The Gathering Britannia
The Bridge Between
(It’s All About Music)
A British folk super group of sorts, made up of members of such iconic outfits as Fairport Convention, Lindisfarne, Steeleye Span, Jethro Tull, and the Albion Band, the Gathering Britannia unveils an impressive debut that reflects the experience and expertise of each participant’s pedigrees. Most of the album hews to the template their individual outfits helped initiate early on, with a re-do of the Lindisfarne classic “Lady Eleanor” and a cover of Richard Thompson’s “For Shame Of Doing Wrong” affirming those origins. Yet in the midst of the folkie frenzy, there’s a hint of bluesy bluster, as demonstrated by ex Albion Doug Morter’s “Don’t Make Me Old” and “I Don’t Want.” Mortimer and his band mates – drummer Clive Bunker, multi-instrumentalist Ray Jackson, bassist Rick Kemp, guitarist Jerry Donahue and vocalist Kristian Donahue –find a seamless harmony here, making this lovely set of songs a must-have for aficionados of all things uniquely English. (www.itsaboutmusic.com)
Jamie & Steve
The Next Big Thing
(Loaded Goat)
As the two prime mainstays in North Carolina’s Spongetones, Jamie Hoover and Steve Stoeckel have been responsible for some of the liveliest power pop of the last couple of decades. Happily then, even as a duo, the two sacrifice nothing at all in consolidating their sound and making it apt for a twosome. While it’s only six songs in duration and bears an immodest title, their latest collaboration, The Next Big Thing, is an impressive indication of Jamie & Steve’s combined talents. The mood veers from the breezy repose of “Seaside Sparrow” and “Dancing on Ice” to the more exuberant expression of “Can We Start Again, Girl?” and “Half a Mind,” songs filled with unabashed intentions and the giddy enthusiasm that the pair is obviously eager to express. All too often, retro pop seems mannered and self-conscious, but clearly that’s not the situation here. To the contrary, The Next Big Thing is as effusive and expressive as its name implies. (www.jamieandsteve.net)
Eric Taylor
Live at the Red Shack
(Blue Ruby Music)
Recorded live before an intimate audience and featuring such stellar guests as Lyle Lovett and Nanci Griffith. Texas singer/songwriter Eric Taylor demonstrates why he may be one of the Lone Star State’s best-kept secrets. Accompanied a single acoustic guitar and some weeping steel guitar, Taylor pours out his soul in a series of sad, somber laments that also bare his soul in the process. Singer with a gritty ache and pensive sigh, his bruised and battered road tales, colorful narratives and piercing character studies are never less than affecting or singularly compelling. The one-two punch of the half-spoken “Intro Dean Moriarty” and the achingly nostalgic “Dean Moriarty” itself give the album its soulful center, suggesting a volatile mix of Bruce Springsteen’s heartland heroics and early Tom Waits seeking the heart of Saturday Night from inside his ole 55. Both a stunning summation of Taylor’s talents and a humble introduction for all those unawares, Live at the Red Shack is a fine showcase for this remarkable Texas troubadour. (www.bluerubymusic.com)
Trampled By Turtles
Stars and Satellites
(Thirty Tigers)
Their name isn’t the only thing that’s unusual about this ramshackle outfit from Minnesota. While they identify with bluegrass, they purposely lack the overt exuberance that marks other artists of that ilk. For the most part, they keep a low cast disposition, one preoccupied with contemplation and rumination. Regardless, their Americana authenticity still maintains its charms, and when they do delve into more up-tempo realms via the dual fiddle frenzy of “Walt Whitman” and “Risk” or the robust mandolin strum of the instrumental “Don’t Look Down,” they elevate the proceedings to an exceedingly energetic level. Still, the best effort of the set falls to “Keys to Paradise,” an upbeat offering that retains the trampling turtles’ delicate deliberation while maximizing both the melody and momentum. (www.thirtytigers.com)
Kevin Gordon
Gloryland
(indie)
Up until now, Kevin Gordon’s operated more or less below the radar, earning occasional kudos as some sort of heartland Springsteen while putting out albums devoured only by the faithful. Gloryland, however, seems destined to bring him to a wider audience, thanks to its rugged swagger and a gritty but knowing perspective. Gordon’s bittersweet observations are consistently compelling and on songs such “Colfax/Step in Time” — a song in which he simultaneously name drops several R&B ‘70s icons along with the Ku Klux Klan in their “dunce caps” and embroidered robes — he serves up a particularly effective period piece. Yet, as always, Gordon manages to tug at the heartstrings as well, with songs such as “Black Dog” and “Pecolla’s Star” each making an emphatic impression. Gordon has an easy way with a melody, allowing him to slip from a swampy, sandpapery growl to a breezy summery sway. Clearly, his time has come and discovery is long overdue. Hence, Gloryland ought to rank not only as one of the great triumphs of the year, but an album that will inevitably establish Gordon as one of the great singer/songwriters of the decade as well. Gloryland beckons indeed. (www.kevingordon.net)
I See Hawks in L.A.
