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Book review: Naked music – The Songbook – Eleanor McEvoy

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NAKED MUSIC – THE SONGBOOK Eleanor McEvoy Hot Press Books With her latest album NAKED MUSIC firmly established in the folk catalogue, Eleanor McEvoy has embarked on a worldwide tour and has now published her first ever songbook to support the album. Inspiration for the album came after Eleanor purchased a painting by famed English painter Chris Gollon. She was clearly captivated by his work and a subsequent meeting led to collaboration, with Chris producing four canvasses for the album artwork and Eleanor opening her tour surrounded by 24 Gollon paintings inspired by the songs and titles on NAKED MUSIC. The positive response to the paintings on the album inspired Eleanor to develop the collaboration further and the result is this work of infinite beauty. As well as including lyrics, guitar chords and melodies, 22 of Chris Gollon’s paintings are featured; provocative modern art with a touch of tasteful eroticism. Seven starkly intimate photographs of Eleanor taken by Shane McCarthy are also included; all are head and bare shoulders poses with just one showing Eleanor adorned with jewellery. Producer Mick O’Gorman describes ‘The Journey to Naked Music’ and best-selling author Jackie Hayden explores cross-genre artist collaborations in her introductory essay ‘The Risk and Challenge of Incompatibility’. Comprehensive biographies of both McEvoy and Gollon complete the written work within the songbook. The first single taken from the album, Whisper a Prayer to the Moon is released to coincide with the issue of the songbook. Both discerning folk musicians and art aficionados ought to be magnetically attracted to this special piece of work; and the album’s a great listen as well. John Roffey www.eleanormcevoy.com

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taylor-guitar-competition

Win a Mini Taylor Guitar with… MAVERICK!

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You could be in with the chance of winning a GS Mini Taylor accoustic courtesy of our friends over at Taylor Guitars A marvel of scaled-down design, the GS Mini is a fun little acoustic cannon that has taken the world by storm. Sporting a rich, full voice that belies its compact size, the Mini is ultra-portable, yet just as comfortable to cradle in the comfort of your home, making it the ultimate modern-day parlor guitar. Featuring the Taylor NT® neck, the Mini comes with either a solid spruce or mahogany top. Players who have bought an acoustic version can easily  t ES-GOTM pickup at a later stage and you have a viable performance tool, too. To be in with a chance of winning this GS Mini-e Mahogany with ES2 Pickup, answer the following question: Who would you like to see perform live and why? Please email your answers to: competitions@maverick-country.com ALSO INCLUDED IN THIS COMPETITION: A bespoke leather guitar strap from Heistercamp made especially to accompany the Taylor guitar for Maverick’s special competition!  www.heistercamp.co.uk Maverick have also been given a variety of different capos courtesey of G7th, one of which will be included in this competition! www.g7th.com Terms and conditions: Closing date is 12 noon GMT on 2nd December. One winner will be chosen on 9th December & announced on social media. Winners will also be informed via email.  

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Erin Rae – new music for old souls

