The Foghorn Stringband, The Cactus Blossoms.


When it comes to faithful recreations of old time string band music you’re hard pressed to find anyone doing it better than The Foghorn Stringband. Their latest offering, Outshine The Sun crams 21 songs and tunes into its 57 minutes contained in the craftily well-designed sleeve and each and every one of them is a delight. When we reviewed a trimmed down version of the band, The Foghorn Trio, last year we said that “they are astonishingly good at capturing the earnestness and innocence that is a quintessential ingredient in the pleasure one gets from listening to pre war country music” and that remains the case despite line up changes. Recorded sitting around a wood stove using one microphone in mandolin player Caleb Klauder’s Portland, Oregon home this sounds as if it could have been taped in the forties were it not for the lack of crackles and static. Klauder(who also plays fiddle and guitar), Stephen Lind (fiddle, banjo, guitar), Nadine Landry (double bass, guitar) and Rebecca Willms (guitar) are all excellent players and all add vocals that fit the songs and the sense of old timeyness perfectly either singly or in the excellent harmonies.
We can’t pick out any favourites or outstanding tracks here as each one is as good as the next. Whether it’s the rousing Be Kind To A Man When he’s Down, the jaunty By the River, the Cajun waltz of Tit’s Yeux Bleus or the tear jerking ode to a dead mother on Sweeter than All The Flowers, the playing captivates and the listener hits the repeat button in order to savour the lyrics. Half the fun here is in reading who inspired the band arrangements and while familiar names crop up in the album notes (The Carter Family, The Stanley Brothers and Charlie Poole for example) a musical quest beckons to find out who exactly were Da Costa Woltze’s Southern Broadcasters (see here). Definitely the best string band album this year, check out the website which carries a great and up to date blog of their ongoing adventures.

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As luck would have it when reading The Foghorn Stringband’s blog we noticed that they played a gig with The Cactus Blossoms reminding us that we’ve shamefully neglected their debut release which has been sitting here with pleading eyes for several months. Minnesota based brothers, Jack Torrey and Page Burkum (you figure the surnames) are two fresh faced handsome cowboy types who have obviously steeped themselves in the old Nashville sound of Bill Monroe, Ernest Tubbs and Hank Williams with a dash of the Everly Brothers and Woody Guthrie thrown in. Aided and abetted by the fine playing of Mike Russell (fiddle), Liz Draper (double bass) and Randy Broughten (steel guitar, Dobro) they’ve penned most of the songs here but manage to capture the post war Grand Ole Opry sound perfectly. Stately and respectful songs of regret and lost love are played and sung in a manner that captures a lost world of innocence, full of gingham and manners, songs your mum and dad would love. Nevertheless if the likes of hank Williams rocks your boat then you’ll love this. Cold Foot Boogie stomps along with some fine steel guitar sonic adventures and jazzy fiddling while Adios Maria is sublime with some excellent Dobro frills.

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The David Latto Band

Seems these days that there’s no end to locally produced Americana with the likes of Jim Dead, The Dirty Beggars and Old Dollar Bill releasing top-notch albums this year. Well we can add Fifers The David Latto Band to this roll call as they conjure up this fine slice of country influenced songs featuring some fine back porch picking and an excellent ear for the idiom. Starting off with the breezy Like I Feel Tonight the listener might think they’re in for some fairly good 70’s influenced West coast country rock as the band coast down the highway strumming away and adding some tasty guitar breaks. A mite misleading however as thereafter they rein in the rock side and settle down to offer a more traditional sound starting off with the fast paced romp that is Byway Man where fingers fly over fiddle and acoustic guitar. An energetic rabble rouser, Byway Man gives an indication of why the band were crowd favourites at Belladrum and the Perth based Southern Fried Festival as it’s guaranteed to have an audience on its feet. Having fired up the blood with these opening songs the band hunker down around the campfire with the remainder of the album having a more laid back feel. Whether it be the Neil Young Harvest era banjo plunk of Wronged, the Whiskeytown influenced Rollin’ On, the soulful guitar on the masterly ballad Wait A Minute or the stark Black Horse with its excellent harmony singing this is where the band excel. The dreamlike Song You’ll Never Hear embellishes their sad sound with some very evocative pedal steel and is the highlight here. While Latto’s voice captures just the right amount of pathos his bandmates (Gavin Brady, Jim Hyndman, Atholl Fraser and John Alexander) add some inspired playing that could easily have been the work of the best country music sessioneers. Harking back to the opening crowd pleasers they end the album with another rambunctious skiffle dedicated to the demon drink on God. I’m Drinking Tonight. A fine debut and definitely one to watch.

