Dean Owens. New York Hummingbird.

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For most folk Dean Owens’ most familiar work will be It’s Raining in Glasgow, a song that is regularly trotted out on Radio Scotland. For a song that is indelibly linked with our dreich melancholia it was surprising to find that it was recorded in Tennessee as part of the album Whisky Hearts. Forsaking Nashville this time Owens has set his sights on New York where most of this album was recorded. Other than the recording location however there’s little here that relates to the Big Apple apart from the occasional street name checks on a few of the songs. Instead what we have is a collection of well crafted melodic pop songs that are layered with a production that does shine but which threatens at times to overwhelm the project.
Wander On for example could be a fine soulful effort but the clunky guitar and over the top backing vocals rob it of any intimacy. For the most part here the simpler the better. Desert Star which opens the album is a decent enough song which ripples with layered guitars and shimmering vocals. No One’s A Failure has that effortless way with a melody that the late Gerry Rafferty possessed and although it might be somewhat fanciful to think so there’s even a slight vocal similarity to the late Humblebum. Harmonica and perhaps ocarina add a slight folky touch to what is our favourite song here. The lazy stumble of Springtime could hark back to the laid back New York coolness of John Sebastian as it meanders along. The addition of Kendall Jane Meade duetting with Owens is the icing on the cake here. Solo (Valentine NYC) is the one song here that does reflect the feelings of being cast adrift in a strange town and could become as much a radio favourite as Raining in Glasgow. Overall however there’s a sense that the New York tag is driven primarily by the opportunity Owens had to spend time there and that if he had a kick ass hometown band then the album would have had some more bite to it.

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No One’s A Failure

Twilight Hotel When The Wolves Go Blind.

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A timely reissue for this third release from Canadian duo, Twilight Hotel as they embark on a short European tour in March and April. They should go down well as the tone of this album is not so much Americana as Europicana (a word I have just coined) in parts. What Do I Know About Love? could be the music for an Apache Dance with its louche accordion and stinging guitar while the title song and Poor and Hungry both hint at the European moodiness of The Walkabouts on their album Train Leaves At Eight. However Mahogany Veneer pulls them back slap bang into the States on an autobiographical tale of the longeurs of touring and their longing to return to their home turf of Winnipeg.
On Ham Radio Blues and Dream of Letting Go the guitar bluster and the harmonies of Brandy Zdan and Dave Quanbury at times recall the recently re-energised Cowboy Junkies. They do however manage to stamp their own identity on the hypnotic Frozen Town and especially on the brooding menace that is The Darkness, a song that could easily illuminate some of the seedier scenes of David Lynch’s Twin Peaks: Fire Walk With Me.
Overall the sound of Twilight Hotel is dark and menacing, guitars swoop and soar, razor sharp at times with echoes of Morricone, the percussion (by Stephen Hodges, ex Tom Wait player) is dynamic and sensitive, banjo, accordion and dulcimer add a gossamer touch to what is an aural gothic movie. This is perhaps best summed up on the closing song When I’m Gone, a macabre plea not to buried “underground in a wooden box with walls around. Leave my bones bare and I will become a river.” Superb stuff.
As part of their tour Twilight Hotel hit the ABC2 on 18th April.

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When I’m Gone

Blaber’n’Smoke Signals

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With a slew of albums waiting to be heard we thought we’d introduce an occasional column which captures the best of the rest, a brief nod to what’s rocking the joint at Blabber’n’Smoke in the hope that those wise enough to know follow the crumbs to the gingerbread cottage.

