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Freddie Steady

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

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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Taylor Swift

Review: Fearless (Taylor’s Version) – Taylor Swift

Taylor Swift Fearless (Taylor’s Version) Republic Taylor Swift’s Fearless is like waking up and suddenly seeing the world in beautiful technicolour. At a glance we’ve heard this record before, a classic almost, that we’ve come to know and love yet even familiar hits such as Love Story and You Belong With Me seemingly come to life in the new production. Swift has stayed true to the original recordings so much as they’re still country and it’s the same arrangement yet each instrument is enhanced within the mix as if it’s sitting comfortably in its own space under a spotlight. We hear a more mature vocal from Taylor as 13 years have passed since she recorded the original ‘Fearless’. I always loved her youthful voice on the original but we hear a new found strength in her voice. Perhaps this has come with age or perhaps it’s the sound of a fiercely independent woman reclaiming her life’s work! Forever And Always is particularly enhanced by the strength of Swift’s voice when she belts out that final chorus. Songs such as White Horse, the beautiful ballad about the realisation that not all love stories have a happy ending, has so much more depth to it. From the delicate piano accompaniment provided by Paul Sidoti to the backing vocals from Mike Meadows, every aspect helps to evoke emotion, as if the events that lead to this story being written happened just yesterday! It’s great to see the likes of Paul Sidoti and Mike Meadows so heavily involved on this record as they have been touring with Taylor from the very beginning. They are two incredible musicians who know these songs inside out. Some of Taylor’s finest songwriting was on the original Fearless album, it’s nice as fans to revisit and remember the sublime lyrics Swift crafted – back then she was just a teenager. Songs such as Tell Me Why which she wrote with Liz Rose and The Best Day, which she penned completely alone about her relationship with her mum. Lines such as ‘I know you’re not scared of anything at all’ carry more weight after everything the pair have been through together as a family since the care-free days when Swift first penned the beautiful tribute. In addition to the original songs we heard on the deluxe edition of fearless, Swift has added six songs ‘From The Vault’ which she penned at the time of the original record release but they didn’t quite make the cut first time around. With Swift now owning her own masters she has a lot more freedom and independence and this time, they made the cut! Fans of Swift are sure glad they did. She teams up with famous faces within the country world in the form of Maren Morris and Keith Urban who both add their own stamp to these songs. The stand out track from the set is one she penned 16 years ago with Liz Rose called Don’t You, Swifts falsetto in the chorus is beautiful and demonstrates two things, firstly the emotion she conveys in the song and secondly Taylor’s excellent vocal control as she sings the song flawlessly. The six songs ‘From the Vault’ are, to fans, like missing pieces from a jigsaw puzzle and for the first time we can stand back and view the whole picture in glorious technicolour. Fearless (Taylor’s Version) is a beautiful snapshot of where Taylor’s been and where she’s going. It’s a record that has the power to change the music industry for the better. The world really is her Oyster and she’s going to dominate it for years to come. 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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Nineteen Hand Horse

Review: Revel – Nineteen Hand Horse

Nineteen Hand Horse Revel Independent Nineteen Hand Horse’s debut album draws influence from classic country but have a hint of the blues and a dash of rock amongst the 10-track record. Just Another Honky Tonk Night introduces us to Nathalie Archangel’s gritty vocals, the references to classic country artists such as Patsy Cline and Johnny and June Carter Cash are a good indication of where this band sits within the country music landscape. Having said that the melodies in the chorus feel somewhat familiar and, as crazy as it sounds, reminds me more of Abba! The Withering Romance of Trains is a song that’s sure to take you by surprise not least because of the language which is far from family friendly but also the differences in the production between the verses and chorus which brings in modern themes set to a classic instrumentation. It’s an intriguing record which certainly has a sense of humour! Though the group may be newly formed all of its members have worked in the music industry as platinum-selling songwriters, producers or instrumentalists and you can certainly tell as the record is riddled with clever lyrics, impressive guitar riffs and it’s pulled together with a phenomenal production. Nineteen Hand Horse are a modern outlaw outfit and they are certainly ones to watch. 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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The John Williams Syndicate

