
forgiven for thinking an original right next to a Parsons classic is
more than a bit incongruous, but it ends up sounding every bit as
accomplished as his obviously influential predeccesor’s
material. Special mention too for obviously having a perfect
music taste in choosing to cover a Mark Olson song (“I’m Still
Dreaming (Now I’m Yours)” and pulling the feat off
magnificently. Really great. MW
Scott 4 & Magic Car - Album -
"European Punks" (Tiny
Dog, 2002)
 Not being
that familiar with the work of Scott 4 and learning that this was
supposedly a concept album, I approached it with some trepidation.
Of much more interest to me was the guest appearance of Nottingham’s
Magic Car, their wonderful "Yellow Main Sequence" being one of my
favourite albums of last year. This collaboration has produced a CD
that doesn’t fit into any one genre. Is this then the first Electro
Country album? Split straight down the middle, each band gets three
tracks each and there are three joint efforts. The title track kicks
things off, a nine and a half-minute string-laden gospel tinged epic
that begins "I’m a Lego man in a yellow Viking jumpsuit". From this
moment on, I knew I was listening to something pretty special. Just
when you think it can’t get any better, it does. Scott 4’s "For
Teens in the Meantime" and "For Teens in the Springtime" is
basically one song split into two. It is, as has already been
noted, fairly reminiscent of "Back For Good" by T**e T**t of all
things but despite this, it’s a jaw-droppingly great pop song, and
the instrumental "Springtime" section, is so beautiful I can’t begin
to tell you. Two of the Magic Car tracks, "Shiny Cattle" and "Yellow
Main Sequence" are from their own album. Unaltered, yet they fit
just as snugly here. "Stillness" is their acoustic reading of the
title track with Hazel Atkinson and Phil Smeeton duetting. A weird
and wonderful mix with pedal steel and electro beats side by side as
if they were always meant to be. In short, a staggeringly awesome
album. You won’t hear anything quite like it this year. I guarantee
you that. PB
Radiogram - Album -
“Unbetween” (Transiberian, 2000)
 We’re seriously late with this review- “Unbetween”
originally saw a Canadian release in 2000, and we are only a month
or so away from Radiogram’s next record, “All The Way Home”, which
will see them in the UK for a supporting tour in May if all goes
according to plan. It’s worth mentioning now, though, to make sure
as many of you as possible get to see these impressive
Vancouver-dwelling folk, who have a line in gentle waltzes, ballads
and laments. If the alt country world was a small sweaty club in
Brighton, then it would already be rammed with luminously gifted
Canadians, and most of them would be from the same few streets in
Vancouver. Vancouver, it would appear, is the new Chicago.
“Unbetween” starts with a mournful violin which will instantly
remind you of the main figure in the “Fargo” score, but as the soft
bass and percussion, allied to Ken Beattie’s expressive but
understated voice, introduce themselves, you’ll find yourself on an
isolated BC mountainside or in a lowlife East Van bar. Shelley
Campbell’s backing vocal acts as an excellent higher-pitch foil, the
instrumentation traditional but upbeat, and the production strikes a
modernist pop feel which brings out the natural warmth of the songs.
Ida Nilsen’s trumpet and accordion add atmosphere, and are in good
company with intelligent contributions from the lap steel, piano,
fiddle and baritone guitar. “Blues for Vancouver” is the first ever
slacker-alt-country anthem, is troubled and introspective, and never
loses it’s assertive sense of identity and melody; it’s a kid cousin
to “heroin” by the Velvet Underground. “Ballad of Sadie Henry” is an
Oh Susannah / Neko Case style country ballad lead by Shelley, but in
true pop / hardcore tradition, is reduced to a mere 61 seconds, and
is greatly pleasing. Lastly, “Bad Side” is where the feedback really
kicks in, and confirms the true width of their frame of reference. A
quiet classic, then, quietly revolutionary in it’s own way.
