crooked rain.scotland's music

The latest single from North East Loons Le Reno Amps is a turbo charged sugar rush that only a fool could ignore. The 3 minutes of power pop has a slight retro tinge to it, just enough to remind you of younger days spent drinking Aldi brand lager on park benches and trying to look up girls skirts. The vocals don’t quite match the strident backing and February isn’t the right time of year for a song like this, but don’t let this put you off the Le Reno Amps. Wind ‘em up and watch them go!

Crashing in on a wave of psychedelia, The Fast Camels proudly wave their freak flag high. This album is unashamedly steeped in sixties acid music, mainly of the American variety but with a healthy dose of British freakbeat thrown in for good measure. This type of revival has of course been attempted several times before with varying degrees of success (or lack of). For every Robyn Hitchcock there are several Doctor and the Medics. So it's with a sigh of relief that one can report that The Camels pass the acid test with only a few could do better comments.

Guitar driven, the templates are primarily Love, The Byrds, Barrett’s Floyd and the UK Kaleidoscope. There is precious little whimsy here, the band attack the songs with gusto, creating waves of sound which are well produced, thick and full bodied. All written by guitarists, Drew Sturgeon and Mark O’Connor (with drummer Stephen Mors and Bassist Marc Vallely getting one cowrite each), the songs for the most part are able to stand in their own right, well apart from being merely pastiche. Starting with '50 Things on your Mind', disembodied voices lead into an Arthur Lee guitar riff that captures his trippy punk flamenco blend. The lyrics are spot on, a lysergic search through the singer’s thoughts, staring at the sun, looking at the sky to find the answers. A very strong start. Released as a single, the next track, 'Like a magic Optician' is perhaps the albums most immediately appealing song. The spirit of Syd Barrett is invoked as the usual suspects (gnomes, magical shops, and fish) are caught up in a romp through toytown psychedelia with a rousing guitar solo and a tremendous middle eight. There is nothing to compare with these two songs on the rest of the album but there are several contenders. 'Comforting things' uses what seems like backward tracking to create a sense of dislocation in the music. 'Can you see me' is an urgent Byrdsian rush that would sit well on Fifth Dimension with a crazed, fuzzed guitar part. 'Privately Insane' returns to that part of the band that belongs to Arthur Lee with his deceptive use of seemingly innocent sunny melody and harmonies camouflaging a darker tale. The following  'Gone' almost acts as a coda with more Lee type stylings on guitar while the lyrics could be construed as an epitaph for both Lee and Barrett. Indeed the whole album can be seen as a hymn to those departed psychedelic seers. The Fast camels have picked up the baton and it will be interesting to see if they can carry it further.

Find the fast Camels at http://www.myspace.com/thefastcamels

Duke Dali

Bit of a mystery these guys (to me anyway) with little or no presence on the international superduper electronic information highway that we (I) tend to rely on for much of our day to day info. Anyway, Scottish, recorded at Riverside studios and almost spot on when it comes to capturing classic melodic rock tunes. There are several songs here that tap into that particular brand of American based or influenced folk/pop/rock exemplified by artists like Son Volt, Big Star and Teenage Fanclub. The title song demonstrates their strengths and weaknesses, a strong guitar driven melody with a great lyric but a touch wobbly on the delivery and let down by a weak production. That said the next song "Right in Front of Me” is immediately superior in sound production with a sinister guitar line anchoring singer Alan Eaglesham’s vocals in a song that seems to have seeped out from L.A.’s dark 60’s underbelly. The album is topped and tailed by two other corkers, “Never been Done” is a neo psychedelic piece with beatlesesque synthesisers and “Lovesick” ruts along like everyone’s favourite bar band, Crazy Horse.

With a bit more experience and time under their belt the next album could be one to watch out for. 