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The creative work of Nashville artist Erin Rae has been described as ‘new music for old souls’. The singer-songwriter has spent the past few years cultivating and modifying her sound to capture her most authentic and honest voice possible.Teaming up with her band, The Meanwhiles, they have just completed their debut, full-length album, SOON ENOUGH, which she will tour on her first UK headline gig, along with support for Cale Tyson, in October and November. Recorded over a swift two days in a house in west Nashville, the group of musicians played the 13 songs live, in an attempt to ensure the sound remained fresh, and not overly produced. “We’ve been playing these songs as a band for a while,” she says. “We were all in separate rooms, for the most part, of the house we were recording in, but there was a level of comfortability, so it didn’t take incredibly long.” Erin co-produced SOON ENOUGH with Michael Rinne, Rodney Crowell’s touring bassist, after he approached her a few years ago suggesting they work together.“I knew Mike as a bass player around town. He’s an incredible player; he played for Steelism and Andrew Combs, Rodney Crowell and Emmylou Harris, most recently. We just sort of talked about it and it happened naturally.” Erin spent the first 11 years of her life growing up in Jackson, Tennessee, before her family made the move to Nashville when she hit middle school. Her introduction to music came early as both parents were part-time musicians, playing American roots at churches, county fairs and coffee shops across west Tennessee. Yet, her focus developed seriously from the age of 18 when she started taking vocal and guitar lessons, and began attending Nashville’s open mic nights as a teenager. Since the release of her first EP, CRAZY TALK, in 2012, she has worked solidly on her career, sharing the spotlight with support shows alongside rising country stars, Cale Tyson, Andrew Combs, Margo Price and Steelism. While a number of years passed between her own projects, and without label support, once she made the decision to record her debut, she was keen to get into the studio.Songs on SOON ENOUGH deal with everything from mental illness, the importance of staying present, childhood, adulthood and day-to-day challenges. She says it was important to make sure the process of writing about such topics came about naturally and freely. “I’ll have an idea rolling around, or a similar theme, for several days or more, and think of a line here or there, and I’ll have to give myself some time to get into that feeling, just kind of walking around in my house playing guitar loud, or something, and relax and let it happen.” While a brilliant performer in her own right, the chance to lead her band, The Meanwhiles, over the past six years, is when she says the live magic happens. Featuring a revolving door of set musicians, due to scheduling, the line-up includes; Kevin Whitsett, Mark Sloan, Brett Resnick, Dom Billett, Graham Bechler, Molly Parden, Kristin Weber, Cori Bechler and Mark Fredson. “Hopefully they will always play with us and hopefully in the future we’ll be able to bring over a full band (to the UK). I’m so excited. I’ve only been to Scotland a couple of times, which we’ll get to go back to with Cale, but this is really getting to be a touring musician over there, so I’m excited to see parts of England.” Megan Gnad 

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Fender Custom Shop have collaborated with Pete Townshend of The Who

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The Fender Custom Shop collaborated with Pete Townshend of The Who to build the ‘Limited Edition Pete Townshend Stratocaster.’ Innovative features include a two-post Fishman power bridge tremolo, three Lace Sensor Gold Pickups (like Pete’s main guitar), and onboard preamp for boost. Neck is one piece maple with a Soft V shape and the body is two piece Alder in Torino Red!  Written by Eric Dahl for the October/November 2016 Issue of Maverick – www.fendercustomshop.com [wpdevart_youtube]wcRLdt03o70[/wpdevart_youtube] More Information about The Fender Custom Shop: Since 1987, the Fender Custom Shop has been a “dream factory,” producing guitars that are to playing what Ferraris are to driving. The skilled craftsmen in Fender’s Corona, Calif., Custom Shop are known worldwide for their artistry in making guitars that range from the fine to the fantastic. Whether it’s building a new custom instrument from the ground up or modifying an existing one, their best is the best. The Custom Shop instruments have been crafted for and with the input of the world’s finest players-names like Clapton, Beck, Burton, Cray, Gilmour, Townshend and Vaughan, to name just a few. One could be yours.

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New Interview- Keeper of the flame- Eric Bibb: the happiest man in the world?