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Jimmy LaFave. Depending on the Distance.


Texan LaFave is yet another one of those old dependables whom you can rely on to come up with the goods regularly with fine examples of Texan tales and telling. Depending on the Distance however has been a few years in the making with LaFave concentrating on setting up his own label, Music Road Records in the meantime. The good news for his fans is that it’s been worth the wait as he delivers another fine slice of originals along with a few covers including a superb reading of Dylan’s Red River Shore. A great song, Dylan recorded it for Time Out Of Mind but for his own inexplicable reasons shelved it only to unveil it several years later on the Tell Tale Signs collection. In any case LaFave lathers love and attention on it to the extent that at times it’s breathtaking, nine and a half minutes of Nirvana. There are two other Dylan covers, the well kent Tomorrow Is A Long Time which is approached a little too respectfully although there is a fine guitar solo within it and I’ll Remember You (from Empire Burlesque). While Red River Shore is excellent one wonders why LaFave adds the other two as the eight original songs he delivers stand up well in their own right. Clear Blue Sky, the opening cut sets out his stall perfectly; a fine-tuned love song with a touch of tenderness and regret LaFave has just the right amount of heartfelt tug in his voice while the backing is exemplary. Living In Your Light repeats this with the band approaching an affecting southern soul sound with some fine curling guitar while Red Dirt Night gets all swampy and dirty in a bayou style. Despite the quality of his own songs LaFave has another two covers to add to this collection. Springsteen’s Land of Hope and Dreams is captured perfectly and fits in well with the overall sound of the album however his version of John Waite’s eighties anthem Missing You sticks out like a sore thumb.
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Primevals. Heavy War.

