Static Roots 2018

34016858_857835087737260_3737381984364658688_nRound about this time last year we spoke to a good friend of Blabber’n’Smoke, Dietmar Leibecke, from Germany, about his Static Roots festival which he had set up in 2016. Seeing as it seems we share the same pair of ears when it comes to music, Static Roots seemed to be the place to be mid July and this was confirmed when another good friend, Ken Beveridge, wrote a fine review of the weekend. Well it’s that time of year again and so we dialled up Dietmar to ask him what was on offer this time. Read on to see what he has in store for those attending in 2018.

It’s your third year of putting on Static Roots, is it gaining a foothold on the musical calendar over there?

Well it’s a bit early to say but we are getting some more publicity with invites to talk about the festival from some radio shows here in Germany and I’ve even spoken about it for a London based show when I was over there two weeks ago. Certainly when we offered up our early bird tickets they sold out almost immediatley and since then the sales have been building up. Funny thing is that a lot of them are going to people from outside Germany but I’m hoping that with the recent publicity we can get some more local folk to come along.

I know that you have been closely linked with Ireland’s Kilkenny Roots Festival so is it a bunch of Irish folk going over?

A lot of my friends from Kilkenny Roots will be there but they come from all over, Ireland, England and there’s a big Scottish contingent. Many of them have been there for the past two festivals and when they come it’s like a big family gathering but for everyone else they’ve really enjoyed the atmosphere. We have a great venue, an old factory which has been converted into a really nice venue with a beer garden outside selling great food and great beer so there’s plenty of opportunities to meet people and share the experience.

Sticking with the Kilkenny connection I believe you are going to be paying tribute to the late Willie Meighan.

Willie came to the first Static Roots before he became unwell. When I was thinking about setting up the festival I got a lot of advice from Willie, he was a great inspiration and really a mentor to me. We had a lot of discussions about the bands I wanted to put on and he had some great suggestions. There was a band who wanted to play but I wasn’t sure about how they would fit in even though I knew their name would sell a lot of tickets so I spoke to Willie and he said, “Stay true to what you feel is right”, so I didn’t book them in the end and instead stuck to the acts that I knew would go down really well. Willie was my role model and such a great influence, such a lovely, friendly, polite and funny character so we’ve decided to have a special slot in the festival dedicated to him. And really there was no one better to play that slot than Kilkenny’s Midnight Union Band, I think of them almost as Willie’s children as he supported them so much.

So who else is on the bill?

On the Friday we open with Hannah Aldridge who is just tremendous. She’s playing solo but she can really grab the stage on her own and then there’s the Steven Stanley band from Canada whose album was produced by Christopher Brown on Wolfe Island. The Midnight Union Band are on next and then to close the night we have Terra Lightfoot with her full band. I’ve only seen her solo before and I was really impressed but the videos of her with her band are brilliant so I’m really looking forward to that. And then on Saturday we are lucky to have Justin Osborne from Susto opening the show  before we head to Nashville with Anthony da Costa and Charlie Whitten and then into London with Donald Byron Wheatley. I really loved Donald’s album which sounded at times like Dylan in the sixties when he was playing with The Band, I’m really looking forward to that but I think that the last three bands on will just blow people’s mind’s away. We have Bennet Wilson Poole, your new supergroup of sorts who are just brilliant and then Prinz Grizzly who have really progressed since I first saw them at Kilkenny last year. And then I’m really excited that we have managed to get The Cordovas over to close the show.  I saw them last year almost by accident. I was in Groningen  watching Hurray for the Riffraff and when they finished I was going to another stage to see the Cactus Blossoms but I had to pass another stage and there were these five hippies on it just starting to play so I stayed to see what they sounded like and they were tremendous, guitars, pedal steel and three singers doing some great harmonies. In the end I watched the whole show, I don’t think any of them stopped to retune a guitar or anything, they just played and they were so much fun so I missed the Cactus Blossoms and I decided I needed to have them at Static Roots so I spoke to them after the show and we agreed to see if we could manage it. And then I met with Paul Spencer who organises the Maverick festival and we decided to see if we could coordinate some things which resulted in us having The Cordovas coming to play for us. Hopefully Paul and I can continue this and bring some more of the bigger acts over.