Review: Out of Darkness – The John Williams Syndicate

The John Williams Syndicate Out Of Darkness Wulfun Records John Williams’ career spans an incredible seven decades as a record plugger, producer, songwriter, journalist and recording artist and he is well known for his spell as the head of A&R. Having collaborated with just about anyone who is anyone on the music scene, he’s now come up with an excellent offering utilising the vocal talents of some of those who he’s worked with. Ten numbers written or co-written by Williams make this a very enjoyable listen. The ageless Petula Clark joins Williams on the beautiful ballad New Flag with Claudia Bruüken leading on Luminescent and Don’t Give Up On Me. Williams’ superb guitar and keyboard work give this collection of largely love ballads, a throbbing but haunting feel and his vocals have not suffered the ravages of time. As expected, the song writing is of the highest quality none more so than on the opening track Loud and Clear which he co-wrote with Iain Matthews. A 32 page booklet contains a self penned biography, all lyrics and a set of paintings by Tim Hobart. File under easy listening. 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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Randy Lee Riviere

Review: Wyoming – Randy Lee Riviere

Randy Lee Riviere Wyoming Wilderness Records Randy Lee Riviere captures the sound of the American mid-west on his latest record Wyoming. Stepping out from behind the stage name Mad Buffalo for the first time, Riviere delivers a record packed with lyrics that paint a vast landscape within the listeners mind. On the song My Town Riviere’s voice wavers slightly as he passionately defends the things that are important to him, protecting his town from encroaching development ‘Why tear it down? This old town just got run down’ he belts. Meanwhile, on Fences, his raw, earthy vocals speak of family traditions and working hard for the land while the soft percussion arrangement keeps the ballad moving along. There is a good balance of up-tempo, foot-tappingly good songs and nonchalant ballads all performed by an exceptional band comprised of Kenneth Blevins, James Pennebaker and David Santos. A stand out track for me is Eighth Wonder which hones in on a beautiful fiddle counter-melody whilst the lyrics have a delicate beauty to their subject matter. Though producer Kevin McKendree, allows the instrumentalists to shine, the backing doesn’t over power Randy’s tentative vocals which are often packed with emotion. The album concludes with the title track which is an instrumental, this really allows the musicians to showcase their calibre. Overall this 13-track collection has allowed Randy to dig deep into his consciousness and hone in on topics that are close to his heart. He has shied away from the stereotypical themes and delivered an authentic and unique work of art that not only speaks his truth but delivers a thought-provoking message to the world about preservation and conservation. Randy Lee Riviere is at his very best on ‘Wyoming’ as an artist, songwriter and activist. 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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Janet Simpson

Review: Safe Distance – Janet Simpson

Janet Simpson Safe Distance Cornelius Chapel Music This is the first time that Birmingham, Alabama born Janet Simpson has widely-released an album under her own name, being better known for fronting the band Timber with Will Stewart who contributes guitars and vocals. Much of the album has a raucous feel, from the swaggering Nashville Girls to a rocking Reno. Friend Jody Nelson makes an appearance on the great country rocker I’m Wrong. The further the album progresses, the more Simpson slips into a sleepy, sultry mood with Black Turns Blue and Awe and Wonder before things come to a finale with Wrecked, a classic country ballad. The album takes Simpson on a journey from Nashville to Reno (well, almost) and has spawned 12 great self-penned numbers. After a career spanning over 20 years, one wonders why she’s not released a solo album in the past. The song writing is of the highest quality and her vocal delivery is first class. A multi-instrumentalist, Simpson has appeared with several bands and has toured the US and Europe and whilst her debut solo effort has been a long time coming, the wait was well worth it. 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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Ray Cooper

Review: Land Of Heroes – Ray Cooper

Ray Cooper Land of Heroes Westpark Music Ray Cooper highlights the beauty of the cello in Land of Heroes whilst paying homage to his inspirations and shining a spotlight on his ability as a multi-instrumentalist. Cooper is credited with singing and playing all the instruments on his fourth studio album since pursuing a solo career away from the Oysterband. His blend of traditional instrumentation and modern techniques is at the core of this album, a juxtaposition we’re introduced to on the track Whistleblower. The drone of the cello provides a strong foundation as it couples with an acoustic guitar whilst the lyrics are rhythmically spoken rather than sung. Circles really showcases the versatility and the potential the cello has as a lead instrument, how Copper works that instrument is truly unrivalled. There’s a pop sensibility to it in the melodies, the way in which they stick in your mind. It’s easy to hear Coopers Gaelic roots which shine through in Canada Hill whilst the feel of We Need More Horses takes Cooper back to his days with the Oysterband. Cooper, who wrote and recorded the record during Lockdown addresses the situation in Eyes of Mercy, the arpeggiated guitar ballad which features Godel’s vocal harmonies and a haunting cello counter-melody. It’s a record that shall take time to digest but one you shall wish to play over and over again as you pick out the intricate details within Coopers arrangement and production. Recorded in Sweden during lockdown it is clear that Cooper was inspired by his nordic surroundings and the uncertainty of the world we were living in. ‘Land of Heroes’ proves to be an exceptional album from an awe-inspiring musician and a must in any music lovers collection. 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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Alan Jackson