Ledfoot. Gothic Blues Volume One. Ledfoot is Tim Scott McConnell , one time member of the Havelinas. He looks a mean dude with mean tattoos and he plays a mean guitar. Just him and some spellbinding acoustic playing with bottleneck and slide well to the fore McConnell conjures up a spooky and indeed gothic blues sound that mines the same territory as Jeffrey Lee Pierce and John Campbell. Standout song is The Cold Light of Day where one can imagine that he does have a hellhound on his trail. website

Homespun Remedies. Great Depression. From Dallas Homespun Remedy are a low key collective of pickers and singers whose sound recalls the harmonies of CSN&Y and the easy going country rock of the mid seventies. With banjo, pedal steel, mandolin and accordion all featured it’s a sweet melange of what I suppose is now traditional music given that the seventies are around 40 years ago. Pleasant enough with their best shot being Empty Pockets which has a touch of the Walkabouts to it. Website

Angela Perley & The Howlin’ Moons. Fireside. This is an EP, apparently the third in a series. Five songs all of which are immensely gratifying. The opening I Like You Fine has a huge sound with organ and soaring guitar combining to lift the spirits. She then betters this on the boogie belter that is Come On Home. Be Bad is turbo charged with the band barrelling along while Weeping Coyote captures in its five and a half minutes all that is best about a tight Americana rock band with superb organ and guitar licks and solos flying out of the speakers. The one ballad Fireside still packs muscle while portraying Perry’s more sensitive side. Best of all however is her voice which recalls Maria Muldaur in her heyday. website

Bob Livingston. Gypsy Alibi. From Buddy Holly’s hometown, Lubbock, Bob Livingston is a fine singer songwriter who was involved in the legendary Lost Gonzo Band who helped revolutionise Texas country music back in the seventies. Here he delivers here a fine set of 12 songs (plus a bonus) that veer from Western swing to rockabilly and honky tonk. There’s plenty here to delight fans of any of these genres with all of the songs well played and well written. Our favourite is Country Western Swing that has a great fat fiddle and steel guitar sound. The bonus song is a live rendition of Holly’s Not Fade Away recorded in Bangladesh with tabla accompaniment. Still gonzo after all those years then. website

Brock Zeman. Me Then You. Mud Records.

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Canadian Zeman’s last album, Ya Ain’t Crazy Henny Penny was a fine dust blown collection of songs that were like snapshots of hard lives lived in hard times. On Me Then You he continues in this vein with all of the songs well written vignettes, intriguing tales, a collection of short stories almost. However he’s all but abandoned the acoustic based ballads that featured heavily on Henny Penny. Instead a full-blooded band sound rings throughout with clanging guitars and driving rhythms pushing the songs.
Pushing The Stones which opens the album is a frantic pacesetter. Blair Hogan provides a big fat guitar riff as Zeman hollers. Until It Bleeds settles into a more relaxed groove but still packs a punch as Zeman delivers a Steve Earle like tale of an abandoned fool thinking about his departed lover. It’s delivered in a tender yet muscular style, Zeman sounds tough but hurt, the sound is almost country with pedal steel decoration but it swells mightily at times with a tough rock feel. The lyrics capture the bitter regret of the protagonist

“I put a hole in my wall on the day that you left
Just stood there watching blood falling from my fingertips
I still don’t know what I thought it might do
A hole in the wall don’t do nothing but stare back at a fool.”

Triple Crown maintains this quality with a portrait of a tough Texas beerhall. The band deliver another solid example of Earle styled rock and Zeman’s pen delivers expert sketches of the bar’s denizens

“He’s got hair to his elbows and snake skin boots
A rebel flag t-shirt and a jailhouse tattoo
He’s sucking on a Camel, blowing smoke rings around the moon
He’s way south of trendy but man, he’s Texas cool”

“The guitar player’s got a Stetson and a smoke dangling from his lips
And he looks just as greasy as his guitar licks
The prettiest girl in the whole bar asked me what my name was
But the band was so goddamn loud that I never caught hers
But I got her hair in my mouth from screaming in her ear
And it smelled just like cigarettes and her breath smelled like beer”

This hard driving melodic rock continues with Someone For You and Light in the Attic although the latter is sweetened somewhat by the stately piano and very fine pedal steel playing. On Claws they return to the clangorous sound of the opening song with some magnificent guitar soloing featuring along with some neat percussion from Steve Foley.
Zeman does feature some acoustic balladry on the apocalyptic End of The World while the pair of songs, Rain On the Roof #1 and #2 that end the album feature strings and a mellower sound. Rain On The Roof #1 is a great song. Gathering many of the tropes that feature throughout, loneliness, the elements and the desire to stop time it is simply superb. The extended ending of Rain On The Roof #2 with rain sounds and a string section draws out the sense of time wasting away. A fine album indeed.