The album is available from SOP records

Duke Dali

http://www.soprecords.com/ 

Our man in the far north, John Davy gazes and grazes upon some new releases

Sally Spring: Mockingbird  (Sniffinpup Records) www.sallyspring.com 
 
       Lots of artists thrive in the company of a sideman who is happy to stand just out of the spotlight; Sally Spring has Ted Lyons, and between them they've come up with a cracking album. Borrowing from English folk music as much as modern American singer-songwriter styles, eight of the eleven songs are originals, with Ted Lyons getting a co-write credit on three of them. Overall we could probably do with one or two lighter, or faster, songs; that caveat aside, it's a joy to hear these beautifully played, and beautifully sung, songs.
      Sally Spring's voice is low enough to have that darkness and emotional complexity that reminds me more of June Tabor than any American singer I can think of off the top of my head. Her phrasing is fantastic, the phrasing of a real singer. She always seems to have time to put the emphasis just where she wants it - yet at the same time, many of the songs are very strongly rhythmic, with an impulse of their own for which the musicians seem to be merely conduits. This is most clearly felt on "Here Come The Memories"; Sally Spring's voice and guitar establish the rhythm and mood, before bass and harmonium come in to fill out the sound - but Sally's singing is utterly the focus, quietly compelling, and quickly under your skin. Throughout this record, the playing is beautiful; it is the playing of mature musicians who know their game, and know how to embelish without being flash. A few big name supporters turn up to lend their weight, Gene Parsons, for one, contributing pedal steel and vocal support on the two versions of Hickory Wind that appear here. I have to say that she gets more meaning from the lyric, for my money, than the other Parsons that wrote it. "Mockingbird" is a polished gem, and I can only wonder at why Sally Spring's profile has been so low in recent years.

A.J.Roach : Revelation   (New Folkstar Records)

 

 

      First time round, with "Dogwood Winter", I didn't really get AJ.'s thing; it was all a bit low-key and introspective for my taste. Well, now I can make up for lost time because "Revelation" has grabbed my attention in a big way. This man grew up with Appalachian folk and gospel music all around him, but flirted with rock and relocated to California before rediscovering his roots and started producing his own music springing directly from those roots."Revelation" opens with "Clinch River Blues", a suicide song in the fine tradition of all those old murder ballads, delivered with a pace and intensity that grips you tight, and you think to yourself that this guy means business. The guy in the song takes the notion of washing away your sins in the river to an extreme length and the religious imagery returns throughout the album, as does the self-loathing; the song "Chemicals" celebrates the healing power of whisky as it riffs on "The Lord Is My Shepherd":

    "So whiskey's my shepherd/Oh and I shall not want/It maketh me lay down/ In a strange woman's bed/ It maketh me talk/ Out of both sides of my mouth/ Maketh me feel/ Like I'd be better off dead".

    Whereas Dog wood Winter's songs tended to meld together with the similarity of their arrangements, here AJ's assembled some pals to colour in the background, and multi tracked his vocals to give some depth to the performance. The big surprise is "Devil May Dance" which owes it's sound far more to Crosby Stills and Nash than to Appalachia, and is quite sumptious. Otherwise AJ's gift to us is to bring us elements of  that mountain gospel music and the famed "high lonesome sound" without ever getting po-facedly "authentic" about it;

for a tradition to live and breathe it needs writers and performers who are prepared to innovate from within the tradition.

   The most impressive thing with this collection of songs is the immense care taken over the writing; he uses pretty strict rhyming schemes with his lyrics but the rhymes never seem to obstruct the flow of his story, but rather give it a rhythm that he emphasises with his singing.

The words play tag with each other, too; a word will be re-used in a new context in successive phrases so that the listener's brain has got the rhythm of the rhyme as well as the rhythm of the repeated word to engage with. Clever, well-worked stuff that rewards close attention and many hearings.

   "Revelation" is the closing song, and is a storming sermon on the subject of the day of judgement, when "every man is judged/ by what he's really worth". You don't have to share the creed to be impressed by the ferocity of the message, with the whole band going full tilt. Fantastic stuff, and well worth the three year wait. AJ's playing around Britain this October and November with Nels Andrews; can't wait, myself.


 

Korby Lenker: King of Hearts    (Blue Light Records 2006-29)   http://www.korbylenker.com/ www.myspace.com/korbymusic

 

      You wouldn't guess from this record that Korby Lenker's other musical career is in a bluegrass band. What we have here is a hybrid pop music: a little bit countrified, acoustic in places, frequently quite rocky, and, most successfully, quite soulful. Korby's voice isn't robust enough to really belt out the rock numbers, tending to sound more like a confidential whisper than a full-throated bellow, but he can sure do the soul thing. On the slower numbers where he draws out the notes he reminds me of Steve Dawson in Dolly Varden or even, at a pinch, of the Neville brothers.