New Kind of Lonely
(indie)
Forget the odd moniker; for the last decade or so, I See Hawks in L.A. have led the resurgence of a style of West Coast country rock that redefines the music of the Byrds, Burrito Brothers, Poco and the early Eagles. So what better route to take than to create an all-acoustic LP that brings the music back to basics while revisiting high desert terrain. A single listen to the song “I Fell in Love with the Grateful Dead” offers all the affirmation necessary, an ode to sunny days, idyllic environs, hippie chicks and the joys of hitting the highway. Likewise, songs like “Bohemian Highway,” “Dear Flash,” “River Run” and “Highland Park Serenade” emit a campfire-like glow, with acoustic guitars, fiddle, banjo and dobro providing a sepia tinted back porch feel. Those in search of a sound that’s mellow, melodic and as freewheeling as a cluster of tumbleweeds ought to find reason to keep these hawks in their sites. (www.iseehawks.com)
The Mastersons
Birds Fly South
(indie)
Having earned their wings backing Steve Earle and Allison Moorer, as well as offering up their individual efforts on their own, husband/wife duo the Mastersons take flight with Birds Fly South, their first formal effort as a pairing. Not quite Gram and Emmylou or even June and Johnny, their loping approach finds more in common with the Civil Wars — or even more specifically Mark Olson and Victoria Williams — not only in terms of their vocal blend, but the overall sense of domestic tranquility as well. Songs such as “Crash Test,” “Tell Me Its Alright” and “Money” convey a cheery, compatible attitude that indicates there’s not even a hint of friction residing below the surface. Likewise, the pair’s effortless affinity and unmistakable confidence belies any sense if tentative concern. “Would It Really Be a Sin,” “One Word More” and the title track add the prerequisite edge and uncertainty, but Chris Masterson and Eleanor Whitmore’s obvious harmony and ability to take on the majority of the instrumental duties themselves mostly preclude the overcast emotions that accompany the usual male-female yin and yang. A solid opening volley, the Mastersons offer all indication they’re ready to step out of the shadows and establish an identity all their own. (www.themastersonsmusic.com)
Brooks Williams/Boo Hewardine
State of the Union
(Reveal Records)
An exceptional, if perhaps unforeseen, collaboration, State of the Union combines the talents of two astute songwriters — American-born Brooks Williams and Britain’s Boo Hewerdine — and in so doing, emerges as a work that rates with the best efforts either artist has ever managed. Both men specialize in lean and sometimes stark rumination, a motif borne out through the bluesy opening track “Darkness.” Yet, working in tandem, they also produce a jaunty sound that brings out the best in both. “23 Skidoo” and “Union Jack” take a lighter tone, adding to the easy embrace that’s filtered through this all-acoustic set of songs. Likewise, the lovely folk musings of “Peg & Awl,” a soulful “Sweet Honey in the Rock” and. Most surprisingly, a low-cast cover of thePet Shop Boys’ “Rent” find them reveling in their roots. An exceptional union, this astute duo has made a most entertaining record, one that’s worthy of wide appeal. (www.boohewardine.net www.brookswilliams.com)
England in 1819
Alma
(indie)
Their handle may sound idyllic – it’s actually taken from the name of a piece by romantic poet Percy Bysshe Shelley — but the music made by the unlikely-named England in 1819 is anything but. Rather, it’s the somber, reflective sound of orchestral chamber pop as surveyed through the creative invention of a father-son duo. Their hollow-eyed sobriety frequently brings to mind the melancholy mindset of John Vanderslice, M Ward and the Cowboy Junkies, but in the same way those forlorn performers manage to tug at the heartstrings and bring the listener into their lonely environs, England in 1819 succeeds for the same reasons. Those looking for hum-friendly melodies certainly won’t find them here, but there’s a certain haunting resilience that wins out regardless. Strikingly beautiful at times and often unsettling as well, England in 1819 makes the desire for time travel all the more emphatic. (www.englandin1819.com)
James McCartney
The Complete EP Collection
(Engine Company)
Like father like son? Well, perhaps. Or maybe not so much so. Given the fact that dad’s chosen to cover the standards ala his new disc Kisses on the Bottom, it’s been left to the younger McCartney to continue the family’s rockier traditions. Granted, dad’s playing the role of producer, but James isn’t content to rely strictly on his surname in order to make his own mark as far as style is concerned. For the most part, the sound is much more intense and certainly headier than dad’s silly love songs would ever suggest, and a track like “Angel” is all it takes to grab instant attention. Likewise, a cover of Neil Young’s “Old Man” shows that James doesn’t hesitate in mining more than the family jewels. Even so, the bonus track “I Love You Dad” leaves no doubt as to his affections for his old man. Two initial EPS show off the wealth of material the younger McCartney has accumulated to date, which, when taken in tandem, adds up to a substantial debut. No doubt the lad’s got a lot more in him, and with such a strong start, it’s obvious the name McCartney has created a worthy legacy. (www.JamesMcCartney.com)
Otis Gibbs
Harder Than Hammered Hell
(Wanamaker Recording Company)
