Top Picks Archives - Page 26 of 34

Review: Dave Edmunds ‘5 Originals’

Leave a Comment / Top Picks / Rochelle Mills

Guitar and production genius Edmunds was doing roots rock before most people even thought of it, with 1970 transatlantic hit I Hear You Knockin’, producing Shakin’ Stevens debut (and the hit Merry Christmas Everyone) and working with many more stars. This 3CD set unites five albums. SUBTLE AS A FLYING MALLET from 1975 has Edmunds’ wall-of-sound recreating pop and rock classics – and with country-rockers Brinsley Schwarz, including Nick Lowe, on two live numbers. We skip the Rockpile years when Edmunds and Lowe shared a powerful band, leaping to DE 7th (1982), featuring keyboard/accordion king Geraint Watkins and his band the Dominators and songs such as Watkins’ wonderful Deep In The Heart Of Texas and Gulf Coast fiddler Doug Kershaw’s Louisiana Man – and a song gifted by Bruce Springsteen, From Small Things (Big Things One Day Come). INFORMATION (1983) is same band but augmented, curiously, by the synthesiser of, equally curiously, producer Jeff Lynne. Rather poppy but Lynne wrote the classy hit Slipping Away. Follow-up RIFF RAFF, however, saw Lynne preside over a synth-heavy flop. But Edmunds is at his glorious best on the live I HEAR YOU ROCKIN’, Watkins and co back to romp through a string of rockabilly-country favourites… I Saw The Bride, Girls Talk, Queen Of Hearts, Ju Ju Man and, of course, I Hear You Knockin’. 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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Review: My Darling Clementine with Steve Nieve ‘Country Darkness’

Leave a Comment / Top Picks / Rochelle Mills

MDC are, of course, Brit husband and wife team Michael Weston King and Lou Dalgleish who have intelligently and beautifully reinvigorated the country duet over various albums. Nieve, equally of course, is the long-time keyboard campadre of Elvis Costello. Here they unite, with subtle band, to interpret 12 of Mr Costello’s finest, country-soul gems from down the years, in a manner that is far from a simple country album. The couple’s vocals caress the lyrics with music that is near classical at times, Nieve’s elegant piano along with everything from cello to flugelhorn and yet there’s squeezebox, guitar and pedal steel drifting through. There’s a dramatic horn-drenched take on Elvis’s collaboration with Paul McCartney, That Day Is Done, an entrancing Heart Shaped Bruise and Indoor Fireworks, accompanied only by Dalgleish’s piano. Elvis’s co-write with the mighty T Bone Burnett, The Crooked Line, gets a playful Tex-Mex feel, I Felt The Chill Before Winter Came, written with Loretta Lynn, is sweet country while his team-up with singer-songwriter Jim Lauderdale, I Lost You, has an understated country-rock feel. Impressive and imaginative. 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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Review: Shakin’ Stevens ‘Fire In The Blood’

Leave a Comment / Top Picks / Rochelle Mills

Nineteen albums and 292 tracks, this box set rocks and rolls through 40 colourful years. Many listeners didn’t see much beyond his hits and Top Of The Pops appearances (he was the UK’s biggest selling singles artist of the 80s) but Shaky has always been the real deal, combining rockabilly, country and boogie in a breathless rollercoaster ride. And while he looked increasingly slick on his album covers, inside he was the poor boy from the Welsh valleys fronting a dream team of country-rock musicians. This collection starts with his first two rockabilly solo albums, SHAKIN’ STEVENS and TAKE ONE, before things hit a new level with 1980’s MARIE MARIE. Inspired producer Stuart Colman directed a killer band, not least guitarists Albert Lee (fresh from Emmylou Harris’s Hot Band), Mickey Gee (once of Dave Edmunds’ hitmakers Love Sculpture) and Roger McKew (who’d played with the likes of Joe Brown). Then pianist Geraint Watkins (whose own combo, the Dominators, featured Gee and had also been playing souped up rock ‘n’ roll country-tinged boogie), pedal steel genius BJ Cole and Hank Wangford drummer Howard Tibble. Shaky’s vocals conjure up 50s America and there was genius in giving new life to songs we thought we knew (turning Fats Domino favourite Don’t Lie To Me into a squeezebox-led zydeco party) and spotting new kids on the block (Dave Alvin’s Marie Marie was recorded almost the moment it was heard on the debut album by his LA roots-rockers, the Blasters). Each album is here in its entirety, in replica cover, stashed neatly inside a classy hardback book, and with all the hits… Green Door, This Ole House, Oh Julie, Hot Dog and more. Merry Christmas Everyone is here with its own Christmas album, and there’s the dark and rootsy ECHOES OF OUR TIME from 2016. Add two live albums (one a BBC concert) and three packed discs of rarities (B sides, 12-inch versions, radio sessions) and it’s a glorious treasure trove. 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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Review: Mark Viator and Susan Maxey ‘Where The Road Leads’