     In common with many contemporary American songwriters, Korby's happy to experiment with song structure. We don't get the sweet and easy flow to a song that the likes of Slaid Cleaves seem to be able to knock out in their sleep, but rather melodies that seem to take unexpected directions and rhythms that break step and change pace, mid-song. This seems particularly evident on the rock numbers with choruses that pause mid-flow, Counting Crows style. It irritates me, but it doesn't seem to have done the Crows any harm. Lyrically, the mood is pretty downbeat overall: a man dealing with doubts, wondering what this life is all about. Even in "Cedars of Lebanon", an autobiographical celebration of the church singing that got him fired up about music in the first place, there is a holding back as if to point up the melancholy hiding behind the joy in life, and he asks:

    "do you think that I sing nice/are my vices worth the price/of pretty music?".

Far and away the most fun track on the album is the clinching closer, the "Myspace Song", one minute twenty seconds of Chuck Berry-ish fuzz-box raucousness celebrating the joys of the latest fun internet thingy. The other stand-out track is Angel of Mercy, an achingly soulful slow song with the chorus:

     "send me an angel of mercy/comfort me with a beautiful lie

      sing me to sleep with an old southern melody/looking out for a true friend of mine."

The music throughout is inventive, but uncluttered - guitars, drums and organ with a little lap steel here and there, but lots of care in the production has produced plenty of atmosphere from these straightforward elements. "King of Hearts" has lots of interesting stuff going on without quite catching fire, but the man is thoughtful and serious about his art, and I'm sure the best is yet to come.

Mia Riddle: Tigers  www.miariddle.com  www.myspace.com/miariddle

 

     She's enigmatic, is Ms. Riddle. This beautifully presented cd is illustrated, not with a photo of the artist, but with cartoonish pictures of people in oversized animal masks: a reference to the title track which itself is oblique in its meaning. Information on the cover is limited to song titles, and musician/production credits. A website address is the only, indirect, invitation to find out more about this intriguing performer. When I looked up miariddle.com I was absolutely astonished to discover she's a New York-based Californian. Everything about her singing and songwriting sounds British to me - the accent and the style seem entirely so, and it was only the occasional lyrical reference that had made me wonder if she might be Canadian. She describes her songs as "indie-torch", and several reviewers have described the sound as rock. Well the band can clearly rock if they want to, but she started as a solo acoustic performer, and, really, the band is embellishing that basic sound without drowning it. Just as well, because her voice and singing style - a kind of fractured delicacy - would be lost if her band was less sensitive and restrained. Her lyrics, not always easily deciphered, seem to discuss a young woman's life in oblique but thoughtful terms, a sense of detachment generally pervading things, so not really the kind of overblown emotion that I, for one, would associate with "torch" songs. That delicacy in the singing and playing, however, is spun around a core of steel - the songs don't seem to have hooks, exactly, but nonetheless become distinctively memorable, each with it's mood built up from deceptively simple elements. Good stuff, then, maybe a Janis Ian for a new generation. 

Sometimes I think that ancient Americans discovered Scandinavia rather than the other way around. Something in their genes seems to allow denizens of Sweden and Norway to mutate into fine purveyors of rootsy Americana that is as fine if not finer than the original article.

Olav Larsen is Norwegian as are the band but they have come up with a fine collection of songs coloured by the likes of Dylan, the Band, Gram Parsons and Gene Clark. Sporting pedal steel, fiddle, wurlitzer, dobro and occasionally tuba, the sound is akin to the Burritos with hints of Dylan’s Desire. Larsen’s vocals at times have to stretch to reach some notes but this adds a yearning, vulnerable quality, on several songs there are female counterfoils a la Parsons and Emmylou (or Dylan and Emmylou or Gene Clark and Emmylou!) that are genuinely moving. I’ve no idea if English is Larsen’s first tongue or not but the lyrics are top notch, at times riffing on a Dylanseque stream as on the title track (It’s not you I’m trying to blame/I just want to explain/And I won’t be profane/I’m just here to proclaim/That you’re still on my mind!). Shifting from gospel like ballads to gleeful honky tonk stomps, the playing is superb throughout and there’s not a duff track on the whole album. 