Review: Where Have You Gone – Alan Jackson

Alan Jackson Where Have You Gone EMI Records Nashville Alan Jackson’s new record stays true to his traditional, country roots and yet it’s his most personal collection of songs to date. It begins with Where Have You Gone in which Jackson begs the question where has country music gone? It is set to the traditional arrangement of a softly strummed acoustic guitar and fiddle. The ballad sets us up for what we can expect throughout the rest of the album. The harmonies in the chorus help the melody to take off whereas the sort of call and response between the vocals and pedal steel are captivating. Family, just like in traditional country songs, is at the heart of the record. The nostalgic You’ll Always Be My Baby written for one of Jackson’s daughter’s weddings reminisce’s on the past, the different milestones in his daughters life before bursting into this chorus which declares ‘You’ll always be my baby, no matter where you are’. It’d be a perfect father, daughter dance as though the lyrics are so detailed it’s also very relatable. I Do was also written for another of Jackson’s daughter’s weddings, it’s another emotive song that demonstrates Jackson’s devotion to his family. Similarly, Jackson captures the tenderness and love for a much sadder family event – his Mama’s funeral. Where Her Heart Has Always Been features an old recording of his mum reading from the bible as the ballad begins to play. The heartbreak Jackson must have felt is palpable but Jackson transforms the sad event into a positive interpretation as he talks about faith with beautiful descriptive lyrics such as ‘I could hear the roses sing, a bluebird softly claps its wings’. There are plenty of toasts to alcohol on the record too, which is what you’d expect on a good country record, including Beer:10 and Way Down In My Whiskey. The stand out of the drinking songs is actually a love song in waltz time. In, I Was Tequila, Jackson compares himself and his lost lover to various things such as blue jeans and red roses before the pay off line hits with ‘I was Tequila and she was champagne’. The record from start to finish is the embodiment of real country music as Jackson sticks to traditional arrangements and instrumentation and tells stories of family and faith with the most powerful lyrics. 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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Amy Speace

Review: Amy Speace – There Used To Be Horses Here

For her tenth offering, Amy Speace reflects on the short period between the birth of her son and her father’s passing in 2019. The album is deeply personal as Speace experiences the joy of childbirth whilst musing over a tangled relationship with her father, until she became very close some seven years ago, as he became her hero and sharpest critic. The opening track Down the Trail encapsulates perfectly her childhood memories and her father’s words to her in his final days. Influenced by the likes of Judy Collins and Kathy Mattea, Speace wrote or co-wrote all songs on the album apart from Warren Zevon’s classic Don’t Let Us Get Sick which closes the album. ‘There Used to be Horses Here’ probably represents Speace’s most intimate and emotional song writing to date and whilst the subject matter may appear heavy, it is by no means a sad collection. As a fan and friend of Nashville outfit The Orphan Brigade, she invited them to collaborate as songwriters and producers and the result is something to be savoured. 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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Joe Bonamassa

Review: Joe Bonamassa ‘Royal Tea’

King of the blues Bonamassa runs the gamut from blues-rock to cool 40s and 50s dancehall blues to country-blues, always with a rootsy edge. Here the New Yorker heads to his second home and records at Abbey Road, an album that lets him have a late 60s/early 70s prog rock party. He’s written songs with Pete Brown, the Cream lyricist, and Bernie Marsden, guitarist in heavy rock combo Whitesnake. The result is heavy but tuneful, and with that special something Bonamassa manages to bring. The title track – oddly inspired by the Harry ‘n’ Meghan shenanigans – chugs along nicely with girlie backing chorus and there’s plenty of guitar histrionics, in a good way. But there’s another side… the mandolin-fringed Savannah is a relaxed love song, Lonely Boy a horn-swept boogie and Beyond The Silence slow and moody with acoustic touches. Bonamassa’s regular band – including ace keyboard player Reese Wynans, who’s been in both Jerry Jeff Walker’s band and Stevie Ray Vaughan’s Double Trouble – are even joined by Jools Holland for that Brit touch. Bonamassa is always inventive while honouring the music’s roots. 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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