Aside from the music what else is going on?

As I said there’s a really nice beer garden outside and we have breaks so that people can go outside and grab a bite to eat.  Our friend Ken Beveridge who has written a book about all the gigs he’s gone to since 1966  will be doing a book signing at some point. I’ve also asked Anthony Griffin, a really good photographer, to come over but not to take shots of the bands but to concentrate on the audience. He did that for Kilkenny Roots and he can really capture that sense of wonder you get when you’re listening to some great music and really being part of a community. And really aside from the music we are arranging a sort of cultural outing for anyone who comes early on the Friday, the Static Ruhr Tour, a trip to some historical sites around Oberhausen along with some stop offs to experience a real currywurst stall and sample a few beers on the way.

Static Roots Festival happens on Friday and Saturday 13th and 14th July, all info here

And here’s a sample of Dietmar’s latest find, The Cordovas…

Prinz Grizzley. Come On In. Shed Music

prinz-grizzley-2017-1One of the joys of attending a music festival is the unexpected discovery, an act, perhaps one you’ve never heard of, that just knocks you out. OK, it doesn’t happen that often but when Blabber’n’Smoke was at Kilkenny Roots earlier this year we did have such an epiphany when we popped into a hotel to see what the action was. On stage was a classic country line up playing classic country songs, the singer, well, his voice was immediately compelling, worn and wearied at times but able to soar and even yodel at times. It was Prinz Grizzley of course and it was something of a surprise when it transpired that the guys had travelled from Austria to play several shows over the weekend. It seemed to be a weekend well spent as Blabber’n’Smoke weren’t the only ones impressed with the band the most talked about act and even getting some PR representation from the jaunt.

Prinz Grizzley is the creation of Chris Comper, an Austrian who has been on the indie scene over there for some years before gravitating into his current country mode. The way he tells it he “Dug deep down in the rich grits of good ol´ country, folk and blues. The more he dug, the more he returned, back home to rural feelings that bound him to his roots in western Austria. Surrounded by rugged wild country, with god-loving, hardworking folk, whose simple living and gentle loving he finds an inspiration for songs that might have been written across the ocean.” And that pretty much sums up Come On In, the debut album – eleven songs which set Comper firmly in the Americana field as he ranges across country, honky tonk and romantic Western ballads. Listening to the album it’s clear that Comper did indeed dig deep, inhaling all he exhumed as he turns in a superb set of songs expertly crafted by his musicians with pedal steel weeping away along with some horn and string arrangements that elevate several of the songs. His lyrics (in English) are impressive, his love songs intimate and poetic while he also has a fine way with a story song. Many of the songs contain striking images and metaphors brought to life by his expressive vocal range.

The album opens with a classic sound, plaintive harmonica and softly strummed guitar introducing Wide Open Country before a lonesome pedal steel weighs in and the song slides into a slow waltz time affair. It could be an outtake from Neil Young’s Harvest days as Comper sings a song soaked in gratitude for being in love. The jauntier country lope of Give Me One More Reason shifts the band into saloon bar territory, fittingly enough as the song’s about betrayal as Comper sings, “I was worried about the signs Lord, she brought banc to our home. The smell of party and excitement lay upon her.” There’s more country heartache on the yearning I may Be Late, a cracking number with some superb curling pedal steel as the protagonist tries to persuade an old girlfriend to abandon her fickle man and come back to him. Again, Comper has a way with words here as he sings, “I heard he always spends your money in a topless bar, When you come home from the nightshift all you find is an empty jar.” Personal Hell returns to the simple country rock lope of the opening song, albeit with a chunkier guitar propping it up, and again it’s an offer to be there in times of need and with the accordion accompaniment and Comper’s high lonesome voice it has echoes of The Band in it. For some reason Comper seems keen to play the other man at times. Fiery Eyes, an infectious number with horn arrangements sees him again trying to lure a woman from her man. Mind you, when he sings, “To be honest with you, I think leaving would be the right thing to do,” she would have to have a hard heart not to side with him.