Olav Larsen is playing at this years Celtic Connections
http://www.myspace.com/olavlarsenampthealabamarodeostars

Duke Dali

The first album to be reviewed on these sainted pages was ‘Built to Last’, the Endrick's debut. It was a terrific first effort that left us waiting for more. And how we waited, nearly 2 and a half years have passed since ‘Built...’ was released. Was it worth the wait? Damn tooting it was!

It is a mark of how far the band has come that they can produce 12 tracks of solid gold without going down the easy road of making Built to Last MK2. A while ago Niall Holmes told us they were heading away from the country vibe to more of a Big Star sound and he’s been true to his word. The record has a chunkily melodic sound, helped in no small part by Chris Gordon’s excellent production. The bruising opener, ‘Thorn on every Rose’ (co penned by Ryan Adams) shows you how the band has evolved and really found their sound. As openers go, it is an absolute cracker. Fans will be familiar with some of the tracks (Irish Angel, The Loser's Excuse) from the Endrick’s legendary live performances and their current single ‘So Last Night’ could be the breakthrough. The Faces style funk is more gallus than Billy Connolly dressed as a pimp, and could fit well on a soundtrack.

Hopefully Scotland’s popular media will cease their obsequious, incestuous obsession with Franz and the Fratellis for long enough to realise The Endrick Brothers are one of our finest products, and give them the coverage they deserve.

And by the way, I’ve said it before and I’ll say it again: if Niall Holmes isn’t the best singer in Scotland today, I’ll borrow a hat and eat it.

Attraction Versus Love is out in February, check some of the tracks here

Diesel Podger

The statement on Loomer’s website ‘Country music is broken, we aim to fix it’ is a bold one, but indicative of the confidence and swagger they display on this, their second long player. It opens with ‘Bang the Nails’ a lush Wilco-esque number with some far out lyrics. This is the first indication that Scott Loomer doesn’t write songs, he crafts them. He really does have some superbly evocative writing, especially on ‘Caramel Heart’ (you were born with a caramel heart/soft and warm and sticky), ‘Old Grey Ford’ (about a 2 headed cow!) and my favourite ‘Dirt Angel’ (I like the way you hold that shovel in your hands/ you got possibilities) Another great track is ‘Only Lovers’ where they team up with fellow Canuck Sarah Harmer. Man, can she sing. Loomer have a great album here, it touches a number of musical styles and hits the spot on all of them.

I believe plans are afoot for a UK tour next year, and I can’t wait

http://www.loomeronline.com

http://www.myspcae.com/loomermusic

Fankerton Stance

From atop his mountain lair, John Davy casts his eyes over a few new releases

The Stumbleweeds: Evil On Your Mind

  Hailing from Boston, but sounding like their hearts belong further south and west, this is The Stumbleweeds second album. With an old-fashioned rocking country sound, they wear their retro ambitions on their sleeve - a front porch picture of the band looking pretty 1950s-ish, and a track listing divided between "Side One" and "Side Two". Guitars, drums and stand-up bass support the lusty country-girl vocals of Lynette Lenker, and the tracks divide pretty evenly between old classics from the likes of Wanda Jackson and Harlan Howard, and brand new songs written in the old style.
    Now there's no denying the energy and enthusiasm of the Stumbleweeds, but they could do with some variation in pace and mood, because I, for one, felt like I was being battered into submission long before the end was in sight. Actually the primary problem is the guitar sound, which too often is harsh, aggressive and over-dominant. The best tracks are where the guitar is just a piece in the picture, and country guitar at that, not the rock guitar sound that intrudes too often. It'd be nice to hear Lynette Lenker's vocal  performance have more variety, too. The cover of "I Love You Because" highlights all the worst things in this record, all but completely lacking in emotion or subtlety, and therefore pointless. On the plus side, the best tracks include the new songs, with Lynnette Lenker's own "Doggone Thing", being perhaps the best of all: slower and more restrained, it has the wonderful lines:
"You ain't never done a doggone thing for me
 Unless you count endless pregnancy"
 - a classic country song if ever there was one. No doubt they're a band that exist for gigging and the energy and volume would provide for a great Saturday night - singing and dancing and drinking ( even if they do also cover "A Girl Don't Have To Drink To Have Fun" )...