MP
Siobhan Maher Kennedy - Album -
“Immigrant Flower” (Gravity,
2002)
Liverpool isn’t exactly famous for its output of americana
artists - in fact this site being run from Liverpool, it’s a bit of
a seminal event to receive the new album from Liverpool born Siobhan
Maher Kennedy. Now based in Nashville in the US and friends with
bigname producers and the likes of Steve Earle, Maher Kennedy’s
transformation from lead vocalist with River City People to
americana singer-songwriter is pretty seemless. Covering
tracks from names with the credence of everyone from Julie Miller
(“Kiss on the Lips”) to Richard Thompson (“I Want to See the Bright
Lights Tonight”) to Steve Earle himself (“Promise You Anything”),
there’s little to dislike here musically. Even the original
tracks by husband and producer Ray Kennedy sit strongly beside their
more established counterparts - “Why’d You Have to Be So Good to Me”
is particularly fine. Still, you are left with the feeling after
forty minutes that a little less polish and a little more
authenticity wouldn’t go amiss, and while some of the album sounds
real enough, too much of it veers over into mainstream Nashville
muisc-by-numbers that wouldn’t exactly sound out of place on a new
Trisha Yearwood record. Being fair, “too much” is not all and
it’s to Kennedy’s credit that she does shine when she has the right
song, and even when she doesn’t, who’s going to object to the
choices? MW
Woven Hand – Album –
“Woven Hand” (Glitterhouse 2002)
 News of the
possible demise of Denver goth-folk pioneers 16 Horsepower last year
caused ripples of panic among their loyal fanbase. Heavy with a sack
of songs ready for the next 16HP album, leader David Eugene Edwards
instead buried himself in the studio and used them on this solo
scheme, Woven Hand. Now it seems the foursome are not splitting
after all and a new LP is due later this year. All the better for us
then, ‘cos “Woven Hand” is no second-rate side project. Sure, it
doesn’t rock with the same intensity of 2000’s “Secret South”, but
its sparseness simply magnifies Edwards’ unsettling
up-close-and-personal approach. His intense Christian vision (a
possible reason for unease among the 16HP camp) is ingrained, the
record’s first couplet reading: “I am nothing without his ghost
within”. Yet, the preacher’s grandson doesn’t let the message get in
the way of a good, spirit-wrenching tune. Layers of guitar, banjo,
mandolin and centuries-old droning instruments weave a rich musical
cloth that flaps jauntily on the Petty-influenced “Glass Eye” while,
a few minutes later, drags in the bloodstained dirt for a
near-suicidal version of Bill Withers’ “Ain’t No Sunshine”. “Woven
Hand” does little to entice the non-convert, but for those attracted
to the dark, Edwards offers a speck of light well worth clutching
at. PDB
Guy Tortora - Album -
"Footnote To The Blues" (2002)
Debut album from Pasadena bluesman Guy Tortora, now residing
in England. During his time over here, he has assembled a band of
English musicians who provide excellent backing for Guy’s formidable
guitar work. He has been compared to Albert Collins and Ry Cooder
and that doesn’t flatter him at all. Check out "Hallowed Ground"
(probably the best track here) and the closing "Going Down Slow" for
proof. The latter incidentally features some great keyboards
courtesy of the wonderfully named Mark "Too Tall" Breen. Amongst his
original songs there are a few covers, namely Robert Johnson’s
"Crossroads Blues" and Tony Joe White’s "Did Somebody Make A Fool Of
You". However, I believe that there are certain songs that should be
left well alone and I believe that "I Heard It Through The
Grapevine" is one of those songs. While you could never fault his
guitar playing, vocally he sounds almost chirpy on occasions. Now
I’m not suggesting for a minute that a man has to lose his job, wife
and kids before he can sing the blues with authenticity but
personally, I would have preferred to hear a little more torture and
despair in the vocals. For those who revel in a masterful blues
guitar though, and it is certainly that, this is well worth
investigating. If you’re interested, Guy and his band will be
playing a few gigs to promote this album soon. See
www.guytortora.com for details. PB
Jason and The Scorchers - Album -
"Wildfires and Misfires" (Yep Roc
2002)
 Country-rock's legendary Jason and the Scorchers celebrate
their 20 year career with this 19 track collection of unreleased
demos, out takes and live tracks. Always better known for their live
shows rather than their record sales (partly because radio stations
thought they were too country for rock and too rock for country)
this album chronologically tells the story of the band, with no
better place to start than the opening track, the demo that landed
them their first record deal, an ass-kickin' version of Bob Dylan's
"Absolutely Sweet Marie". Most of the live tracks don't stand up
well to repeated listening (with distinctly poor sound in places),
but the nuggets are pure gold; "If Money Talks" with vocals by
drummer Perry Baggs is classic cryin' in your beer time. "Fallen
Angel", country rock from 1988, has some lovely harmony vocals, as
does "The Slow Train That Never Ends" featuring Blanche Hodges, the
mother of the Scorchers guitarist Warner E Hodges. Mel Tillis' "Ruby
Don't Take Your Love To Town" is bolstered with fierce slide guitar
work by guest Rick Richards (Georgia Satellites), all for the price
of a 6 pack of beer. The late 80's saw a move into the rock
powerhouse arena, with hair to match and with the band falling
victim to the usual rock 'n roll ailments, culminating in a split in
1989. Happily thats all behind them and the're playing together
again. Probably not the best place for the uninitiated to start but
nonetheless an enjoyable, if not essential, jaunt down the Lost
Highway. TJF
Departure Lounge - Album - “Too
Late to Die Young” (Bella
Union, 2002)
 At the time of writing, Departure Lounge may not be a
household name, but having said that, they are currently sitting
comfortably in Amazon UK’s top forty, even if a glance at the
customary “Customers who bought this also enjoyed...” bit gives
little indication of the style of the band. The one word you can
readily use for the new album “Too Late to Die Young” is scope.
