May 2021 - STAGING Maverick

EXCLUSIVE: Kezia Gill announces ‘The Mess I Made’ EP

Review: ‘Goodnight Riverdale Park’ – Suitcase Sam

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Suitcase Sam Goodnight Riverdale Park Curve Music Emerging from a somewhat mysterious background, this is the first full length offering from Canadian Suitcase Sam and is a major step forward from his two previous EPs, ‘Waiting On A Train’ and ‘Get It And Go’. Fusing country, blues, jazz and folk, ‘Goodnight Riverdale Park’ ought to elevate Suitcase Sam to the fringes of the country music premier league. His vocals have an ‘old timey or I’ve lost my false teeth’ feel which sometimes get rather drowned out by the excellent band and backing vocals. Hank Williams and Jimmie Rodgers influences abound and we could be listening to Hank’s Drifting Cowboys on Friday Afternoon which gets a second airing along with Tattered Shoes. The instrumental Maple Leaf Stomp has a gorgeous Charleston beat whilst Sam drifts into depression on the slow bluesy My, Oh My. Growing Up is a fine country rocking opening but the album generally focuses on Suitcase Sam’s drifting existence and The Grand Trunk Pacific Coast Railroad puts his life into perspective. Transport yourself back in time to when country music was real country music. By John Roffey To stay up to date on the latest country music news, please register to receive our newsletter here. Media contact Zoe Hodges, Editor, Maverick Magazine Tel: +44 (0) 1622 823920 Email: editor@maverick-country.com

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Review: ‘New Beautiful’ – Sherman Downey

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Sherman Downey New Beautiful Independent Sherman Downey delivers a record packed with positivity; ten tracks beautifully orchestrated to paint a picture of a world rediscovered. Downey’s melodies are quite captivating, his soft vocals speak directly to the listener whilst his choice of instrumentation feels very experimental. However it proves to be a success as Downey creates a rather unique space for himself. Shiftwork is a stand out track on the record and a prime example of the unusual production and arrangement that really gives Downey his own style. Fingerguns, despite its sombre feel, has a playful, child like lyrical theme to it whilst the funky production and the piano riffs in Romancer make this track the most bold on the record. Tracks like Long Goodbye help the record to lean slightly more into the country remit with its slight twang and clever lyrics. For the most part, it’s a cohesive collection of songs. Sherman Downey’s take on country-influenced folk-pop is incomparable. This is a record that takes you on a beautiful musical journey from start to finish and will have you coming away feeling refreshed. To stay up to date on the latest country music news, please register to receive our newsletter here. Media contact Zoe Hodges, Editor, Maverick Magazine Tel: +44 (0) 1622 823920 Email: editor@maverick-country.com

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Review: ‘A Better Word For Love’ – Ronnie Milsap

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Ronnie Milsap A Better Word For Love Black River Entertainment The album opens with the foot-tappingly good Honky Tonk tune Big Bertha which sees Milsap team up with Vince Gill for the song written by Carl Perkins, DJ Perkins and Randy Moore. Milsap received the special package from Carl Perkins’ widow, containing the last song the Rock & Roll Hall of Famer ever wrote. She knew Milsap would do it justice and Milsap knew Vince Gill was the man to collaborate with on the song about a Golf Club. The stand out track for me on this record is the Brent Maher, Allen Shamblin, Mike Reid penned This Side Of Heaven. The love song is beautifully executed by Milsap and the backing vocals in the chorus give it a slightly different dimension. The live rendition of Civil War which was actually recorded in 1993 is a real treat and has never been so timely. The song which begins with the light hearted theme of young siblings arguing and likening it to a civil war has a deeper message as it dives into political divides. The grit, power and passion in Milsap’s vocals is truly inspiring and its a welcome addition to the record. The production and again Milspa’s vocals, which have never been better, match the theme of the explosive Fireworks as the instrumental break down allows an unusual relationship to form between a horn section and pedal steel. To summarise Milsap brings the party with this upbeat, rocking record which feels like it’s come straight out of the honky tonk. The all-star line-up of songwriters coupled with Milsap’s fiery delivery brings this record to life. To stay up to date on the latest country music news, please register to receive our newsletter here. Media contact Zoe Hodges, Editor, Maverick Magazine Tel: +44 (0) 1622 823920 Email: editor@maverick-country.com

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Review: ‘Willing’ – Lady Nade

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Lady Nade Willing Independent Fresh from her recent UK Americana Award nomination, singer-songwriter, Lady Nade releases her third album. She has always been the kind of writer who has drawn influence from the things she has experienced and has taken solace in the therapeutic creative process. Upon listening to ‘Willing’ it is clear that once again Lady Nade has tapped into those experiences and emotions. As well as exploring the topics of loneliness and solitude, Lady Nade continues to explore themes of love, friendship and family on a record that boasts a simple production. Peace and Calm tells the story of her Grandad, she takes on a slightly theatrical tone to her voice when she wishes to emphasise an aspect of the story as she paints a clear picture in the listeners mind. Rock Bottom has a much more upbeat feel to it albeit with an accusatory tone to the lyrics though it is a welcome change on the 11-tack record and a stand-out track. Lady Nade’s soulful voice and use of expression is what makes this record special. Whilst her ability to tell a detailed yet relatable story is a gift. To stay up to date on the latest country music news, please register to receive our newsletter here. Media contact Zoe Hodges, Editor, Maverick Magazine Tel: +44 (0) 1622 823920 Email: editor@maverick-country.com