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Rain On The Roof #1

The James Low Western Front. Whiskey Farmer

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Sometimes it seems that Portland, Oregon is poised to be the next “happening” city in the good ole’ UsofA. Home to Foghorn Stringband, The Water Tower Bucket Boys, Blitzen Trapper, Alela Diane and Richmond Fontaine among others when one looks into it Portland has been the next happening place for many years. Quiet and unassuming it seems to just get on with it without ever aspiring to the notoriety of the likes of Nashville or Austin. I’ve never been there so this might just be a random notion but one gets the impression that a place that has been like a second home to the likes of the Holy Modal Rounders and Ken Kesey must have something going for it.
Anyway, the above is a bit of a meandering introduction to The James Low Western Front who are indeed Portland based and also, in their own way, quiet and unassuming. Led by the titular James Low they are basically an alt country outfit much in the way that Richmond Fontaine are and this is reinforced by the presence of Paul Brainard on pedal steel. Having said that Low is quite different from Willy Vlautin. While Vlautin excels in his portraits of an American underclass, drifting, out of work, at times desperate, Low attempts to paint a picture of a class that despite their own difficulties still have aspirations. However the overall picture here is of a siege mentality, a constant struggle to achieve. Whereas Vlautin’s characters’ are constantly on the move here the protagonists appear paralysed, waiting and hoping for things to get better. On Thinking California Low sings “ I know she wants to leave here, There’s nothing I can do but promise we’ll get better before the year is through.”
All of this is delivered in a sweet country veined manner, for the most part laid back as in the fine Words and Thinking California. A dry and dusty low key bunch of songs with pedal steel, Dobro and keyboards supporting the basic guitars and Low’s attractive vocals it’s a fine set.

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Dave Provost. My Favorite Ghost/Stephen David Austin. A Bakersfield Dozen.

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What’s a jobbing musician to do these days without label backing or deep pockets of their own? While we get major label releases here at Blabber’n’Smoke for review the majority are self released so its no surprise to see that Kickstarter is increasingly used as a fundraising source. Indeed Stuart Murdoch of Belle and Sebastian recently raised a sizeable amount to Kickstart a movie project that otherwise might never have seen the light of day.
Anyway, Nantucket based Dave Provost used Kickstarter to fund this, his second album and for that we can be grateful. Provost sits comfortably in that section of your collection that contains the likes of Steve Earle, Bruce Springsteen and John Hiatt (as long as you don’t have your albums in alphabetical order). Kicking off with the self assured strut of Hall of Bones the guitars ring out while an organ slightly swells before a chiming guitar solo, add Tom Petty to the above mentioned mentors and you have an idea of what this sounds like. Unplugging for the next song, Little Red Guitar, we get a slow country waltz sweetened by some fine pedal steel but the following Hula Girl digs into a bluesier and swampy groove. Mark Cutler’s slide oozes menace while Provost sounds somewhat like Jace Everett’s impassioned vocals on Bad Things. While Provost delivers more driving anthemic tales on Corners of the Sky and Up in the Air the majority of the remaining songs are pitched in a lower key. Please Stop Talking is a delicate acoustic tapestry with twinkling mandolin, rippling guitar and accordion while Partner in Crime features some fine Dobro playing (from Chris Boyd) on what might be the best song here. Almost the best song here we should say. While Provost covers Steve Earle’s I Ain’t Ever Satisfied the other cover, Rowland Salley’s Killing the Blues is indeed a veritable killer and knocks spots off of other versions by John Prine and Robert Plant.