Leave a Comment / Top Picks / Rochelle Mills

Mark Viator and Susan Maxey ‘Where the Road Leads’ Rambleheart Records Texas based Americana-roots duo Mark Viator and Susan Maxey showcase their raw vocals on their new record ‘Where the Road Leads’. Drawing influence from the Texas Troubadours you can clearly hear the experience in their ability as musicians and as songwriters. This is a group fully immersed in the infamous Austin music scene. Maxey delivers a standout performance with her soulful voice whilst the 12 track record boasts some foot-tappingly good, barroom tunes; from Tore Up From the Floor Up which includes some clever internal rhyme within the chorus, to Cajun Navy which is bound to get you up on the dance floor, if you’re not already there. It’s in this song that Viator’s vocals appear at their strongest. There is variety on the record though, from the stripped back country ballad Call of Love to the mandolin based waltz of Tumbleweed Graves – the melodies in this song remind me of Stella Parton’s Last Rose of Summer. Viator and Maxey know exactly when a project is calling for a switch in tempo and manage to conclude the record with a ‘farewell’ song that reminisces on old times and features a slide guitar solo. 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: The Dinallos ‘The Dinallos’

Leave a Comment / Top Picks / Rochelle Mills

The Dinallos The Dinallos Memphis International Records The lead off single from The Dinallos is Kilimanjaro, what’s glaringly obvious is the high end arrangement and production – I love a B3 Organ in a country song. The second thing you notice is the effective use of backing vocals combined with Juliet Dinallo’s vocals. The third thing I notice is, by the last chorus, I’m swaying from side to side – it’s catchy! As you begin to warm to this husband and wife duo, they introduce their ten year old daughter during Lemonade. Her vocals are endearing yet quite mature for her age, she executes her performance so well, I’m keen to hear more (move over Mum, Annabel’s coming through!). All joking aside, it’s clear music runs in the gene’s of The Dinallo’s. Now residing in the heart of music city they’re soaking up a lot of different influences. The record makes a departure from country music for the much darker, rock infused Private Hell which does feel slightly out of place as it’s dominated by electric guitars. The 16-track album feels almost like two eight-track albums stitched together with an instrumental break in the form of Eggemoggin Interlude. It’s certainly a strong introduction to the family’s capabilities as musicians and songwriters. Their sound which, for the most part, leans towards the more traditional side of the genre is unique and yet refreshing to hear. 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: Steve Yanek ‘Across The Landscape’

Leave a Comment / Top Picks / Rochelle Mills

Steve Yanek ‘Across The Landscape’ Primitive Records The arrangement and production of ‘Across The Landscape’ compliments Yanek’s vocals well; there is room for them to take centre stage, yet each part serves a meaningful purpose. In the stripped back ‘Emily’s Eyes’, whilst the lyrics have a simplicity about them, the intricate arpeggiated guitar and mandolin parts which feed off each other give a slightly longing feel to the song. Whereas on the Jazz infused ‘Quarter Moon’ and the folk-rock ‘Got To Hear You Say It,’ there is room for the musicians to showcase their talents, particularly guitarist Jeff Pevar, however by around track 8 the instrumental solos can get quite tiring. Although I applaud the variety channelled into this record, it lacks a little direction in parts, as if Yanek hasn’t quite figured out his identity as an artist just yet. I long to hear more of that fire and grit he achieves in the rock influenced ‘Dance With You’, there’s just a couple of songs that feel misplaced on this project. However, the songwriting comes from an honest and authentic place and is set to the backdrop of a high end, well thought out production that suits Yanek’s vocal style. 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: Phil Hooley ‘Songs From The Back Room’

Leave a Comment / Top Picks / Rochelle Mills

Phil Hooley Songs From The Back Room Phil Hooley, frontman and founding member of alt-country band The Woolgatherers, has teamed up with former Nashville drummer and producer Justin Johnson for his first solo project which they recorded in Scarborough. The emphasis of this record is on the songwriting, particularly the stories the lyrics tell, all framed by a traditional country arrangement. That Same Old Song is a classic story telling, mid-tempo country-folk song, made ever more consequential by Hooley’s unpolished vocals. Whereas on Pour Me A Drink, Hooley shows his lyric writing abilities as he pulls out a clever hook “Pour me a drink and I’ll pour out my heart.” It’s an upbeat track despite it’s sad undertones and it’s on this track that Hooley’s vocals are at their strongest. Ballads like River Of Dreams and It’s Time We Said Goodbye though beautifully written don’t suit Hooley’s vocals as well. The latter closes out the record and holds a lot of emotion, something which is hammered home by the use of the countermelodies on the fiddle. It’s not the most polished album but what it does, is showcase Hooley’s storytelling abilities within his lyrics and you can hear the influences of Guy Clark and John Prine in his writing. 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: Parker Millsap ‘Be Here Instead’