Having proved he’s a dab hand with his country version of Don Juan, Comper turns his hand to some shitkicking rockabilly on the hard livin’, hard drinkin’ tale of Mountain’s Milk while Irene is a frontier song as a rancher in his dying days gives thanks to his better half and recalls their disappointments. Twang guitar and pedal steel evoke a wide-open space, almost Ghost riders in The Sky territory and Comper rides with his as his voice soars towards the end. Aging is the issue again on the powerful and glistening Walls, the pedal steel here gliding like a cosmic Jerry Garcia, as Comper inhabits a bedridden geriatric raging against the dying of his light. A couple of the songs are more intimate. I Can See Darkness seems to be another meditation on aging while the closing Tell Me Why finds Comper in a retrospective mood as he wallows through past memories, the delicate string arrangement adding a melancholy air.

The album confirms the impression we gained when we saw Prinz Grizzley all those months ago. Comper is an incredibly talented chap, tapping into a rich seam of country music and stamping his own personality on it. Word is that Prinz Grizzley will be touring the UK next year, if so, do be sure to go and see them.

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Static Roots Festival, Oberhausen, Germany, 9-10th June 2017

A few weeks ago we delved into the background of and the inspiration for the Static Roots Festival with Dietmar Liebecke. It’s a fascinating story and all down to Dietmar and his wife, Marion’s love of music. Well the second Festival has come and gone and unfortunately we weren’t able to be there. Fortunately, a good friend of Blabber’n’Smoke, the inveterate gig goer Ken Beveridge attended and he was kind enough to pen this report for us. So, over to Ken.

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Mr. Beveridge in his usual habitat

Many of you will have heard of (or attended) The Kilkenny Roots Festival. One of the stalwarts of that festival is a seriously nice German chap, Dietmar Liebecke. So enamoured has he become of The Kilkenny setup he decided last year to have a go at organising a similar, but much smaller event in Oberhausen in Germany. The inaugural Static Roots Festival was held last June and was such a success that Dietmar set about putting together a second one, which was held on June 9-10th this year.

The festival takes place in one indoor venue in The Altenberg Zentrum, a former zinc factory turned cultural centre, with a beer garden, that hosts drama, concerts & parties. It is a small and intimate venue which houses around 200 people. The immediate exterior is a tree-strewn terrace with loads of seating and tables where festival-goers can sit, chat, drink and eat the most gorgeous of beef burgers or German pastries. It is a fantastic venue. The festival featured nine bands over the two days – three on the Friday evening and six the following afternoon and evening.

34924303630_6ca603e5f5_bThe opening act was the wonderful David Corley. David played a divine set featuring songs from his first album Available Light and the follow up Zero Moon (released this month). That David is even here playing is remarkable given that he suffered a major heart attack whilst playing onstage in Holland less than18 months ago. His whisky soaked voice, reminiscent at times of Tom Waits, holds the audience spellbound. Highlights include Available Light and the marvellous Down With The Universe from his latest release. Mention has to be made of the sublime keyboard playing of Canadian Chris Brown and the subtle drumming of Gregor Beresford (who came on as a half time substitute!)

34501937613_f8e1f98f0c_bNext on stage was the much-travelled Peter Bruntnell and his band. Your correspondent has seen Peter many times in various, mainly small, venues in the UK and Ireland. The larger stage here allowed Peter and his band (the magnificent Dave Little on guitar, Peter Noone on drums and Mike Clews on bass) to broaden their sound. His set contained crowd pleasers Here Come The Swells, his anti Trump Mr Sunshine, the mighty Yuri Gagarin from his latest album (Nos Da Comrade) and the show topping By The Time My Head Gets To Phoenix.

35182344551_60aaa6fb03_bClosing the night were the Irish band John Blek and The Rats. Front man John O’Connor is a larger than life character whose frame belies the most gentlest of singing voices. He and his five piece band, including the brilliant Anne Mitchell on keyboards, presided over a rollicking set containing the sing-a-long Calling Out My Name, the poignant The Barman, The Barfly And Me and a magnificent rendition of Neil Young’s Don’t Let It Bring You Down.

A great end to a great evening.