Revitalised Glasgow garage rockers The Primevals showed that they had the energy of most bands half their age on the ultra cool and shiny blitzkreig that was Disinhibitor, their first major release in more than a decade back at the beginning of 2011. Disinhibitor packed 18 songs into its fist, a helter skelter listen indeed that left the listener punchdrunk by the end. Heavy War however adds some dizzyingly intoxicating strung out grooves in addition to the short sharp shocks one expects. The return of original guitarist Tom Rafferty and the addition of Martyn Rodger (guitar, keyboards) to the line up does little to change the basic Primevals’ template which maintains their allegiance to the likes of the MC5, The Cramps and The Gun Club. The rock solid rhythm section of John Honeyman and Paul Bridges piledrives away while Mickey Rooney continues to communicate with the ghosts of Jim Morrison and Jeffrey Lee Pierce as the shamanistic front man of this inspired band. The line up change however does afford a leaner guitar sound, less crunchy, more corkscrewed with the guitars adding a swampier touch to several of the songs.
Howling from the gate with the energetic Way Beyond Tore Up which is MC5 personified they simultaneously fly the flag and burn it with a song that transports the listener to Detroit circa ’68 as the guitars spit and burn. A mutant Bo Diddley meets Captain Beefheart riff introduces the slick Predeliction For the Blues with slide guitar sliding way off the Richter scale as the song gathers momentum much like Kowalski before he hits the barriers in Vanishing Point. Hit The Peaks is another turbo charged careen down the highway with the band going at it pell mell with Rooney crooning a la Iggy Pop surrounded by snarly guitars and he remains inside his Iggy skin for the blustering boogie of High Rich Times. Further shades of NY punk abound elsewhere with The Dead Boys summoned up on Rightful Duty however the Primevals are no mere copycats as they celebrate their forebears and build on their foundations. One could mention the Seeds and especially The 13th Floor Elevators as guiding lights here as they fuse garage band punk with psychedelia. The Lure of Desire’s swirling organ is certainly trippy while Keep Coming Back, the only song to feature acoustic guitar is reminiscent of the first tentative attempts of sixties SF bands to marry the sounds in their heads with the songs they were playing. They also capture a beautiful and gutsy swollen Flamin’ Groovies’ guitar sound towards the end of Undertow.
The sunny side of psychedelic music, particularly the LA type, always had a dark underbelly which fed into the songs of The Doors and Arthur Lee. The band capture this sense of menace on Coming From The Hills, a brooding number that recalls the panic at the poolside’s following the Manson gang murders with some switchblade guitar to drive the point home. Two minor epics on the album capture this confused mixture of wonderment and dread, mind experiments and the intrusion of reality. Don’t be Afraid to Cry is a trip into the twilight zone , a haunted howl with Rooney searching for sensation, stimulation, elevation, deviation as the band locks into a stoned groove and the guitarists mainline Robby Krieger with their woozy delta arabesque guitar swirlings. In A Violent Way tops this however as they switch from Doors to Stooges mood and lay down a driving and incessant riff that pummels away without an end in sight. Rooney’s lyrics are minimal, repetitive, mirroring the music and he adds some fine saxophone squeals to the musical mayhem. It’s a great ending to a great album as the Primevals stake their claim to be the best leather clad rock’n’rollers who are big in France while wiping out any home contenders.
Heavy War is available on CD and vinyl from the band’s website and keep an eye out as there are some local gigs coming up.

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Quarter Mile Thunder Twist.

Chicago musician Ben Clarke’s latest offering under the name of Quarter Mile Thunder is a brooding and atmospheric slice of misty folk and ambient sounds and pulses. With synthesisers and banjo given equal weight the eight songs here merge almost into one piece and if it weren’t for Clarke’s vocals one wouldn’t be surprised if this was the result of a collaboration between Brian Eno and Daniel Lanois with some pieces very remiscent of Eno’s Apollo Soundtracks. Clarke’ roots the album however with his voice and lyrics which provide the folky element. Laid back in the mix (sometimes too laidback) he almost croons the songs over the sonic orbits that surround him, his wispy voice is as atmospheric as the music and at times recalling Bon Ivor.
I Am Hurting Too opens the album with a mild cacophony of electronic flotsam before voices and guitar ground the song as Clarke evokes the spirit of Will Oldham as he sings mournfully of a relationship where she “has sucked the venom from his wound.” It’s a fine song but here and elsewhere on the album the ambient noise distracts somewhat from what could be delivered much more simply. Clarke proves this on the next song, Absolute Beginner, where the atmospherics are more subdued allowing his voice and the guitar to shine. Throughout the album the songs are like nuggets of gold needing to be sieved to uncover their beauty, some shine brightly such as the slightly Stones’ sound of What’s It Like and the stately piano driven M Plates but the mother lode is found on the closing song It’s All The Same To You. Here Clarke balances the thrum and throb so that it pays service to the song creating a narcotic buzz that is not dissimilar from the latest Simone Felice and John Murry offerings. A great song and a fine close to an album that strains to be heard. It’s available via Bandcamp on a name your price offer.
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Polly and The Billets Doux. Hold Fast E.P. and Ticket Competition

