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Review: John Ward SARGASSO

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John Ward SARGASSO Ion Music UK *** East Anglian singer-songwriter done good Back in the days of yore, a little after the days of knight’s with helmets and horses, but certainly when I still had all my own teeth, I used to watch John Ward playing support slots in many East Anglian folk clubs, often in the company of Mario Price on violin. Then life intervened and I lost track and now he’s here again. It has been a pleasure to re-acquaint myself, via cd, I thought he was good back then and it is good to know that my ears did not and still do not deceive me. For he has written all twelve pieces on this cd and there are several little gems amongst them. Most notably “Adrift” which turns its attention to the plight of the many refugees this world is creating, and “The Good Old Days Are Here” which urges us to appreciate the now rather than wait to recall things later. Backed by a trusty band of top-notch local musicians this is an album that doesn’t share all its beauties with you at the first time of asking, rather it rewards those that have the insight to listen again and treasure the nuances that reveal themselves like the changing colours of a glorious sunset. So it’s fair to say that I like this, and I have listened more than once, so should you. Ian Ambrose johnward.org.uk

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Review: Brenda Lee SINGS COUNTRY, ULTIMATE COUNTRY COLLECTION

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Brenda Lee SINGS COUNTRY, ULTIMATE COUNTRY COLLECTION Humphead Hump 2 stars Who knew? This is indeed the very same Brenda Lee, the saccharine rock’n’roller of Let’s jump the broomstick and Rockin’ around the Christmas tree fame, and the tale of what she did next. If you are like me you thought that once she stopped being famous she just went home and lived on the royalties that accrued each Christmas, how wrong could I be. This double album of fifty songs is the proof of what Brenda did next and, probably, sounds the way you imagine mainstream Nashville to sound between the years of 1961 and 1985, the span covered by these albums. I’m also sure that the astute among you are beginning to get the feeling that I am not excited by this at all, and you would be right. Despite songs by such luminaries as Shel Silverstein, Kris Kristofferson, Mickey Newbury, and Willie Nelson nothing comes close to catching fire, and the impression given is that their best songs went to other people. But throughout Brenda’s voice holds up well yet, on occasion, cannot lift the second rate songs above the grasp of the ubiquitous Nashville sound, whose strings don’t come anywhere near close to the sincerity of banjo and mandolin. This really isn’t what I started listening to country music for, and my apologies to all concerned. Ian Ambrose humpheadcountry.com

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Review: Brooke Sharkey WANDERING HEART

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Brooke Sharkey WANDERING HEART Self released 3.5 stars Atmospheric and haunting; but brush up on your French! Brooke Sharkey was brought up in both France and England and spent her formative years busking around Europe. Now settled in London, her unique song writing style and incredibly controlled vocals have brought her to the attention of the likes of BBC 6s Mary Ann Hobbs. Much of WANDERING HEART, her second full length album, is delivered in French but the narratives tell of personal encounters and emotional connections, reflecting the last two years of her life. Influenced by old time French music, folk and contemporary pop/rock, the album was inspired by life living in London and travelling along the coasts of France and Italy with long time collaborator Adam Beattie who plays guitar and double bass on the album. Jez Houghton (French horn) and Sam Pert (drums) complete the line up. Brooke is comfortable with beautiful, haunting ballads but with a clever change of pace, can easily switch from a near operatic sound to the likes of the throbbing bluesy Come to Me or Bottletop Blues. With so much of the album delivered in French, it may not fire the imagination of British audiences but a forthcoming European tour ought to find her talents fully appreciated. I enjoyed the album but a lyrics insert with translations would have been helpful. John Roffey www.brookesharkey.co.uk

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Review: Shantell Ogden THE ROAD THAT DRIVES ME

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Shantell Ogden THE ROAD THAT DRIVES ME Hip Farm Chic Records **** A compelling Americana album that mostly encourages listeners to keep coming back for more September 13 will mark the release of Shantell Ogden’s new album THE ROAD THAT DRIVES ME. Not an album for fans of rockier country, nonetheless THE ROAD THAT DRIVES ME is still very strong and showcases Shantell well. Improving in quality as listeners journey through the album, THE ROAD THAT DRIVES ME is anchored by Truth About Trains and Feels Good To Get It Right. Intriguingly, Feels Good To Get It Right plays with a slight reggae feel that works surprisingly well and the track as a whole is smoothly added to with the harmonica hook that leads the rest of the instrumentalisation. In contrast, Truth About Trains feels a little pedestrian, which is a little unfortunate considering it’s position within the album. This pedestrian feeling crops up a few other times in the album which stops it from being really outstanding. Different Sides Of The Mississippi and Love Again are the softest tracks on the album but are arguably the two strongest. With nowhere to hide in either track, the focus is really on Shantell’s vocal and she doesn’t disappoint. Different Sides Of The Mississippi has a soothing blues rhythm that works well with the lyrics behind a track that also sees the harmonica used very effectively. The main production lead in Love Again comes from a delicate acoustic guitar line that manages to both feel open and unrestrained whilst still creating a strong beat to support Shantell’s vocal. The delicate vocal delivery contrasts smoothly with the following track as well as standing on it’s own well. Very strong album, it would have been interesting to see what a few further tweaks would have produced. Kasey Stone, www.shantellogden.com