Website

Partner In crime

On first listen this sounds just like yet another album of well played honky tonking country songs very much in the Bakersfield tradition with the likes of Merle Haggard and Dwight Yoakam beaming at you through the beers and tears. A fine cast of players, described in the liner notes as “the tortured artists” do provide a thrilling sound with Marty Rifkin on pedal and lap steel guitar standing out with his magnificent fills and solo slots. With fiddle, Dobro and banjo all appearing on occasion Austin covers all the bases to the extent that the album could be well recommended to anyone who digs, well, that “Bakersfield” sound.
However Austin has a trick up his sleeve. Wading through the many fine licks here one eventually finds his lyrics which are certainly a notch above what one expected. While he’s able to craft an almost perfect tale of a jailbird heading home after a 40 year stretch (The Cage) and deliver an affectionate homage to the late Buck Owens (The Day Buck Owens Died) several of his songs have a wry, sardonic edge to them. Heroes and Heroin namechecks Captain Trips aka Jerry Garcia on a cautionary anti drug song while Kansas Ain’t in Kansas Anymore is a powerful diatribe against the encroaching gang warfare that used to be emblematic of the likes of LA but which now infests middle America. On The Fat Kid he deals with bullying at school coming across like a Telecaster wielding Randy Newman as he sings “ he’s a fat kid, a loser and a freak, a pachyderm pariah, a mesomorphic geek.” He gets bang up to date on MySpace where he damns the dilemma of having to use the net to promote his music and being pulled into the whole social networking whirlpool. Overall Austin’s debut is mighty impressive indeed.

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The Cage

Dave Desmelik. Deep Down The Definition.

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Troubadour time as North Carolina resident Dave Desmelik pours out his emotions on this spare but elegantly played disc. Desmelik plays most of the instruments himself, guitars, piano, banjo, pump organ, snare drum and “heartbeat.” Some very sweet lap steel guitar by Josh Gibbs embroiders several of the songs while Andy Gibbon supplies bass but in the main it’s a one-man show. At times its pared to the bone as on the title song which features just voice, piano and that heartbeat with some ambient noise towards the end. The song itself, Deep Down The Definition is a superb existentialist lament that benefits from Desmelik’s wearied vocal. Throughout the album he portrays an outsider’s viewpoint of life and the trials and tribulations it throws up with little in the way of empathy. As he sings on the excellent Burn It All Away “pull yourself up by your bootstraps, there are no more roadmaps, you finish and then begin.” Sung over a simple strummed guitar with melancholic lap steel keening in the background this is a great song that begs to be listened to over and over again, mesmerising and at times reminiscent of Richmond Fontaine’s better moments.
Desmelik reinforces the idea of the individual over the collective on Howard Roark where he pays tribute to the protagonist of Ayn Rand’s novel The Fountainhead. However the following song Success highlights the emptiness of such successes as achieved by the likes of Roark although the melange of styles employed within the song indicates a degree of internal confusion. This is compounded by the stark love song Picture in a Frame where he sings of a lost, perhaps dead companion who saw him “at my best and in my darkest place, you were the only one I’d allow into this space.”
In case this gives the impression that the album is a miserablilst collection of dour misanthropic gripes one has to state that several of the songs are upbeat, at least in their delivery. Pulling For You is a frisky love letter, Well and Smooth has a glorious vamp to it despite the pessimism in the lyrics while Standing Still has some fine rumbling electric guitar. In addition Desmelik arranges the spare instrumentation with a velvet touch which at times is sublime. The bare boned He Gave All He Had is devastating in its dark beauty while Cemetery is a portrait of a man bereft of emotion but is delivered in a fascinating mix of low key country and John Fahey type guitar wizardry.
Almost a song cycle of life and death and the little that matters in between this is a great album that recalls the likes of Richard Thompson and Richmond Fontaine in its downbeat and occasionally bitter sense.