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Eric Bibb’s music is classy and consistent. His style uplifting, inspiring and there’s always a spiritual aspect. Almost gospel, but without the preaching! His new album, THE HAPPIEST MAN IN THE WORLD is all of this and more. Recorded in the Norfolk countryside with old friends, North Country Far and famed bassist Danny Thompson. 15 songs, 11 written or co-written by Eric and one traditional song arranged by him.Thrilled with the result, Eric believes it is an album that will be with us for a while. “People will come back to that record years from now.” Eric has toured with Danny Thompson in Australia and they have played radio sessions, but this is their first album together. Danny’s an original member of legendary folk group Pentangle and has played with John Martyn and Donovan. Recorded at Dave and Sue Williams’, The Grange Studios in Norfolk, where Eric cut his acclaimed album HOME TO ME in 2000. “There is an immediacy, an intimacy….it will appeal to anyone into the kind of roots acoustic music I am known for. This is where I made my mark in this kind of genre.Bluesy, countryish, rootsy stuff played on acoustic. It’ll always be that way, my heart drawing me back to this style even when I try other things. It’s my home zone.” “Even if I veer off into other directions, I try to keep that pretty central somehow. My style and sound was never consciously designed. I tend to gravitate towards certain music, a style of playing and sensibility over the years which has gelled into some of kind of brand.” Eric hits the milestone of 65-years old in August. He’s travelled the globe, performed just about everywhere, collaborated with many big names, released 36+ solo albums – his debut was AIN’T IT GRAND in 1972 – and many collaborations on record and on stage. So what about the “R” word? “Retirement is not really in my thoughts. Even if I won the lottery, I’d still do concerts, but probably not at the pace I am doing it. In 2017 I’d like to take a little bit more time off the road to gather my wits about me and figure out my priorities. I’ll do dates here and there, but not so much extended tours, to take a bit of a break.” Speaking to me in his dressing room at Birmingham Town Hall in the afternoon of a wonderful sold out show on his recent UK tour, he says it feels different doing what he does today, as it did when he first started. “I remember being more conscious of wanting to make a mark, wanting to get on the map, to be written about. That has happened on its own, and I am no longer chasing recognition. That’s the big difference.” “I am really gratified I have that place in people’s minds and hearts, somebody they really enjoy and follow. No longer striving in the way I was. Relaxed more about it. It’s not about making a name for myself, but more about satisfying myself and my fans’ expectation.” He starts recording a new album in August with Michael Jerome Brown, “a wonderful roots guitarist,” and Jean Jacques (JJ) Milteau on a stripped back acoustic album, without drums. “Sort of like Sonny Terry and Brownie McGhee with an extra guitar player. Going back to that country blues that has been at the foundation of what I have been doing.” Aiming for a spring 2017 release. As one of the few artists to keep traditional blues, country blues and real American folk music alive, is it harder to reach new audiences, especially younger people? “There’s an increased interest in Americana, in blues, picking up with younger bands. A lot of younger players, in their 20s, are starting to discover who I am; a lot of that through YouTube. I have managed to stay current without changing direction.” Eric has championed the music of Lead Belly and Bukka White (aka Booker T. Washington and Booker White), among other blues and roots pioneers. He released Booker’s Guitar, in January 2010, playing the Delta master’s original guitar on the album. Last year he released ERIC BIBB & JJ MILTEAU: LEAD BELLY’S GOLD, and gave a show stopping performance at Lead Belly Fest at the Royal Albert Hall in London. “Both artists I was aware of early in my journey. Lead Belly was there from the very first. I heard covers of his songs before I heard him. He died two years before I was born. People who my family knew, had met Lead Belly, inc Pete Seeger who I met.” “Bukka White; someone in Newcastle in the UK inherited his guitar, as he was a friend of Bukka’s. In gratitude for the support he had given him through the years, before he died he shipped his guitar to UK as a gift. He has been guardian and caretaker of that wonderful Duolin guitar for years.It may end up in a museum. I still have access to it if I want to record with it. Holding the man’s guitar; it was an amazing gift to me, sealing my link to these other generational guys who I admire.” “I grew up in New York City, in the suburbs then Manhattan, in an upper middle class family who took me to Europe at 12. Mine was a whole different experience to Bukka White, but none the less that music hit me hard as a teenager.My link to that music has only got stronger through the years, which tells me it’s a kind of destiny thing and this is what I am supposed to be doing.” “I can imagine somehow the spirit of these ladies and gentlemen who I have admired from an earlier time, would be somehow aware I am gratifying the enduring popularity of their music and happy a guy like me chose to carry their flag. Not only by playing their songs, but by writing new material