Indeed anyone buying the CD on the basis of “What You Have is Good”
and hoping for more of the same will be sorely dissapointed. That’s
not to say the rest of the album is dissapointing, just very
different - think Flaming Lips or Mercury Rev - the way both bands
manage to create albums that swirl around through differing paces,
sometimes sounding ambient, sometimes retro, sometimes kind of
funky. But it’s a mix that works, particularly after multiple
listens. Both the thumping chant of “Be Good To Yourself”
(which could well end up being a trendy Supermarket’s signature
tune...) and the soft lilt of the guitars in “Alone again,
and...” feel equally at home in proceedings as one other.
Still, other than the wonderful country riffs of “What You Have is
Good,” two tracks in particular stand out - the closing “Animals on
My Mind” with its wonderful retro chord changes and harmonies - and
the opening “Straight Line to the Kerb” which is every bit as
majestic as Mecury Rev’s “Holes” - and what better credit can you
give to a track? MW
David Wolfenberger - Album -
“World of the Satisfy’n Place” (Blue
Jordan Records 2001)
) I have to say
that it irks me giving good reviews unless a record is really
good, so it’s been an irksome few weeks, as all I seem to have
heard is great new records. This one is a 100% solid gold classic,
and it’s only not getting 5 stars as there are some imperfections,
and it may not be everyone’s cup of tea. David Wolfenberger is
clearly a very talented man; he’s a member of the Original Harmony
Ridge Creekdippers, and it’s probably fair enough to say that if you
like them or any of Victoria Williams’ solo records, you’ll get on
very well with this indeed. From Ivesdale, Illinois (the Mid West
does seem to be supplying a lot of those great records I was talking
about), but living in Cincinnati, David plays here with musicians he
has clearly known for a big chunk of his life, and the sheer joy and
charm of this record is the comfortable, very appropriate diversity-
in subjects and in musicals styles. Take “Paul”- a gentle, mid tempo
mainstream country rock outing about St Paul’s wanderings, or “From
a Field, July 1975”- just David and his piano, a resplendent and
focused song of lonesomeness and the comfort of childhood
recollections, which would put either Liam Hayes (Will Oldham’s
pianist) or Elton John (sorry, got to give the man credit) firmly in
the shade. As for “Fairfax Girl (Price of Life)”- about a child born
small and fragile, and her parent’s faith that she would live (she
doesn’t)- this will either make you cry because of the acuteness of
the storytelling, or make you swoon from Margie Landgrave’s
indescribably touching and soothing oboe backing, which is a
determined counter-point throughout, speaking for hope and love.
Well, If you’ve got this far and you’re feeling queasy, I don’t need
to point out the drawbacks here! If you like the sound of it,
or think that you can suspend your natural British reaction to
complex, well written, sincere music, then please go and buy this
record now. It won’t change your life forever, but it will
surely touch your life for some time to come. MP
The Beauty Shop - Album - “Yr
Money or Yr Life” (Shoeshine
Records, 2002)
 Well, I’m blessed with an excellent editor, who appreciates
that I like the darker side of this whole alt country business, and
thankfully, there’s a lot of good folk out there intent of producing
enough interesting and off-kilter acoustic music to keep this writer
happily depressed for as long as I care to be. When this particular
CD landed on my desk, the first thing that stood out was the
Shoeshine connection- UK home to Paul Burch, Tim Carroll and Laura
Cantrell, but whilst this is a stamp of quality, it doesn’t give you
a guide to the music that this threesome from Urbana, Illinois are
making. They sound rather like Nick Cave on a night out with Tom
Waits and the Violent Femmes, but someone forgot to bring the
serotonin enhancers, and it’s gone a bit pear-shaped in a worryingly
psychotic way. All of which is fortunate for us, as they seemed to
have penned some cracking songs in the process, although I wouldn’t
want to be around for the comedown. The best tunes- the opener
“Death March”, “I Got Issues” and “Science Lights”- are acoustically
dynamic with electric picking over the top, sometimes the voice
leading, sometimes the guitar. They are blessed with a natural sense
of timing and harmony which suggests either years of playing
together or just that plain good luck that musicians sometimes get
when they sit in a room together and something special happens.