Leave a Comment / Top Picks / Rochelle Mills

Parker Millsap Be Here Instead Okra Homa Records/Thirty Tigers Parker Millsap returns with his fifth studio album but it is a departure from what we’re used to from Millsap. The gritty, high energy folk music of his previously releases like ‘Other Arrangements’ and ‘The Very Last Day’, is replaced with an adventurous, kaleidoscopic sound. The lead single on the record, The Real Thing, sets the scene nicely giving us a taste of what’s to come sonically. Though still littered with clever lyricism “I been through your roses, honey/I don’t mind the thorns”, we hear a determination to reinvent himself on a song which has taken on new meaning during the last year. Though he originally wrote this whilst touring and missing his wife, that desire to really connect with someone has been potent for many during 2020. We hear a glimpse of his former self with the acoustic undertones of the softly sung, In Between. This stripped back, authentic track is refreshing and a stand out on the album. It is worlds away from Dammit which culminates the new direction in which Millsap is heading down. There is a fieriness to his vocals as the electric guitars ramp up around him. The storytelling lyricism of his past records is not completely gone but he demonstrates a more introspective take on lyric writing. This is demonstrated in the track Vulnerable, which Millsap wrote when he was newly married. In the song he shares simple snippets of wisdom with listeners as he insists “it’s never really worth it to try to be tough”. Millsap continues to explore and experiment in Now, Here a synth-driven track that leaves lots of room for lines to linger. I like the boldness of this record. Parker Millsap finds himself wandering down a number of rabbit warrens in a quest to find out what his subconscious really has to say. The majority of this record was recorded by his band live in the studio and there is a feel of collectiveness throughout this record no matter what the musical backdrop is that he’s currently exploring. Though I don’t think fans will love every single song on this album, I do think everyone can find something to take away from this record, a song or two that they can really connect with. 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: Forty Elephant Gang ‘Next Time Round’

Leave a Comment / Top Picks / Rochelle Mills

Forty Elephant Gang Next Time Round Independent The debut album from Forty Elephant Gang has introduced them to the scene in an explosive fashion – Songs Of Praise is an audacious way to kick start a project. It begins with a catchy refrain ‘I got an open mind Lord, I got an open mind’ and keeps on building throughout, although the break towards the end feels a little uncomfortable and perhaps a bit forced but the band open the album strongly. The mandolin is used to great effect throughout the record; the textures they create by blending the Cello and Accordion with the Mandolin and Slide Guitar are invigorating. An example of this comes from the song Strange Things Happening. The melodies and harmonies in this song make this a stand out track – sonically it wraps around you like a warm musical hug. Meanwhile, Jealousy does quite the opposite, the staccato introduction offers a taste of what’s to come lyrically. In fact, the music is so intriguing throughout this track – it is well arranged. I’m really impressed with the level of musicianship from this band. From tiny shoots grow big trees and I can’t wait to watch this band blossom. 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: Deborah Henrikkson ‘So Far’

Leave a Comment / Top Picks / Rochelle Mills

Deborah Henrikkson ‘So Far’ DH Productions Deborah Henrikkson’s voice is spellbinding throughout the 21 track album. The Swedish-American singer-songwriter fuses her contemporary folk and Celtic influences perfectly on this haunting new record. Early on we’re introduced to the backing vocals which are highly effective. The production and instrumentation throughout is well thought out and gives Henrikkson a clear, unique sound. ’Fly’ boasts an interesting instrumentation with both the Cello and Flute playing important roles, helping to capture the loneliness and eeriness of the track. Their is some vivid imagery used within the lyrics which paints a clear picture in the listeners mind and conveys the message of each track. ‘Wild Fire’ begins ‘Raging trees in colours cry, Seething crimson in the sky.’ The language is creative and bold yet there are pop sensibilities within the chorus as Henrikkson uses repetition to help that hook linger in the listeners mind. Throughout the record the lyrics remain very abstract and we are not overloaded with unnecessary words. It’s an album that really shines a light on the relationships between a good production and interesting vocal melodies. 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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