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Cemetery

Mairi Orr. The Gathering Crows.

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In the dying days of Celtic Connections we heard that good friends of Blabber’n’Smoke, Old Dollar Bill were venturing west to support Mairi Orr at an Open Stage gig. The Open stage is a free daily show featuring several artists who have the opportunity to play to a very appreciative audience. It’s one of Celtic Connections’ finer aspects and was inspired by the late and great Danny Kyle.
Anyway, Mairi, originally from Morar in the west Highlands but now living in Edinburgh, appeared with her “borrowed band,” and delivered a fine set featuring songs from her sparkling debut disc, The Gathering Crows that went down a treat. Intrigued we sought a copy and for the past two weeks have been very impressed.
The Gathering Crows is a five song collection with all titles written by Orr and featuring support from Stephen Clark and Ed Henry of Old Dollar Bill among others. It positively bursts at the seams with a vibrant quality and the maturity of the writing and playing is unexpected from someone just stepping onto the stage.
Orr’s voice has a magnificent presence. Strong and melodic she could fit well into that pantheon that includes Sandy Denny, Linda Thompson, Jacqui McShee and in particular the enigma that is Shelagh McDonald. The latter is particularly recalled on two songs here, the title song and the opening For Gold. Both songs are baleful tales, chilling in their delivery with some superb backing, the Dobro in For Gold snakes menacingly throughout while on The gathering Crows the guitar, mandolin, bass and percussion thrash together in a propulsive audio equivalent of a murder of crows. A third song, Will You is delivered very much in a folk style that does recall early Denny and it features some exquisite fiddle by Amy Geddes. The two remaining songs display a more American influence. Sweet One has an urgency that owes a debt to bluegrass while Two Different States of Mind features just Orr and banjo from Mark Woods on a tantalising murder ballad.
A great debut and a mention must be made of the excellent supportive players, Stephen Clark, Ed Henry, Hugh Kelly, Mark Woods and Amy Geddes who all add a very authentic and well played backdrop to Ms. Orr’s very talented delivery.

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For Gold

Dave McGraw & Mandy Fer. Seed of a Pine

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Seed of a Pine is a fine collaborative effort from Arizona musicians Dave McGraw and Mandy Fer (previously known as Mandy Ferranini under which she’s released some solo stuff). Both names are new to us however a glance at some of the musicians who assisted on this recording was certainly inviting. J.T. Nero and Allison Russell who together recorded one of our favourite albums of last year, Mountains/Forests are present as is the relatively unknown but ever excellent Peter Mulvey. Together they have crafted an album that positively brims with excellent songs, fine playing and exquisite vocals. Although they write separately (with Fer contributing five songs to McGraw’s six) the pair are perfectly matched in terms of style and the vocal harmonies, shared throughout by combinations of the pair along with Nero, Russell and Mulvey provide a cohesive mellow sound.
The opening song So Comes The Day stumbles somewhat despite a promising opening and an intriguing similarity to Calexico’s dusty ballads. It’s a fine song but its meandering signatures makes for an odd opening. Thereafter however it’s plain sailing as the flowing chords of Golden Grey introduce us to the simple joy of a song well played and well sung with rippling guitar and a great vocal from Fer. The galloping Serotiny which follows adds some muscle in the shape of Fer’s rumbling guitar with the title (a term relating to the release of seeds in some plants such as pine cones in response to a trigger) pointing to one of the primary themes on display here which is the relationship of man to nature. The songs are full of references to clouds, wind, mountains and sky. Both writers have an abundance of nature in their lyrics, light, dark, dusk and night crop up time and time again with a woody cello adding a cold yet comforting feel to many of them. Grow and Forget The Diamonds are perhaps the best examples of this. Grow is a mysterious tale of star crossed lovers who lie in the grass counting stars in the summer wind that comes across as if Thomas Hardy were to write a contemporary love song. Fer’s voice burrs beautifully on this with McGraw supporting manfully. The spare arrangement with a basic guitar melody and plaintive violin is superb. Forget The Diamonds is a snappier arrangement with Christopher Merrill’s upright bass sturdy as an oak and the violin cello and piano recalling a Nick Drake moment. The lyrics here are almost metaphysical in their opaqueness and the vocals by Fer and Nero are simply superb. The title song, written by McGraw is a more traditional snapshot of a life lived and remembered, the music is sparse to begin with but swells as it progresses with some fine guitar and bass playing that recalls the jazzy folk of Pentangle. Throughout the album the playing is exemplary, capturing moods,indeed impressionistic. The voices melt and merge with a sublime degree of resignation although there is always a sense that there is a rebirth just around the corner.

