For all the acclaim we accord (and rightly so) to American musicians who mine the rich loam of the south, the tales and traditions, the history, sound and even feel of the muddy Mississippi and the swamplands, it’s gratifying to hear a home grown musician burrowing into those self same tales with grit and determination along with a real sense of authenticity. And so it is that John Alexander’s latest album, Face The Wind, deserves to be considered alongside albums by the likes of Rodney Crowell, Ray Wylie Hubbard along with Robbie Robertson’s first solo outing.
Face The Wind is replete with an ominous darkness, danger lurking around every corner. Alexander’s voice is redolent of doomsayers, weighed with gravity for the most part as he prowls through the songs accompanied by some superb guitar picking, be it acoustic flurries or evil sounding electric slide. The album opens on a relatively mellow note with Bullets In The Rain, a gorgeous song which ripples with regret just as the guitars ripple and twist throughout. It’s a folk like song, somewhat akin to a mix of Townes Van Zandt and Lowell George with Alexander’s voice perfectly complemented by the vocal harmonies from Iona MacDonald (of Doghouse Roses). MacDonald appears again on the eerie frostbitten Living To Stay Alive and on the rough hewn country rock rumble of White Noise.
Throughout the album Alexander digs deep into dark Americana vibes. One can see why several of his songs have been grabbed up by several television series looking to add atmosphere and mood to their offerings. A perfect example is to heard on Don’t Start A War, an apocalyptic number with ominous percussion and flailing guitars. Even more ominous is the slow creep of Blood In The Water but amidst this doom and gloom Alexander, while not exactly lightening the mood, moves on from his Neil Young like sojourn in the ditch to provide several songs which are more supple. Face The Wind recalls the early days of John Martyn while Fault And Blame is a finger licking and finger picking dark country blues song. The album ends with the delightful This Side Of The Glass, an almost upbeat number despite its wonderfully wearied delivery. It’s a song which, probably for the first time, reminds one simultaneously of Kris Kristofferson, Gerry Rafferty and Ronnie Lane.
Rain Reserve are a duo comprised of Glasgow’s bluesy purveyor of swampy Americana, John Alexander, and Edinburgh’s mistress of jazzy interpretations of country music, Lorna Reid. “East meets west,” Reid quipped on stage as she introduced Beneath the Blue, a song she claimed was partly inspired by Alexander’s supposed frustration at having to endure the train journey required to write and rehearse with Reid in her native city. It’s much more than that of course as Reid sings of a universal yearning to connect with one another despite supposed differences over an almost languid guitar delivery from her and Alexander. With fine harmonies and a sly guitar solo from Alexander midway through, the song is a fine introduction to the duo’s talents.
Iona MacDonald of Doghouse Roses played a short opening set which consisted in the main of songs from that acclaimed duo. Having just recently branched out on stage on her own she confessed to being nervous but once her glorious voice reached out to the audience she was home and safe. She opened with Fairground, her tale of a prostitute on her uppers before offering a powerful reading of Feed the Monster. Amid old and newer songs she offered an affectionate cover of Natalie Merchant’s Motherland and closed with the traditional Black is the Colour.
In the year of Brexit and Trump, Chuck’s sheer love of rock’n’roll shone throughout this album. Coupled with seeing him play two blindingly great gigs this year the album’s been a regular on the stereo and in the car while Jesus Was A Social Drinker is my song of the year.
While Stapleton gets all the notice I think there are numerous others who are bringing out better albums and Jeremy’s second solo album is the best of the lot this year. I was privileged to host a house concert with Jeremy and Ags Connolly and it was a great occasion.
An album of glacial purity with glimpses of Joni Mitchell in its shadows.
Jangled sunny California music which stretches from Petty to The Jam in its inspiration.
Old fashioned protest perhaps but Bell is a powerful writer and as good a champion of “blue collar” folk as Rod Picott. And, in concert, he’s funny with it (just like Rod Picott).
Ross Wilson continues his journey into the hinterlands of folk and jazz. A wonderful and evocative album.
It took 12 years for Ambel to come up with this one, a bunch of songs he imagined could have been on his pub’s jukebox. Guitar album of the year.
Aside from his band, Sacri Cuori, Antonio Gramantieri has worked with Howe Gelb, Dan Stewart and Alejandro Escovedo. This solo album is a magnificent retro stew of sixties soundtracks and Italian cool.
A true jailbird, Wyatt’s album is part outlaw country, part Laurel Canyon country rock. For me she just beats Margo Price
Irishman Stevie Scullion conjures up a slight psychedelic trip with McCartney like melodies and Harrison’s Blue Jay Way vibes.
A perfect introduction to the band if you haven’t heard them before. A perfect keepsake for those who are in the know.
I first noticed the name, John Alexander, in the credits of the latest Doghouse Roses album where he contributed some fine guitar. And then this album, Of These Lands, popped through the post with some roles reversed, Doghouse Roses’ Paul Tasker and Iona McDonald credited with vocals and guitar on some of the songs. Their presence certainly ticked some boxes, marking the album as one to have a good listen to but, and I think it’s fair to say, I wasn’t expecting the rollin’ and tumblin’ excitement that was to follow.