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Bristol/Winchester based quartet Polly and The Billet Doux are fast making a name for themselves as an act to watch out for. On the back of their debut album and recent EP along with appearances at Glastonbury, The Big Chill and the Cambridge Folk Festival their star is indeed in the ascendancy. No wonder as a listen to their Hold Fast EP released earlier this year confirms their talent. While Polly Perry’s attractive smoky vocals are the band’s focal point the four songs here allow them to display their versatility. Hold Fast is a nautical song that sounds as if they were tooling down a highway instead of hoisting main sails. With sinewy guitar and a driving beat it’s a cracking little song. Factory Whistle continues in this upbeat fashion with a faux Bo Diddley rhythm married to jazzy guitar runs. Hymn Song applies the brakes as the band hunker down and break out the acoustic guitars. As the song progresses a string section and electric guitar sneak in while the mallet work of drummer Ben Perry recalls folk rock of yore. This folk rock jazz interface comes to the fore on the closing Fortune Of War that is reminiscent of Pentangle in their most incandescent moments. Light and airy with high harmonies and scintillating guitar arpeggios it reeks of the sixties and ends far too soon.
With a short UK tour commencing in November we’re able to offer two tickets to one of the shows for a lucky reader. Simply email us at paulk.blabbernsmoke at gmail.com with Polly and The Billet Doux as the subject and the show you wish to attend by Sunday 28th October. Winner will be selected from a virtual hat.
Tour details below and here’s a taster of what you might see.

09-Nov PERTH Twa Tams
10-Nov THURSO Newmarket Bar
11-Nov INVERNESS Hootananny
12-Nov LEEDS Oporto
13-Nov BIRMINGHAM Kitchen Garden Café
14-Nov LONDON The Wheelbarrow
15-Nov NORWICH Waterfront
16-Nov YORK The Basement
17-Nov BRISTOL Thekla
18-Nov CARDIFF 10 Feet Tall
24-Nov OXFORD The Cellar
09-Dec WINCHESTER The Railway

Random Canyon Growlers. Dickey Ain’t Got All Day.

Regular visitors to Blabber’n’Smoke will know that we’re suckers for energetic bluegrass/old timey country music with bands like The Hot Seats, The Foghorn Stringband and Hillfolk Noire regularly getting mentions here. Ignited many years ago when we first heard the Nitty Gritty Dirt Band’s triumphant triple album Will The Circle be Unbroken we quickly fell under the spell of the first two Holy Modal Rounder albums, old time music with a weird twist. The Rounders became weirder over the years but one song that has always stuck with us is Peter Stampfel’s Random Canyon, a sweet, innocent and nostalgic almost kiddie type song that hammers Puff The Magic Dragon into the ground. So it was with a sense of anticipation that we stuck the Random Canyon Growlers onto the hi-fi in case there was some element of Stampfel’s druggy nursery rhyme here. Sadly this was not to be the case however we did get to hear a great album of vibrant and energetic bluegrass songs that positively brims with confidence.
Hailing from mountainous Wyoming the Random Canyon Growlers are a young band with what appears to be a revolving line-up. Here they are a five piece with mainstays Jamie Drysdale and David McMeekin on guitar and banjo respectively. Their sound captures the classic air of bluegrass and old time country perfectly and although they attack the faster songs with a breathtaking energy they are equally at home with the more lachrymose ballad including a grand version of the Louvin brothers’ Dark as The Night. The the ensemble playing is tremendous and the solo virtuosity on display is at times breathtaking, the string bass snap on Doghouse assaults the ears with its ferocity. While they cover the likes of the Louvins and Bill Monroe the majority of the songs are written by Drysdale and McMeekin however a blind listen would fail to differentiate between the covers and the originals as they have immersed themselves in the tradition and updated it with brio. The songs leap into life with fiddle, guitar, mandolin and banjo duelling away in magnificent style while Drysdale and McMeekin throw their heart and soul into the vocals. They definitely stake their claim to be one of the best of the current young bluegrass bands.
Harking back to the Holy Modal Rounders at the end of the album a bunch of hidden tracks capture the band goofing around with one segment very reminiscent of the interludes on the Rounders psychedelic masterpiece Indian War Whoop. Intriguing.
Anyhow and more to the point the band are currently touring the UK commencing yesterday. Dates below. If they can carry off this level of achievement live then they’re a must.