Personnel wise, we have John Hoffleur- singer / songwriter, Casey
Smith on Drums and Ariane Peralta on bass, a complex mix of
Illinoisan meat eaters, vegans and Ohio born American-Filipinos. The
defining sound ultimately is John Hoffleur’s voice- inflections and
subtle variations suggesting meanness, violence, hope, warmth, love
and a wish for peace. All in all, if you’re after something
satisfyingly downbeat but melodic, with great tunes and a
Cohen-esque shuffle, this well crafted album will keep you going for
months to come. Let’s just remember the Prozac and the Paxil when we
prepare for the gigs. MP
Minibar - Album -
“Road Movies”
(Universal Records USA, 2001)
 There’s a no-doubt apocryphal story about how Minibar
managed to get Ryan Adams to part with the Whiskeytown song “Choked
Up” as a result of getting him back to his Hollywood hotel on a
beer-finding expedition. What is true, at least, is that “Pneumonia”
and “Road Movies” have the same engineer, Rick Will, and that
“Choked Up” never made as far as Whiskeytown’s posthumous release.
Adams songs or not, London boys Minibar shipped over to LA lock
stock 3 years ago, and managed to get a US record deal on the back
of their first two LA gigs. Ironic, really, as most UK majors would
now do just about anything to get a roots-pop-rock band of this
quality on their roster. None of which tells you much about the
music, so let’s start by saying that this USA-only release should
put the Cosmic’s saddened fans out of their misery, as this is an
even better (if slightly more mainstream) record than “Melodic
Sunshine”. Honeyed mellowness drips out of almost every groove, a
visceral down to earth blues quality the counterpoint, and blinding
pop songs fly at you in packs. Producer T Bone Burnett fleshes out
the LA / Nashville connection, adding a sonic integrity so often
found in his work with Gillian Welch. The best tunes are “Holiday
from Myself” an epic slice of Californian pop, “Choked Up” with it’s
neat piano riff and great harmony vocal, and “So Long Soho”, a
touching, dark, farewell ballad to that closest of London
companions, the claustrophobic hedonist streets off Shaftesbury and
Oxford. All in all a stormer- and available at nearly UK prices from
Amazon, as long as you don’t mind waiting a little while. Go
buy. MP
Claire Holley - Album - “Claire Holley”
(Yep Roc,
2001)
 Mississipi born singer-songwriter Claire Holley may look
like one of the excellent Yep Roc label’s freshest new faces but
she’s actually already got two albums under her belt. This, her
third, is to all accounts her best yet - self-titled, prematurely
seminal and different enough to her previous outings to warrant
investigation from both old fans and new interested listeners.
Essentially it’s an album of often but not exclusively acoustic
country/folk full of stories which achieve the rare feat of reading
as well as they sound as lyrics. Think of Jewel or Dar
Williams, but with a penchant for long tales of shotgun marriages
(“Billy and Me”), hanging out by churchyards (“The Lampost”) or
Sunday mornings (“Heyward Avenue”) Holley has a real talent for
evocatively bringing locations in rural America or faceless towns to
life, that kind of make you feel like you’ve been there without ever
having stepped foot in the country. And if that sounds
clichˇd, its implimentation is perfect - musically too, the songs
are beautifully produced without ever sounding over-produced, and
always giving enough deserved attention to Holley’s masterful guitar
playing. If some of the album is indistinctive at first, they
soon grow into their own, leaving you feeling at the least satisfied
but often enough wanting more. MW
Pat Haney - Album -
"Ghost Of Things To Come" (Miles of
Music, 2002)
 Born in
Edmondson, Kentucky but raised in nearby Bowling Green, "Ghost of
Things To Come" is Pat Haney's second album and one listen tells me
I should make every effort to track down the first, 2000's
"Wrong Rite of Passage". Neither folk nor country and yet obviously
influenced by both, Haney and his excellent band the Well Readnecks,
plus the brilliant guitar work of Tim Krekel, have delivered an
extremely accomplished album of Americana. A new voice to most, but
one you'll hopefully hear more of. A graduate of Western
Kentucky University, it was the various jobs he took whilst growing
up in the South -working at a gas station, on towboats and laying
carpets that provided him with the characters and their stories that
make up much of this record. Lyrically, these songs deal with
the well-worn topics of bad luck, the crappy job in a small town and
the guy losing his girl to a big city but are told with a depth,
maturity and sensitivity that belies his status as a relative
newcomer. "Nursing Home" and "Like My Daddy Did" are two standout
tracks that have invited comparisons with Steve Earle and early
Springsteen. Pretty good company to be in after just two albums.