35289358266_4c5520e998_bA late night and the need for some brunch meant that I missed the first act on the Saturday – Nadine Khouri. By all accounts she performed a great set which I now regret missing. Next up was Jack Marks, a Canadian singer who was completely new to me, He and his two sidekicks – Leslie Ann Christi on drums and her husband, Alistair, on bass – played a faultless set featuring Americana ballads that could have been taken from The John Prine songbook. Brilliant story telling songs full of imagery that had me spellbound. A great new find and well worth looking out for.

35199960951_8e0949b545_bNext up was another new to me British artist, David Ford. In contrast to the previous act, David, played solo and entertained us with his wonderful set of strong gritty songs whilst backing himself via a loop system incorporating guitar, keyboards, drums and a variety of percussion instruments. His heart felt To Hell With The World had me mesmerised – think Bruce Springsteen meets Billy Joel. The song that he sang eschewing the rampant greed for stardom – the title of which I have forgotten – was worth the price of entry on its own. Another wonderful act which was followed by the incomparable Erin Rae and The Meanwhiles. This American songstress is in the mould of Iris DeMent and Kate Campbell Succulent, intimate, songs, sung in a wonderfully understated voice with backing vocals provided by her brilliant guitarist Jerry Berhardt. She sings to you as if you are the only person in the room, nay universe. The haunting Clean Slate is the pick from a most wonderful set. The need for food and the chance to have a chat with Erin Rae on the terrace means that I miss most of the following band’s performance. That which I did catch from the German band, Torpus And The Art Directors, was interesting. Fairly standard Americana stuff (hints of Wilco) with the quirky addition of a trombone-playing front man.

34960793870_8b5c0339fb_bAnd so to the highlight of the weekend. The ever popular, spectacularly hard working Danny and The Champions Of The World. I can’t count the number of times that I have seen this band. They never fail to deliver. In Danny Champ they must have the most effervescent front man in Roots music. They play with a tightness that only comes with much hard work on and off the road mixing songs from their soon to be released album with a host of crowd-pleasing favourites. Particular favourites on the night included (Never Stop Building) That Old Space Rocket, Stop Thief, Clear Water and they finished with the ever popular, crowd sing-a-long that is Henry The Van.

The whole weekend was marvellously managed by Master Of Ceremonies, Canadian DJ, Jeff Robson. His obvious knowledge of each and every act and his enthusiastic cajoling of the audience to listen, enjoy and buy merchandise was spot on.

We finish as we started, out on to the terrace, where nearly every musician that has played during the day is hanging about talking and drinking with members of the audience. Not an ego in sight. If Roots music is your thing, look out for this festival next year. It really is The Business.

Thanks to Ken for his words and to Klaas Guchelaar for the pictures.

Static Roots Festival takes off

sr posterBack in the sixties Immediate Records (home to The Small Faces, The Nice, Humble Pie and others) had a neat little slogan which went, Happy To Be Part of The Industry of Human Happiness. Reason I mention this is because I recently had spent some time in the company of a German friend of Blabber’n’Smoke who just about epitomises that epithet especially with regard to music. Dietmar Leibecke is a tall (very tall) and wonderful human being who may be known to several readers given his habit of turning up all over the place whenever there’s some good music to be heard.

Dietmar lives in Mullhelm An Der Rhur in Germany and for the past ten years he’s been promoting Americana and roots music in Germany with a host of house concerts along with booking tours for bands we’re all familiar with. Last year Dietmar ventured into the dangerous waters of setting up a music festival which he called Static Roots. Held in Oberhausen it was a two day event that featured Leeroy Stagger (Canada), The Wynntown Marshals (Scotland), John Blek & The Rats (Ireland), Malojian (Northern-Ireland), Meena Cryle & The Chris Fillmore Band (Austria), The Midnight Union Band (Ireland), and Anna Mitchell (Ireland). By all accounts, it was a great time and he’s set to do it again this year. Intrigued by the thought of setting up such a venture from scratch Blabber’n’Smoke wanted to hear more so we spoke to Dietmar to learn his story.

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The first Static Roots was held last year. Can you tell us a little bit about how and why you did it?