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New feature: KT Tunstall

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It’s hard to believe, at least for me, that it’s been 12 years since KT Tunstall burst onto the scene with a positively received set on Later… with Jools Holland. She subsequently released an album every three years, but following 2013’s ‘INVISIBLE EMPIRE/ CRESCENT MOON ’, she chose to switch her focus from her solo career towards writing songs for films. It seems, however, that such plans weren’t set in stone, and she’s now anticipating the release of a new album, and has been touring across the United Kingdom. “It was a bit of a surprise to me, because I’d pretty much decided to take a massive hiatus,” admits KT, who despite being busy preparing for her evening gig at The Tabernacle near Notting Hill, seems lively and upbeat. “The last record was very down tempo, and after making that record and touring it, I mistakenly thought that I didn’t enjoy gigging any more.” The turnaround for KT took time to transpire, and it was a combination of factors that led to her return. On the one hand, she played a couple of retrospective gigs, and her creative flames were fuelled by the up-tempo performances of songs from her back catalogue. “I was jumping around like a mad Mexican bean again,” she says, perhaps coining a new phrase. “I realised that for me, there needs to be sweat; there needs to be an intense physical element for me to enjoy it. I was actually relieved to realise, ‘I do still want to play’.” KT’s inspiration also came from moving to Los Angeles, which she’d always wanted to do. The timing had seemed right too, as INVISIBLE EMPIRE/CRESCENT MOON had been released shortly after a divorce and the death of her father. “Basically, my life was turned upside down,”she admits. “I sold everything and moved to Venice Beach to live an enjoyable life.”If ever there was a time to focus on California dreaming, this was it.” “I was driving around the canyons a lot”says KT. “I’m a big fan of David Lynch, and obviously Neil Young, Joni Mitchell, Tom Petty, Fleetwood Mac; all these amazing Californian bands. You start to understand why that music came out of that landscape and that area at that time.” Before long, KT settled back into her groove. “I started writing these really big pop songs, out of nowhere” she says. “And then I decided to really dig in and work my arse off [as an aside, KT has a delicious knack of knowing exactly when to swear], to write the best record that I possibly could. I just feel like I’ve absolutely got my mojo back, in a way that I haven’t had for years.” As you’d have guessed from the positive tones, KT is in a very different to headspace to the one she occupied as she wrote her last album. “I feel like the last record was kind of like the soundtrack to my own funeral” she says, though she later adds that it would be a pretty good funeral. “This album is kind of the phoenix of a new phase in my life, and I think the liberation from feeling like I had to do it [record the album] was incredibly important.” This liberated feeling led to a speedy process, with KT starting to record the new album last summer, and the record being mastered at the end of May. This was aided by a rapid spate of writing over the Christmas period, with KT drawing inspiration from a trip to Mexico, and a stay in a cabin at the Joshua Tree. “[In Mexico] I chopped wood and sat by a fire in snow, and just wrote for six or seven hours a day” she says, detailing her awesome yet unconventional methods. I ask KT if it also helps that she’s an established presence. “Yes and no” she replies. “Over the last three or four albums I’ve put out, it became increasingly difficult. It got more and more introspective, and I got more and more uncomfortable about being vulnerable, and being honest and showing myself, because it’s fucking weird. It’s weird knowing that there’s millions of people, and there’s always that expectation.” There are positives too though, and KT says she’s become more comfortable about who she is as an artist. “I think this album is the first time I really feel like I’m completely in touch with what I do best, which is pop, really. I’m not self-conscious about being a pop songwriter anymore, whereas I have been.” Taking ownership of what she’s doing has meant more than just being comfortable with where she sits in terms of genre. It’s also been a case of upping her involvement at every stage of the process, and looking at the commercial aspect of her career. “I’m really excited about being the boss of it all, and before I was very apprehensive, to the point where I would self-sabotage a little bit,” she explains. “It was like shy-bride syndrome, where I didn’t want to be at the centre of attention. It felt uncomfortable, I just wanted to sing.” Things are different now, and KT has also been using a Pledge campaign in order to raise funds. This means she’s been able to sell pre-orders, and provide the chance to purchase access to behind-the-scenes footage and paraphernalia. “It’s an amazing way to include fans in the process of making a record,”she says. “It also gives us extra financial stability to put more into the music – the money goes towards the music rather than my holidays by the way!” Moving on to the new album, KT reiterates that it’s a departure from INVISIBLE EMPIRE/CRESCENT MOON. “The record is really about galvanising people and their friends, and finding their drive” she says. “It’s amazing as you get older, because once you go through some really big shit in your life, the reaction of the people in your life really informs you of who your friends

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Maverick's Paul Kerr catches up with The Mike And Ruthy Band