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Review: Kim Edgar STORIES UNTOLD

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Kim Edgar STORIES UNTOLD Quietly fantastic music 4 stars Imaginative story-telling from the Edinburgh songstress Launched to coincide with the Edinburgh Festival Fringe, this latest offering finds Scottish singer/songwriter and pianist Kim Edgar delving into her innermost thoughts with a 12 strong collection that explores such diverse subjects as the impact of crime and punishment, child soldiers as well as the folk staples of loss and love. Inspired by amongst other things, graffiti in a Glasgow toilet urging us to ‘write about love’, Kim certainly took up the challenge with finely crafted numbers like Withheld where she is confused by conflicting feelings but scared to show them. Kim of course, also features in Irish folk band Cara and is joined on the album by fellow vocalist Gudrun Walther on violin and viola. Kevin McGuire (bass), Mattie Foulds (drums), Su-a Lee (cello), Fergus Kerr (French horn), Michael Owers (trombone, sousaphone) and Inge Thompson (backing vocals) also offer support. The album jogs along at a consistently gentle pace throughout but that takes nothing away from the overall quality of the music or Kim’s exquisite vocals. She embarks on a 20 date autumn tour of Scotland to promote the album as well as heading off to Germany with Cara. Her previous work has been critically acclaimed and this one should receive no less favourable treatment. John Roffey www.kimedgar.com

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Review: Birte Paulsen BORROWED TIME

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Birte Paulsen BORROWED TIME Self released 3 stars Indie folk noir with a sigh of Nordic melancholy from Brighton’s German expat Well known in the Brighton area, Birte Paulsen has been writing and performing for years but this is her full length debut where she pays homage to her Northern European roots. She finds a certain beauty in sadness and this is reflected in the dark nature of the fare on offer. Familiar themes of lost love, broken relationships and vulnerability but all exploring the darker side of life make this a listenable collection but not one for the depressed. Birte is joined by some of Brighton’s best; Brothers Alfie (bass, ukulele, percussion) and Ben Weedon (violin) and the self styled ‘queen of indie noir’ Mishkin Fitzgerald on piano and accordian. Birte returns to her roots with Berlin and Fresenhof (no translation provided) but I enjoyed Blue Winter Skies, a catchy number with a great percussive accompaniment as the artist dreams of locking her lover in and throwing away the key; happy melody but with the inevitable dark lyrics. Pleasant voice, mature song writing but avoid if you need cheering up. John Roffey www.birtepaulsen.com

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Review: Mike Smith ALWAYS YOU AND ME

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Mike Smith ALWAYS YOU AND ME EMS Records 4 stars Highly sought after songwriter/musician tries his hand at rockin’ country Well known in music circles as a premier league song writer and musician, Mike Smith has worked with many of the great names, particularly in the world of hip-hop. Now firmly part of the Nashville scene, Mike has decided to utilise the hip-model to introduce his music into the country music sector and has come up with a ten strong collection of self-penned numbers which veer from what is almost heavy rock to gentle country ballads. Production credits are shared between the likes of Gilby Clarke of Guns N’ Roses fame, the award winning Avila Bothers and top Nashville musician Nioshi Jackson who also contributes some pretty heavy percussion work. Smith is surrounded by a host of first class sides men, including the amazing Dan Dugmore on mandolin, pedal and lap steel; was it really 40 years ago when I saw him in Linda Ronstadt’s band? The album encapsulates the ups and downs of life but often returns to his primary focus, wife Erika. The single Green Eyed Girl has already made an impact on the charts and there’s little doubt the album will follow. Screaming guitar work and throbbing percussion abound on much of the album although I found his gentler work much more listenable. The Simon & Garfunkel influenced All Your Love and the soulful Keep it All to Myself were highlights for me. John Roffey www.mikesmith.net

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Review: Daniel Goodman – KEYS TO THE KINGDOM