Well last year was a year of anniversaries. First off, there was my Silver Wedding anniversary and it was also my 50th birthday. It was also ten years since we had started to promote shows and on a personal note it was five years since I had received a kidney transplant so there was a lot to celebrate. My wife and I wanted to do something special and we decided on the idea of setting up a small festival. Where I stay there wasn’t anything like that going on and I was completely influenced by the Kilkenny Roots Festival. They always have a great line up and it’s so much fun. Wherever you go you see great acts and it’s not just the music but it’s the people as well, a real community. So we were thinking about that and decided to go for it and we got in touch with some of our friends in the music business and asked them to come over and play and we got a great response. Artists we had met in Kilkenny like John Blek and The Rats, Malojian and The Midnight Union Band agreed to come and then my friends from Scotland, The Wynntown Marshals signed up. And then there was Leeroy Stagger from Canada who has become one of my best friends, I’ve known him for around ten years now. The one act we got who I didn’t know personally was Daniel Romano. I’d seen him live and thought he was great but in the end his satnav took him to another town called Oberhausen which was near Munich. He called and offered to come the next day but by then the festival was closing so we didn’t get to see him.

It sounds like quite an adventure but you’ve been promoting shows for around ten years now. How did that start?

It was another birthday, my 40th. Steve Wynn has been my biggest influence since I was young, his album with The Dream Syndicate, Days Of Wine and Roses was really the first record that blew me over and made me think that this was music that was made for me. It opened up a completely new world for me and it’s still one of the best albums I’ve ever listened to.  So I got in touch with Steve and asked him to play my 40th birthday and he said yes! He came with the Miracle Three and put on a fantastic show and that’s really how we got into the business of putting on shows. When Steve came over he introduced me to the idea of doing house concerts.  I hadn’t  really heard of the concept up till then but then I looked it up and found a couple of American bands who were open to playing house concerts so a little while later I invited Leeroy Stagger over to play our house. He was the first artist to play there and it was just so touching and so intense so we’ve continued to do it and so far we’ve hosted about 50 house concerts. We started off with solo acoustic shows but then we had Easton Stagger Phillips (Tim Easton, Leeroy Stagger and Evan Phillips) come to play and we had to get a PA system for that. From then we went on to have full bands like Danny & The champions of The World and The Wynntown Marshals playing in our house. I think that Leeroy has been here the most, about five times. It’s great fun and nowadays I occasionally book tours in Germany for bands I want to see in my house. The house concerts, even with a full band are very intimate and it’s great to see the audience being so attentive and the acts can take their time and tell their stories behind the songs, it’s so much more than playing in a bar for them.

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So how many people would you normally have at a house concert?

Well they always sell out and we have space for around 65 people there but it depends on the size of the band. If it’s a six-piece band we only let in 60 people but for a smaller band we can squeeze in maybe five more people.

You must have quite a large room

It’s not so big but we have a couple of beer benches, you know the traditional lederhosen and sauerkraut German beer benches so we have space for about 30 to 35 seats with the rest of the audience standing at the back of the room.

OK, you’ve got a full band, amplified, playing in your house. What do the neighbours think?

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They are all invited! Last summer we had John Blek and The Rats over and it was loud but it was so hot we had to open all the windows and leave the door open and some folk came over to see what the noise was and ended up staying. We converted a few people that night and made some new friends. Sometimes it’s been so loud I’ve wondered if the police might show up but so far so good.

 

Back to Static Roots. Can you tell us a little more about that?

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It’s held in an old zinc factory which has been converted into a theatre. It was built I think in 1904 and it’s a lovely building with old brick walls and some of the original fixtures. It looks really cool with huge windows, a big stage and a great sound and a great crew. It’s a nice big venue with a beer garden out front, burger stands and all and it really worked well last year. It holds around 300 people which I thought was a good number. I didn’t want to go for a bigger place because I knew it would be hard to fill it. Again I was thinking of Kilkenny where I think the biggest venue holds around 400.

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Have you gone again for acts you know?

Danny and The Champions of The World, Peter Bruntnell and John Blek are good friends but we’ve also got David Corley who I saw last year at Kilkenny and Erin Rea and The Meanwhiles, both of them making their first appearances in Germany.