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Review: ‘Long Black River’ – J R Harbidge

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J R Harbidge Long Black River Mob Acoustic Recordings J R Harbidge’s sophomore album delivers memorable melodies and heartfelt lyrics. The country/americana artist hailing from the UK stays true to himself whilst packing the record with plenty of nods to the roots of the country genre. The highly produced record starts with Wrong Side of the Fight, the lead single off the album. The stubborn song focuses on the them of believing you’re in the right just for it to turn out you were wrong all along. JR’s vocals are soft, they have a wispiness to them but still have a strength about them in the opening number. You Saved Me Twice is a real highlight on the album, this is a prime example of Harbidge’s ear for a melodic hook and his ability to take a song somewhere unexpected, giving his songwriting a unique flavour. Meanwhile, the title track which brings the record to a conclusion demonstrates the multi-instrumentalist’s attention to detail when it comes to production and arrangement. The differentiation between each of the sections is so well thought out, allowing each verse and chorus to feel fresh whilst maintaining fairly smooth transitions. JR Harbidge has certainly arrived with his second album, cementing himself as one of the finest musicians and songwriters to come out of the UK country/americana scene in a very long time. If he wasn’t already on your radar, he certainly should be now. To stay up to date on the latest country music news, please register to receive our newsletter here. Media contact Zoe Hodges, Editor, Maverick Magazine Tel: +44 (0) 1622 823920 Email: editor@maverick-country.com

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Review: ‘Rediscovered’ – Dulcie Taylor

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Dulcie Taylor Rediscovered Mesa/Bluemoon Recordings The record which revisits songs from the past twenty years is a real showcase EP which demonstrates an array of different styles of music that Taylor has tried her hand at. The sparse production of ‘Rediscovered’ gives Taylor’s raw vocals and songwriting room to take centre stage. The arrangement of the opening track Woman I Used To Be helps to build tension. The fan favourite has a touch of the blues as the angst of the song bubbles under the surface. First Kiss has a jazz element to it. Taylor’s smooth vocals are brought up in the mix and the addition of a solo saxophone in the chorus gives me goosebumps. The backing vocal harmonies take it to the next level. The acoustic country twang of Watch Me Hurt deals with heartbreak whilst Maybe concludes the album on a more positive country-pop vibe. It’s an eclectic collection of songs, some of which were first released back in 2004. Loyal fans will be delighted to hear some of these songs again as Dulcie Taylor rediscovers the stories behind them. To stay up to date on the latest country music news, please register to receive our newsletter here. Media contact Zoe Hodges, Editor, Maverick Magazine Tel: +44 (0) 1622 823920 Email: editor@maverick-country.com

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Video: ‘God Only Knows’ by for KING & COUNTRY and Dolly Parton gets UK radio release

Review: ‘Tex Pop’ and ‘Tucson’ – Freddie Steady

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Two re-releases from Freddie Steady, a legend from Austin to London. He was a long-time member of Jerry Jeff Walker’s Gonzo Campadres, his band the Explosives backed psychedelic rebel Roky Erickson, he lived here in in the 80s (recording the splendid Lucky 7 album way down south, in Croydon) and his own psychedelic country bands the Shakin’ Apostles and Freddie Steady 5 have made a posse of wild and wonderful albums. TEX POP, from 2007, is just that, the sort of music that Doug Sahm used to create, delicious tunes with an eclectic country edge, embellished with those sun-drenched keyboards. Lead guitarist is the elegant Cam King, also an Explosive (who didn’t do at all badly by getting a song on Garth Brooks’ second Christmas album) and there’s even Mark Andes, bassist from Quicksilver Messenger Service. Songs like What’s So Hard About Love scream ‘hit single’ while (I’m An) Armadillo has a playful edge. TUCSON, from 1995, is a concept album, a ‘horse opera’, that’s since been transformed into a touring musical theatre event. There’s the title track with its string quartet, the rip-roaring Devil’s Hand (blistering guitar from Apostle and Jerry Jeff sideman John Inmon) and the delicate jangle of Treasure Of The Orient. Guests include former Joe Ely band members Lloyd Maines (pedal steel) and Ponty Bone (accordion) with Brit virtuoso Wes McGhee on Spanish guitar, embellishing the moody desert soundscape. A lasting classic. By Nick Dalton To stay up to date on the latest country music news, please register to receive our newsletter here. Media contact Zoe Hodges, Editor, Maverick Magazine Tel: +44 (0) 1622 823920 Email: editor@maverick-country.com

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