Mon Oct 15: Sarratt, The Cock Inn
Tue 16: London, King’s Cross
Thu 18: Barnacre, The Kenlis Arms
Fri 19: Newport, The Bargeman’s Rest
Sun 21: Birmingham, Kitchen Garden Café
Tue 23: Horsham, The Tanners Arms
Wed 24: Lewes, The Snowdrop Inn
Thu 25: Bristol, The Canteen
Fri 26: Cardiff, The Moon Club
Sat 27: Sowerby Bridge, Puzzle Hall Inn
Sun 28: Stranraer, The Grapes
Mon 29: Cookstown, The Red Room
Tue 30: Omagh, The Weigh Inn
Wed 31: Listowel, St John’s Theatre
Thu Nov 1: Wexford, The Sky & The Ground
Fri 2: Belfast, The Belfast Barge
Sun 4: Arklow, The Fifty Six Bar

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Furnace Mountain. The Road To Berryville


This album from Appalachian whizzkids Furnace Mountain has been kicking around for several months now and the only excuse we have for not reviewing it earlier is that it’s been in the automobile CD changer almost since arrival and has lightened many trips. Now rescued from the buggy we can confidently say that it sounds as good when stationary and sipping a fine brew.
The follow up to their 2009 album Fields of Fescue which was universally praised The Road To Berryville captures the band (David Deventer, fiddle, Aimee Curl, bass and vocals, Morgan Morrison, bouzouki, guitar and vocals and Danny Knicely, mandolin and fiddle) playing live in the studio and was funded via Kickstarter. Playing to a small audience the band stretch out on several of the songs here allowing them to demonstrate their undoubted instrumental prowess while the choice of songs and instrumentals, traditional and contemporary is top notch. Deventer and Knicely excel on fiddle and mandolin and at times the soloing and ensemble playing is intense and best heard here on the awesome Millwood Boyce. The live setting allows the numbers to flow from one to another and is particularly apt as at times their sound flows like mountain streams while the husky voice of Curl and the harmonies recall that high lonesome sound.
Barney opens the album and immediately the feet are tapping as this up-tempo murder ballad with Curl and Morrison trading verses while mandolin and fiddle dart about nails their trademark sound, old time Carter family type homilies zapped into the modern age. Fol De Rol takes W. B. Yeats by the collar and yanks him to Virginia with some intricate vocal interplay. The following medley of Virginia Girls/Sandy Boys marries their mountain vocals and fiddling with an instrumental coda which perhaps demonstrates one of the reasons why they were such a big hit at Celtic Connections two years ago as it sounds like a miniature fiddlers rally. The medley idea is repeated several times throughout the album as a song is coupled with an instrumental , at times fast and furious (The Nightshift Lullaby/Kookybird), elsewhere more contemplative and measured (The Crow On The Cradle/The Road To Berryville).
Of the more contemporary songs Thrown By The Bull (by Old Man Ludecke) is simply superb sounding as if the band are in the room with you as Curl’s wearied vocal gets close and intimate and the mandolin, fiddle and guitar build a delicate web around it. Who Could Blame Them (by Nathan Moore) is a tremendous heart tug of a song with stark instrumental scaffolding. The band also zip through a sprightly cover of Dylan’s I Want You which almost captures the ebullience of the original and a fine swing time version of Bonaparte’s Retreat.
The live studio setting is a neat idea as it allows the band to capture their show in hi fidelity sound and show off their chops. A stunning outfit the fiddle and mandolin breaks are a delight while the vocals and song choice are the icing on the cake. Very much recommended if string band music excites your listening buds.