Hopefully this is not an insensitive question but do you expect to make any money from this?

Well last year, because it really was a celebration of our wedding anniversary and such it was an invitation only event in the main. We did spread the word around friends in the music world and asked them to donate to a fund we had set up for Doctors Without Borders (AKA Médecins Sans Frontières) so there was no ticket fee, just a donation and we collected around 9,000 Euros for the campaign. We covered the artists’ fees and the cost of the venue out of our own pocket. This year it’s a public event and we’re selling tickets for the show and so far it’s going fairly well with more than half the tickets already gone. We are getting some press coverage and we’ll see how it goes but I’m sure that the festival is going to be a success some day along the line. It will need some time to get established but it was so much fun last year and the audience was great. We had a bunch of folk who came over from Kilkenny, the Kilkenny Roots Family we called them and there’s a great bunch of Scottish people who came over as well. A lot of people I had met at shows before, there were so many friends there. It’s quite funny but also important that wherever you travel music wise you meet people, like minded people and you keep in touch and it’s such a great community of open minded people interested in music, peace, love. I love the idea of music bringing people together, I’ve been to Rambling Roots in High Wycombe, March into Pitlochry and Kilkenny Roots so far this year and I can keep all those memories for ever and I hope that Static Roots will be as good. I’m going to have the time of my life at it even if it’s been lots of work in setting it up but once the last note is played I’m going  to say, “Man, this was brilliant” and then it will be looking forward to next year’s festival.

Static Roots takes place on the 9th and 10th June at Oberheim  with the following line up

David Corley

Peter Bruntnell

John Blek & The Rats

Danny & The Champions Of The World

Erin Rae & The Meanwhiles

Torpus & The Art Directors

David Ford

Nadine Khouri

Jack Marks

Tickets are available here. It’s only a hop and a skip away.

Festival pictures by Klaas Guchelaar

 

 

 

Western Centuries UK and Ireland Tour

Cahalen Morrison & Country Hammer

Western Centuries head over to the UK and Ireland for the first time later this month with 18 shows penned in over a four week stretch. Exciting news given that their album Weight Of The World was a fixture in many of last year’s top ten lists with this fine quote summing them up quite neatly.

“If it seems crazy to compare any band today to giants like the Band and the Flying Burrito Brothers, then call me crazy, but Western Centuries is the country supergroup we’ve been waiting for: three first-rate lead singers, each of whom writes solid, heartwarming and heartbreaking country songs, together in one band.”    —Kristin Cavoukian, Exclaim! Magazine

 Comprised of Seattle-based country musician Cahalen Morrison, jam band veteran Jim Miller (co-founder of Donna the Buffalo) and bluegrass-by-way-of-punk rock songwriter Ethan Lawton, Western Centuries grew out of a solo project of Morrison’s called Country Hammer. Having enjoyed both the Country Hammer album and Weight Of The World Blabber’n’Smoke was glad to be offered the opportunity to speak briefly with Cahalen Morrison as he was  preparing for a show in North Carolina last week.

Acclaimed as one half of  acoustic roots duo, Cahalen Morrison and Eli West, Morrison’s solo debut Country Hammer, released in 2014, surprised many given that it was a full blown country album with a band in tow. Regarding this apparent change in direction Cahalen explains, “That’s music I’ve played really since I was a kid and when I was in bands back home in New Mexico we played country music. I felt it was just a fun thing to change from an acoustic set up to rock and roll a bit”.  While Country Hammer was a solo project with all songs written by Morrison, Jim Miller played on the album and sang two of the songs and pretty soon it evolved. “Well Ethan was in the band as well playing drums and singing and we started bringing in tunes that both Ethan and Jim had written. So we decided to change the band name so it didn’t look like it was me and my band with some other folk just sitting in and singing some stuff. With Western Centuries it’s equal duties for the three of us.”