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Grow

Blues, rough and smooth.

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Lincoln Durham The Shovel vs. The Howling Bones

If you’re a fan of crunchy old fashioned country blues thrashing as delivered recently by the likes of Seasick Steve and even Jack White, chances are you’ll be a sucker for Texan Lincoln Durham’s debut album. Produced by veteran Ray Wylie Hubbard and studio veteran George Reiff the album is stuffed full of portentous blues slinks driven by Lincoln’s guitar accompanied by the fine drums of Rick Richards. While they provide the backbone the music is occasionally fleshed out with additional guitar by Derek O’Brien, Reiff and Hubbard himself. Mandolin, accordion and fiddle make their brief appearances and Lincoln’s gruff impassioned vocals have occasional backup.
More importantly however is the fact that although Durham is steeped in the idioms and tradition of the blues and utilises well known tropes and allusions his writing is fresh. While he conjures up a land where religion, superstition, death and tradition hold sway there are no twelve bar or boogie blues on display here. The impression of bygone days is reinforced by Lincoln’s note that the album was “Recorded using early to mid-century Gibsons, Kays, Silvertones, Voxs, Bell & Howells, guitars found in potted plants, cardboard boxes, bird feeders, oil pans, hacksaws, feet and anything else that would make a noise.”
From the opening suicide letter that is Drifting Wood with its acoustic guitar maelstrom to the closing Trucker’s Love Song which approaches the majesty of The Band in their heyday all of these songs are excellent. While there are some low down dirty blues moans such as Living This Hard and Mud Puddles, Durham is able to pen a love letter from a dead man to his lover visiting his grave in Clementine that, aside from revisiting the well known Long Black Veil, is a catchy and hummable tune. With nods to Muddy Waters and Fred McDowell in the lyrics its apparent that Durham knows where his roots lie and its to his credit that he’s able to gather them all up and create something new here.

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Trucker’s Love Song

Matt Anderson Coal Mining Blues

From country blues to a smoother, more soul influenced blues style, Matt Anderson is a young Canadian whose fourth album finds him produced by the great Colin Linden (Blackie and the Rodeo Kings) who adds some scintillating guitar to most of the cuts here and co-wrote several of the songs. Recorded at Levon Helm’s studios there’s another Band connection with Garth Hudson contributing accordion on Home Sweet Home. Anderson and band conjure up a fine soulful sound with horns and organ beefing up the sound while he and Linden duel on guitar with Anderson proving himself no slouch on his own solos. He sings well with his performance on the superb Otis Redding like Baby I’ll Be outstanding. This is the highlight of the album with a beautiful and tender guitar solo that is just so good it begs to be listened to again and again. Anderson excels on the title song and She Comes Down which are in the grand tradition of southern soul but he can also rip loose on the swaggering Fired Up and Heartbreaker. The rural side of the blues is visited in Home Sweet Home and Willie’s Diamond Joe where mandolin and accordion replace the horns and keyboards and while not as immediate as the rest both are fine songs.
Anderson has gained some rave reviews on his previous tours over here and he’s returning in late February and March although we don’t see and Scottish gigs listed. Nevertheless a fine album that grows in stature with repeated listening.
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Baby I’ll Be