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Pokey Lafarge and the South City Three. Rob Heron and the Tea Pad Orchestra

Seems like every time we mention Pokey LaFarge and the South City Three here they’ve added another feather to their cap. Pokey recently had a song featured on the American TV series Empire Boardwalk, a rendition of Lovesick Blues (and there’s a great story behind this involving Jiminy Cricket, see here). In addition the band have been supporting jack White to huge audiences in the states including the famous Red Rocks Amphitheatre and Radio City Music Hall. It’s great to see that they are gracing our shores again over the next few weeks and even better to hear their latest release Live In Holland that captures their rip roaring act perfectly.
Recorded at the Paradiso in Amsterdam the 14 cuts will be familiar to anyone who’s seen the band recently. Culled from the band’s two albums and singles and Pokey’s solo releases Marmalade and Beat Move and Shake along with a cracking version of Bob Wills’ Devil ain’t Lazy the live setting allows the band to cut loose and Pokey to holler and play the audience, wisecracking and adlibbing. It all adds up to a rollickingly good listen with the band seemingly enjoying themselves as much as the audience. It’s almost impossible to pick out highlights as throughout the album Ryan Koenig blitzes the crowd with his harmonica wizardry while Adam Hoskins’ guitar zips and slides splendidly. Joey Glynn on bass gets his moments to shine also especially on the raucous In The Graveyard. While Pokey, the ringmaster, ushers in the solos and is in fine booming voice the band deliver great harmonies and vocal asides that add to the vaudevillian element they create. Almost a perfect document of one of the most exciting bands around right now if this doesn’t move you then you should call a doctor

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Newcastle band, Rob Heron and the Tea Pad Orchestra are supporting Pokey and his gang on the upcoming UK tour just in time to promote their debut album Money isn’t Everything. While Newcastle isn’t St. Louis musically the tea pads inhabit much the same territory as the south city three, old time blues, ragtime and jazz with some Cajun riffs thrown in. While Heron tends to croon and scat rather than holler the syncopated rhythms and jazzy vamps are all there and executed with finesse, Ben Fitzgerald on guitar in particular plays some scintillating Django type runs. With three songs rerecorded from their EP including the mini epic Great Fire of Byker (about a huge conflagration on Tyneside) there’s a dramatic improvement in the sound and they come across as much more confidant and assured. Heron writes most of the songs although it’s hard to believe that they’ve not been dredged up from some archive of old time Americana. A version of Bob Miller’s Bank Failures from the 1930s nestles comfortably with Heron’s songs particularly the title track, in fact the album could have been called Songs For the New Depression and one wouldn’t have been surprised to find Buddy Can You Spare a Dime here, maybe they’ll do it live. With songs of escapism (the sousaphone led thump of Rich man Blues), booze (Hangover Blues) and exotica (the south American styled Biarro Alto) there’s a definite retro feel here that harks back to the dichotomy of the jazz age when the bright young things partied and the working class worked. A great debut and on the strength of this a great double bill on the forthcoming tour.

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Blame Sally. Live At KVIE Studios.

Gearing up for their first UK tour San Franciscan four piece Blame Sally have released this live recording of a benefit gig they did for a local radio station in Sacramento. Consisting of Pam Delgado (drums, percussion & vocals), Renée Harcourt (guitar, mandolin, banjo & vocals), Jeri Jones (guitar & vocals) and Monica Pasqual (keyboards, accordion & vocals) they’re assisted here by Rob Strom on bass on what is a classy set of full blown rock numbers replete with driving organ and gutsy guitar soloing leavened somewhat by a few folkier numbers. Having formed the band some 12 years ago when they were all in their late 30’s and early 40’s its fair to say that they probably grew up with Fleetwood Mac spewing from the airwaves and it’s the likes of the Mac along with the Cowboy Junkies that seem to inform their sound, they even throw in a fine cover of Lindsay Buckingham’s Never Going Back Again. The folky Pajaros Sin Alas and Orange allow an opportunity to hear what they might sound like unplugged as it were but it’s on the tremendous Bird In Hand, a wide open sky twang guitar country opus that impresses most.

The band comes to Glasgow on Thursday 25 playing at the Woodend Bowling and Tennis Club. The other tour dates are on the website.