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Catching up with Mike & Ruthy Formed in 2013 by Mike Merenda and Ruthy Ungar (daughter of Grammy-winning composer/fiddler Jay Ungar), The Mike + Ruthy Band received plaudits for their 2015 album BRIGHT AS YOU CAN. They were here in the UK in July for a short tour bookended by appearances at Summertyne and The Cambridge Folk Festival. Maverick caught up with them after their fine show in Glasgow for a brief chat. Hi there. You’re only over here for ten days or so starting with your appearance last weekend at Summertyne in Newcastle. How was that? Mike: We were just off the plane but it was a really wonderful event. The venue was magnificent, it was nice to be presented in such a regal establishment. Ruthie:  It was a good crowd and we caught some of the other bands but the most exciting thing was we got to go down in the basement and cut a song to a 78 directly with a lathe. It was a totally unique experience. I’ve listened to those old type of recordings but to hear your own song back immediately. Te instant we were done we dropped the needle and listened to it, complete instant gratification. Mike: It was the very machine that Alan Lomax used for those old field recordings and it was like, it’s now or never because you can’t just hit “undo” if you don’t get it right so it ups the ante. It a real experience seeing them cut the disc; the shavings, they look like someone’s hair and they brush it off as it revolves, they call that swarf. Did you get to keep the disc? Ruth: They’re going to digitise it but they’re also going to send the actual disc to us. Mike: We played Celtic Connections in January, that was out first show over here but we’ve been to Denmark and Australia. And this weekend you’re playing at the Cambridge Folk Festival. Are you looking forward to that? Ruth:  Oh yes. When I posted on Facebook that we were playing there my mom got in touch and told me that I was there as a baby when she and my dad played.  I didn’t know that. I was about two years old and I’ve now heard all these stories about trips here as a baby, I even came to Scotland and apparently I learned to say, “Och aye” while I was there. Mike: It’s a landmark summer festival and our former band The Mammals were a very hot festival band. But once we downsized to a duo, had our kids and that we were playing small shows, house concerts and the like so it’s taken us a while to get back on to the festival circuit with a bigger band behind us. This is the summer that it’s really starting to happen. Cambridge is one of 15 festivals we’ll be playing this summer. Is there another album in the pipeline? Mike: We’re working on one. We have the luxury of recording at home which can be a blessing and a curse because it can stretch out over a long period of time but we want to take our time with it, we’re not under any obligation to rush another record out. Bright As You Can has set a pretty high bar and we want the new one to be just as strong if not stronger. Ruth:  We’ve probably recorded enough songs to fill an album but we’re still writing and it’s nice to have the chance to play the new songs on the road. On BRIGHT AS YOU CAN some of the songs like Chasing Gold, simple and Sober and Bright As You Can we’d been playing live for about a year and I think that really helps once you eventually get in the studio to record them. There’s a confidence in the songs because you been reaching out to people with them for a while. Mike: One of the songs we played tonight, When My Story Ends we think is completely done for the record, signed sealed and delivered. We’ll be adding songs to that but in the meantime I’ve got a long collection of protest songs that I think it’s time to unleash on the world so I’m going to leak those out on the web as “Ruthless Mike.” There’s only one up at the moment because I think people only want to hear one protest song at a time.    

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Norma Jean Martine announces release of new album ONLY IN MY MIND

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Norma Jean Martine is set to release her blues inspired guitar-pop album, ONLY IN MY MIND on 9thSeptember 2016. Entirely self-penned, Martine wrote or co-wrote every track on ONLY IN MY MIND including three tracks with Joel Pott (Athlete) The album was produced by Danton Supple (Coldplay) with two tracks being produced by Ed Harcourt. Martine’s trademark husky vocals, which ooze sex appeal whilst blowing the roof off every venue she performs live in, feature on every song on the album.  Martine describes ONLY IN MY MIND as fundamentally an album about love, “Most of the songs on the album are love songs and the many different seasons of love. Love isn’t just one emotion… it’s a weird word we use to describe an array of feelings, and sometimes you don’t even know that feeling can exist until it happens to you.”  ‘ONLY IN MY MIND’s love-theme may well have been what attracted the producers of upcoming film ‘Kids In Love’ (starring Will Poulter & Cara Delevingue) to feature one of the album’s tracks ‘I Want You To Want Me’, in an emotionally charged scene during the film.  Another of the album co-write’s is ‘I’m Still Here’, which was written with the legendary Burt Bacharach,whom Martine recently performed ‘I’m Still Here’ with, at Bacharach’s London Palladium show.  It’s been a busy few months since Martine’s debut EP release ANIMALS at the end of 2015.  Alongside co-writing the title track for Ronan Keating’s Top 5 album ‘Time Of My Life’, she has co-written and featured on two tracks ‘We Ain’t Dead Yet’ and ‘Paint’ on Pablo Nouvelle’s current album ‘All I Need’, out on Armin Van Buuren’s label Armada Music. Martine’s most recent release ‘Freedom’ was her cover of George Michael’s classic 90’s track, which is currently the soundtrack to a multi-million pound Europe wide advertising campaign, reaching nearly 1million streams on Spotify.