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There’s a great deal of variety on Weight Of The World with honky tonk songs, beer stained laments and cosmic cowboy observations all jostling for space. With three singers and songwriters on board reviewers have often made comparisons with The Band particularly with regard to Miller’s songs. Asked about this Cahalen replied, “I can see the comparison and it can be useful for people to hear that and get a hold of it and say, “Well I like The Band so maybe I’ll like these guys.” And we all love The Band and that kind of vibe of three writers and three singers all sharing and collaborating so I’d say that the comparison is pretty accurate. It makes the show great fun for us. To get to do all this different stuff, to be able to sing lead then have a break and sing harmony and then I’ll jump behind the drums and Ethan will get up on guitar and sing his songs and throughout the show we all switch around on electric and acoustic guitars”.  As for other influences that reviewers have mentioned such as seventies country rock bands including The Burritos and The Nitty Gritty Dirt Band he stated, ” it’s hard to say what has influenced us because we’ve all heard bands like those. But we all listen to George Jones and things like that so it just all kind of seeps in and happens.”

When Blabber’n’Smoke reviewed Weight Of The World I mentioned that Philosophers and Fools was perhaps the first country song to mention the dating app Tinder thinking it to be a cunning pun that fitted in with the song’s imagery about love burning out but this theory was blown out of the water when I asked Cahalen about this. “I didn’t realise it when I wrote it but it does work out to be a funny little thing that accidentally happened. So I wasn’t singing about the Tinder app but it’s a funny coincidence”. And while some of Morrison’s lyrics are meaty such as “I’ve seen the weight of the world crumble with an easy equation. I’ve seen the weight of a man gone to hell, cryin’ he don’t understand,”  (he draws from writers such as Gabriél Garcia Marquez,  cowboy poet Waddie Mitchell, and Cormac McCarthy)  they’re delivered with an undeniable sense of good time freewheeling fun so I asked Cahalen what the live shows are like. “We generally have a lot of dancers and most of the places that we play they’ll clear the chairs for a dance floor. We definitely have a good time on the stage and I sure hope the audience does too. They seem to.” As for the band’s debut visit over here, Cahalen is looking forward it. “I’m excited to be coming over with the band. I’ve been over so many times with Eli and I’ve got lots of friends that I’m excited to be seeing again. I really love Scotland, it’s my home away from home so to speak and I’m really excited about playing at Kilkenny Roots, I’ve heard really fun things about the festival. We’ll have Leo Grassi from Nashville on pedal steel and Travis Stuart from North Carolina on bass playing with us.”

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We ended our chat with Cahalen talking about future plans, “In August we plan to be recording in Louisiana for a new album which will probably come out next year. It should be fun, we’ll be down in Cajun country and I reckon some of that will rub off on the music.”

Western Centuries’ tour commences on 19th April in London and will include two shows at Kilkenny Roots Festival and five Scottish dates. All tour information is here.

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David Corley. Lights Out.

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David Corley erupted into view at the beginning of 2015 with his tremendous debut album Available Light. An astonishing record, his deep voice carrying years of experience (53 years in fact), the music reminiscent of Southern soul and swampy blues, Available Light was an immediate hit with the roots music community in the UK, Ireland and the continent leading to Corley and his band touring Europe. Disaster struck however when Corley’s history of cardiac problems caught up with him, collapsing with a heart attack on stage in Groningen. Fortunately prompt attention and then medical care in Groningen’s University Medical Centre allowed a full recovery and now, after some rest and recuperation, Corley returns to the fray with this EP and will be touring again in May.

With seven songs and running at around 35 minutes Lights Out was recorded following Corley’s illness, some of it on Wolfe Island, Ontario and in Brooklyn with his band, The Wandering Stars, while three songs were recorded in The Netherlands with local musicians, keyboard player and Corley’s producer Hugh Christopher Brown on hand at all of the sessions. Most of the ingredients that contributed to Available Light’s success are in evidence, not least Corley’s voice, more stentorian than ever but there’s a bite here, an urgency that was not in evidence on the album.  While there are some languid reflections on a life lived there’s also some punk like ferociousness and soulful funk. His brush with the Reaper is alluded to on the artwork, a blurred heart with a cardiograph on top of it.