Slight relief comes in the shape of Tommy Womack's "Come On Back To
Bowling Green", which after reading his bio, tells his life story to
such an extent that it could have been written for him. Not wishing
to end on a nearly happy note however, the haunting, acoustic
"Southern Witch" closes an album full of songs with an instant
familiarity that makes it very easy to like, despite its' dark,
often desperate subject matter. PB
Tom Clelland - Album -
“Little Stories”
(Shoeshine Records, 2002)
 Tom Clelland’s not your typical singer-songwriter, having
only decided to embark on a music career at the age of 50 - Playing
local folk and Gram Parsons tribute evenings in Scotland, he soon
discovered that he not only had a voice but a gift for songwriting,
and what he lacked in experience then he more than makes up for now
with a wonderfully warm debut album of acoustic-led songs. It
has to be said straight off mind you that if you’re not in the right
mood, a whole album of softly sung acousticville can be a bit much,
and there’s a feeling without ever having seen him that the songs
are more suited to a live environment than the studio, but then
particularly as the album goes on, it’s still hard to fault Clelland
such is his knack for a good song. Much of it is split
between tales of his own country, with stories of East Lothian
ghosts (“The Devil and the Hangman”) and wanting to be somewhere
else in February (“Getaway”), and tales of further afield - Northern
California, Denver, San Francisco - anywhere that allows Clelland to
tell one more involving story. And while the sentiments can
sometimes seem to err slightly on the saccharin side (“Old Cars”),
more often than not he hits the spot - never more so on the closing
track “Let it Snow,” which quickly catapults him into that rare
class of performer who can bring a lump to the throat on first
listen. Repeated listens of the track, and indeed the whole
album, bring further rewards still. Perfect for the time of
year. MW
February
Reviews
Jeff Williams and the Clear Spacemen –
Album –
“White Under Green” (Laughing
Outlaw Records, 2002)
 One of the more unique albums we’ve received over the last
few months, Jeff Williams is described as an Australian alt-country
artist but more immediately evokes a kind of hybrid between Nick
Cave and the Doors – that’s not to say the description’s totally
without merit mind you, but it’s more because of the instrumentation
than the songs themselves. That’s not a criticism, and indeed
it’s the novelty of hearing such a distinctive album that makes
Williams’ new CD so appealing, perhaps what ensured it the
accolade of Australian album of 2001 from the Age. Produced by
Julian Wu who has also worked with the Go-Betweens in the past
amongst others, the clarity of McLennan and Forster’s recordings
right through the nineties is here in abundance too. Everything is
supremely crisp without ever sounding too polished. Songs like “All
Around You” have a gentle country lilt with well played but subtle
slide guitar and lyrics to make grown men weep with their evocative
simplicity. Take “Broken into One” with its beautiful verse – “Was
it Something that I Said / On the Day You Went Wrong / Like
Something Inside Your Head / Was Broken into One.” There are as many
moments of darkness (“Evil Angels”) as there are sadness, and even
occasional moments of lighter relief (“Stranger to Your Love” –
perhaps the most formulaic but still hugely successful piece of
Americana here), but what stands out throughout are the ideal
pairing of Williams’ stellar songwriting and deep broody voice.
Another alt-country act from Australia after Kasey Chambers then,
but about as different as you could possibly imagine. There’s easily
room for both. MW
more reviews from February 2002
for archive reviews...
|
Americana UK’s reviewers are:
Peter Bate, Paul Bronks, Tim
Ford, Mark Phillips, Mark Whitfield and occasional
guests! | |
|