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Daniel Goodman KEYS TO THE KINGDOM Self-Released **** Poetic lyrics turned into wonderful songs Daniel Goodman is a talented singer/songwriter whose songs set poetic lyrics to music. His latest offering is a classy four track EP featuring songs that showcase a new side to Daniel’s music. This EP was recorded at the world renowned Magic Shop Recording Studio and produced by Mario J McNulty, who has produced music for the likes of David Bowie and Lou Reed. Unlike Daniel’s full length albums, which are largely acoustic in sound, this EP introduces a mix of musical instruments. There is a large dose of 1970’s folk/rock blended into the musical style of the songs offered here yet Daniel always manages to retain his unique vocals. With all four songs self-penned there are plenty of lyrics to get excited about. Keys To The Kingdom starts off slowly and builds into a dramatic chorus. The music also fluctuates giving the song depth and  character. This is a rocky song with strong vocals that manage to ride above the rousing music. Daniel’s vocals are rough, spirited and rather charming on the ear. This song is great to listen to with the volume turned up high. Long Time Waiting is a much slower offering. Quite charming Daniel’s vocals are raw and emotive. The musical backing is laid back allowing the vocals and lyrics to take centre stage. This is a beautiful song that really tugs at the heart strings. This song is the closest thing on the EP to the style of music on Daniel’s previous released albums. Orphan’s Song sees the tempo go up a gear. This is a really rousing rocky pop/folk song. The lyrics are really clever and well constructed, also quite succinct in places. Listeners will feel themselves being transported back to the days of Woodstock upon listening to this song. If this song doesn’t have you dancing then I don’t know what will! Sons Of Cain completes the EP. This is a heavy song with great instrumentation. Another song that feels like it wouldn’t have been out of place in the 70’s. Once again it is Daniel’s unique and raw vocals that grab you. He manages to tell a story just by altering his tone of voice. A great song to end on, you really feel like you have been treated to some excellent music upon listening to this EP. It is a shame that this is only an EP and not a full length album as there is plenty to wet your appetite here and make you long to hear more.   Sara Hunt

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Michael Messer's Mitra / Terry Clarke

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Michael Messer’s Mitra CALL OF THE BLUES **** Terry Clarke ATOMIC 10 AND OTHER SINATRA DREAMS **** Innovative pair take Americana in very different directions A couple of extraordinarily different (and beautiful) albums by Brits with Texas in their hearts. Messer’s the king of the National steel guitar and Clarke is a singer-songwriter with the air of an Americana Van Morrison. Together they teamed up with the Joe Ely Band’s breathtaking guitarist Jesse Taylor for one of the finest Americana albums of all time, 1993’s RHYTHM OIL, of which one Johnny Cash said in his sleevenotes “Here is the real thing – bare bones blues gut-bucket rural rock.” Messer, never one to tread an obvious path, here teams up with Indian slide guitar virtuoso Manish Pingle from Mumbai and London’s Gurdain Rayatt, master of the tabla, both renowned in Indian classical music. The result is hypnotic and stirring with Messer on slide, lap steel and vocals, JJ Cale and Mississippi Fred McDowell played as if they inhabited the world of TV hit Indian Summers, possibly slipping across into Bollywood. There’s a traditional raga number, Messer and Terry Clarke’s old rootsy favourite Lucky Charms and even Muddy Waters’ I Can’t Be Satisfied, which featured on RHYTHM OIL. Clarke’s is even curiouser. He’s always immersed himself in an imaginary world of rock ‘n’ roll and country and here creates a mean, moody string-laden Americana tribute to Ol’ Blue Eyes. There’s the piano-accompanied crooner Hoboken, the fabulous Mexicana sound of Trini Lopez Said, the hot, dark Take Me To The Desert, the 50s rocker It’s All Life and the pomp of The Last Italian Vampire. An album that positively reeks of whiskey, casinos, pencil-thin ties – and the spine-tingling mix of triumph and terror that surrounded Sinatra and his entourage.      NICK DALTON michaelmesser.co.uk; terryclarke.com

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Roadhouse – CITY OF DECAY

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The roadhouse goes ever on… Roadhouse travel a mythical, mystical highway through the lands of Americana. The British band have been finding their own direction – a colourful mix of rock, country and blues – for 25 years. Their novel approach – two female singers alternately offering harmonies to leader Gary Boner and serving up their own lead vocals, sometimes in harmony, sometimes solo – has always made them different. That and their penchant for epic, crashing numbers with Boner’s jangling guitar at their heart. The seven-minute title track, an epitaph for Detroit, ebbs and flows with a potent energy. They revisit the 14-year album title track Blues Highway, turning it into a soulful 10-minute gem and the package ends with the impressive Turn Your Face Into The Wind, which starts off acoustically before turning into a power balled (in the best possible way, of course). Incredibly, Boner has been backed by the same rhythm section (bassist Bill Hobley and drummer Roger Hunt) while the lead guitar slot rotated for a long time, Danny Gwilym is now settled in the role, offering stylish licks. Even singer Mandie G now qualifies as a veteran. The result is something that’s never quite southern rock, nor heavy blues but which has elements of both. And at times the country jangle of the Byrds meets the twin guitar elegance of Wishbone Ash. Intriguing and powerful. Nick Dalton roadhousegb.co.uk

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