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Loretta Lynn

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Dolly. Tammy. Willie. Hank. Waylon. Merle. Country superstars instantly recognisable just from their first name. Here’s another one: Loretta. The only female artist to chart in six decades, The Coal Miner’s Daughter, Loretta Lynn is still going strong as a pioneering and formidable singer, songwriter and performer, turning 84 years old on April 14. ‘Loretta Lynn: Still a Mountain Girl’, a documentary about her life and career, was screened on BBC 4 in March, after premiering on national US TV. A Broadway musical based on her memoir, ‘Coal Miner’s Daughter’, is also on its way. In 1980, Sissy Spacek starred in the Oscar winning film treatment of Loretta’s auto-biography. Loretta published a second memoir, ‘Still Woman Enough’, in 2002. A listen to her sparkling brand new record, FULL CIRCLE, messes with your head somewhat; hearing that distinctive voice and a tone more like a woman of less than half her age, from a woman born when Herbert Hoover was US president, and George V. was on the throne here. FULL CIRCLE takes listeners on a journey through Loretta’s musical story, from the Appalachian folk songs and gospel music she learned as a child, to new interpretations of her classic hits and country standards, to songs newly-written for the project. Everything It Takes, is a sweet duet with Elvis Costello, and Lay Me Down, a tune written by her son-in-law, a blissful duet with her old friend Willie Nelson. I caught up with Loretta on the phone at her Hurricane Mills home in Tennessee, a 1,600 acre ranch she and her husband bought many years ago, part of which is now a major tourist attraction with museums, a live music venue and major events regularly staged there. But the space and splendour of her beautiful home is a far cry from her childhood. Born Loretta Webb, named after film star Loretta Young, the second of eight children and the daughter of a coal miner, she was raised in poverty in remote Appalachian Kentucky hamlet, Butcher Hollow, Van Lear, in a one room mountain cabin with her parents and seven brothers and sisters. The family had little, but they always had music and all of them sang. Her part Cherokee mother used to stand Loretta on her Singer sewing machine and make paper dresses for her, while teaching her how to sing. One of those songs, In The Pines, is one of the highlights of the new album. Loretta married Oliver ‘Dolittle’ Lynn when she was 15 years old – many sources wrongly state she married at 13, but a check of official records confirms she was two years older – and it was he who bought her first guitar, a $17 Harmony in 1953. It was Oliver who urged her to get up on stage and perform after hearing her sing around the house. She admits that she never wanted to be a singer, cried with nerves when she first went on stage, but after three years of teaching herself the guitar, she decided on a game plan to focus on singing for just two years to buy the couple a house, and then retire! Theirs was a turbulent marriage, fuelled by his heavy drinking as an alcoholic, his violence and constant womanising. It is on record that he left her once while she was giving birth. As Loretta reveals, they often came to blows, with her giving back as good as she got! Pouring a hot pan of corn over his head in one incident. She used their behind-closed-doors life stories in the songs she wrote, with regular topics centred around boozing and philandering men, and rival mistresses. Her hit song Fist City, was a perfect and forthright example of Ms Lynn warning off the many persistent females she encountered. But Loretta and Oliver, who she called ‘Doo’, stayed together for 48 years, had six children and she was devastated when he died in 1998, unable to continue working for a while, stricken with grief. Until her comeback with the album STILL COUNTRY in 2000. That preceded the surprise double Grammy-winning smash hit album VAN LEAR ROSE, produced by Jack White. She formed her own band, Loretta and the Trailblazers, featuring her brother Jay Lee on guitar, in 1956. Loretta signed her first recording contract in 1960, for her first record HONKY TONK GIRL. She arrived in Nashville 55 years ago, became a big part of the Nashville country scene and charted her first of 16 number one hits in 1967. To read the full interview, purchase the May 2016 issue here

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