Watchin’ The Sun Go opens the disc in fine style. Spare guitars slowly mesh together over a restrained keyboard before Corley (here sounding somewhat like Springsteen) sings and the rhythm kicks in. There is an E Street feel here with organ swells on the chorus while other keyboard sounds add an off kilter edge to the song but overall the effect is uplifting with Corley seeming to sing about his “resurrection”. Under A Midwestern Sky revisits Available Light territory, its sinuous guitar and organ winding like the Mississippi as Corley dips into his finest rough baritone boosted by a gospel like chorus. The song meanders wonderfully, like Dylan’s Slow Train Coming the band coil around the words, the guitars snaking in and out creating something of an epic. Pullin’ Off The Wool dives deeper into soul music, Corley here sounding like a secular Solomon Burke, his words half spoken, his voice stained with experience and emotion as he investigates what true love means. His impassioned pleas here are superbly supported by the excellent Gospel tinged harmonies from Kate Fenner and Sarah McDermott while the band hit a gorgeous Muscle Shoal type soul beat. Mickey Raphael turns up on harp on the parable that is Blind Man with Corley and the band taking up the reins of early Kris Kristofferson on a rusty tale of love gone wrong, the protagonist blinded in so many ways by his lover, well aware of his fate but unable to do anything about it. Corley waxes poetic here as the band tumble along slowly, a wild bunch playing sad saloon music.

Given his heart problems one fears for Corley’s health as he launches into the frantic rant that is Dividing Line. With the band pile driving into a ferocious garage punk riff he rails mightily over snarly guitars about love and hate, “don’t stop this train, of thought“, wailed throughout. There’s a grand shift in the middle of the song when the grunginess is briefly replaced by a brash acoustic thrash. Wonderful. Lighting Downtown meanwhile is a whip smart slice of funk, Corley funnelling Prince and Curtis Mayfield. Down With The Universe is a fine sign off. It opens as another slow Southern groove, organ and slide guitars setting the scene as Corley again seems to reflect on his near death, observing himself from above, recalling tender moments  such as “I liked you best when you took off your dress” but eventually surrendering to a universal que sera sera, a dreamlike sitar infused ending fading into oblivion.

Mr. Corley says that Lights Out is “a bit of a departure…conceived during a stay in a hospital”, promising a full new album later this year. However there’s no sense here of this being a stop gap. Indeed it’s more proof, if proof were needed, that he is a writer and performer of the first order, poetic and passionate. You can catch him on tour here including two dates at the Kilkenny Roots Festival, Kilkenny seeming to have adopted Corley as a native son.

website

Buy the EP here for EU customers, here for US and Canada

 

 

 

Kilkenny Roots Festival 2015. 1st – 4th May 2015

Since 1998, The Kilkenny Rhythm and Roots Festival in south east Ireland has attracted some of the finest names in the Americana canon; acts like Calexico, Giant Sand, Ryan Adams,Alejandro Escovedo, Mark Eitzel, Guy Clark, Chuck Prophet, Ray LaMontagne,Richmond Fontaine, John Murry and Rodney Crowell. Last year it won the Irish Best Small Live Music Festival while one of its main venues, Cleeres won the Best Live Music Venue in Leinster award.

This year’s festival is from 1st – 4th May and is jam packed with some spectacular acts. Calexico, , Lee Bains III & The Glory Fires, The Barr Brothers and Sons Of Bill and a songwriting circle of Aiofe O’Donovan, Sara Watkins and Sarah Jarosz are just some of the acts announced to play.  Also on the bill are Ryan Boldt, head honcho of Canada’s Deep Dark Woods,  ace new country singer-songwriter Cale Tyson, Glaswegian Daniel Meade and a rare Irish date for the acclaimed US songwriter Eef Barzelay. US band Daddy Long Legs will close the festival on the Monday night with their unique brand of primitive rock n roll. In addition there will be a number of free gigs around the town all weekend as part of the Kilkenny Roots heritage trail. By all accounts this is a fabulous weekend with the Guinness flowing throughout and a great opportunity to catch some stellar acts in intimate surroundings and while Blabber’n’Smoke can’t make it this year we’re booking up for 2016 as we write.

Tickets and general information can be found on the website http://www.kilkennyroots.com and apparently the box office, Rollercoaster Records is, we are reliably informed, not only the best record shop in Ireland but the happiest little record shop in the world!

Here’s a video made for the 2013 Festival