Never mind the gruff vocals and the no-nonsense Midwestern sensibilities. Otis Gibbs is a remarkably astute singer/songwriter whose new album reflects a certain unabashed sentimentality. That assessment rings especially true on songs like “Broke and Restless” and “Christ Number Three,” but it’s also evident on the hard-bitten rambles “Never Enough” and “The Land of Maybe.” It may be best to imagine a less ornery and more sympathetic Steve Earle, but doubtless there will be those who find his blue collar laments similar to Bruce Springsteen’s more somber ruminations. Either way, that’s mighty impressive company, suggesting that Gibbs is ripe for discovery. Despite the bare-boned arrangements and Gibbs’ unassuming approach, there’s something to be said for a heartland troubadour who’s unafraid to wear his sentiments on his sleeve. He also concedes a certain populist appeal, especially on “Big Whiskers,” a tale about an obsessive fisherman determined to catch a notorious catfish; the jaunty blues of “Second Best;” and “Detroit Steel,” a resilient truckers song that counters the road-weary desire of that more famous highway rocker, ”Six Days on the Road.” Despite a title that suggests otherwise, Harder Than Hammered Hell is a surprisingly easy listen, one that proves Gibbs’ got the goods. (www.otisgibbs.com)
Sarah Blacker
Come What May
(indie)
Pardon the pun, but Sarah Blacker is one of the brighter artists to grab our attention recently. With a revelatory vocal that veers from a child’s skittish enthusiasm to the essence of emotion, she’s equally adept when it comes to expressive melodies, Her latest album – her second to date – is aptly entitled Come What May and it forebodes what seems to be the evolution of a most promising career. Opener “Drivin’” is, in itself, enough to convince, a brash, exhilarating intro that makes the rest of the album all the more anticipated. Other highlights include the seductive title track, the reflective (though not necessarily religious) “I’m Like a Train, My Lord” and the affirmative, assertive entry “Humble Man,” another track that belies its title. Such remarkable and consistent quality is unusual, but in Blacker’s case it’s certainly no fluke. A new EP, which carries another unlikely title, Perfectly Imperfect, offers an enticing preview of her next album due later this year. So chalk her up as one of the more delightful discoveries of the past year, and let’s hope that indeed there are Blacker days ahead. (www.sarahblacker.com)
Tommy Womack
Now What!
(Cedar Creek)
Tommy Womack would have done well even if he chose to earn his living simply as a side man who contributed to albums by others of the alt-country ilk. So it’s a credit to his credence that he also makes albums on his own, most filled with forlorn narratives about the struggles and pitfalls of being a journeyman musician given to trekking across the dusty back roads of the heartland and playing in the dreary late night watering holes that dot the national landscape. Womack’s latest, which boasts the foreboding title Now What! and finds his appropriately bedraggled visage gracing both its front and back covers, is no exception. It bears another sterling set of songs, from the moribund disposition of “Pot Head Blues” and the unlikely self-effacing rap of “90 Miles an Hour Down a Dead End Street” (I work for myself and I still get fired…”) to the tongue-firmly planted in cheek shuffle of “Play That Cheap Trick, Cheap Trick Play,” with all its road weary exhortation. Inserted in-between there’s plenty of middle age musings – evident in such songs as “I’m Too Old to Feel That Way Right Now,” “Wishes Do Come True” and “Over the Hill,” suggesting that for all his headstrong, hamstrung regret, Womack is actually at peace with his prospects after all. (www.tommywomack.com)
Anais Mitchell
Young Man in America
(Thirty Tigers)
Anais Mitchell is American born, but she holds a penchant for Celtic tradition, one that imbues her latest album with an authenticity and sentiment that speaks to the immigrant experience. It’s a subject that’s especially timely in this contentious election year, but with the emphasis on historical perspective and a swirling sound that veers from austerity to intensity, it’s likely to bring a vast number of listeners into its embrace. Mitchell’s never been shy about asserting her ambitions; after delving into theatrical adaptation and a notable stint on Ani Difranco’s Righteous Babe label, she clearly has no qualms about broadening her musical parameters. Even so, Young Man in America is clearly her most compelling and engaging effort yet. Key tracks include “Wilderland,” “Coming Down” and “Dyin Day,” but that’s just for starters. A brash and exhilarating concept effort, Young Man in America holds the promise of belated critical acclaim. (www.thirtytigers.com)
Casey Shea
In Your Head
(Family Records)
Residing below the radar can actually present certain advantages. For one thing, it gives you the benefit of a small, but rapt, cult following. For another, it allows you to develop your talent so that once you do penetrate the boundary separating you from mass acclaim, your talents are fully formed and good to go. In Casey Shea’s case, this scenario has clearly primed him for the greater fortunes that will inevitably come his way. Shea’s newest set In Your Head, does, as its title implies, get inside your head after only a single listen. Wrapped around vibrant rockers like “No Son of Ours,” “In Your Head” and “Battery,” it combines the unabashed enthusiasm of early ‘70s Power Pop (think the Raspberries or the Shoes) with the anthemic rush of Springsteen and Petty. Here’s an album crafted with care and reflection, one that clearly absorbs lessons learned while reflecting skills imparted. Wrap your head around it and chances are, your heart will follow. (www. caseysheamusic.com)