http://www.stumbleweeds.com/

Six Mile Grove  - Home Grown
These guys from Minnessota don't look old enough, but apparently they've been on the go since 1997; must have started young I think. On this album from 2004 they bring us fourteen songs of countrified rock (or rocking country - not sure of the difference really) that fairly drives along a lot of the time courtesy of some fairly frenetic drumming from Brian Sampson. What sets them apart though is brother Brandon Sampson's soulful singing. He knows how to sound like he's always got time in hand, and he gets a lot of feeling into his voice;  this is best shown on "Andy": Brandon's Springsteen-ish harmonica playing gets an airing, but his voice, full of weary scepticism about the life of a wannabe rock-star, is the real star, quite arrestingly expressive.

Keser are a 2 piece electronic outfit from Edinburgh, and this is their 12 track debut on Alextronic records.
They cite Mogwai and Aerogramme among others in their influences, as may be expected, but on this release things are mainly kept below the raucous level and more on a chilled out plane. The opening track ‘FM Rocker’ is a prime example of this, though it does give way, Orbital style, to the slightly more menacing ‘4_Cycles’.
‘Page 20’ has an intro not unlike The Postal Service, maybe at a push Dntel, but definitely Jimmy Tamburello sounding. Which believe me is no bad thing.
Maybe the bad thing is this kind of music can become a touch ‘samey’ after a while, though I reckon that is symptomatic of the genre. As is using a ‘K’ in place of a ‘C’ and daft sounding song titles. I understand it may be difficult to come up with a title for instrumental tracks, but ‘Destination: Destiny’?
But I digress. The production is slick, as is the whole presentation of the band. The 12 tracks could have been slimmed to 9 or 10 without much grief, but I’d listen to it again and on the whole it’s a thumbs up for Keser. Would be interesting to catch their live show.

 www.keser.co.uk

This is The Hazey Janes third single release from their impressive debut album 'Hotel Radio'. Commercially, the band appear to be going from strength to strength, receiving national radio airplay and doing a host of high-profile support slots, with a UK-wide tour in the pipeline for the Autumn. 'Fire in the Sky' is a good example of how the Janes can craft a perfect pop-song without any hint that there are too-many choruses here, or two much guitar masturbation there; short and sweet if you like. The clean guitar, swishing percussion, sprinkling of vocal harmonies and a good dose of background "oos" and "las", have consistently characterised the Janes sound and have led to many comparisons to the West-coast pop of the likes of Big Star. "Fire in the Sky" typifies this sound and as such is perfect taster for anyone new to the band, and with public popularity growing for this Dundee four-piece, it is quite likely that this will be the first introduction for many to one of the hottest Scottish properties around on the at the moment. Fans of the Fanclub and even those prone to the more mainstream melodies of the likes of Snow Patrol may well find themselves dabbling into "Hotel Radio" on the strength of this single.

B-sides "Meet on the Ledge", a Richard Thompson cover, and their own "Love is Gold" are pleasant ditties which showcase nicely the twin vocal talents of Andrew Mitchell and Alice Marra, serving to re-inforce the Janes growing reputation as mature songsmiths without ever setting the heather on fire.

The single as a whole is recommended to those wishing to find out more about the band and should act as a stepping stone to 'Hotel Radio' and indeed its superb eponymous predecessor EP. Thumbs Up.

Lambert Butler

www.thehazeyjanes.co.uk

www.myspace.com/thehazeyjanes

 

Having risen from the ashes of the Telstar Ponies, Glasgow’s Porch Song Anthology present this 9 track slice of Americana Gothic.

This is country inspired by Appalachia, not Nashville. And Appalachia being the strange mountain place famed for snake handlers, bootleggers and coal miners daughters it’s no surprise they open with a murder ballad ‘Hang Me Good’. And what a way to open your debut album; spaghetti western style guitars give way to Rachel Devine’s plaintive voice over a slow marching beat, and the song drips with dark, dank atmosphere.

Rachel’s singing is one of the Porchies best attributes and is particularly evident on ‘The Blood and The Breeze'. Her clear and precise tones really do soar above the accompaniment, reminding me of Natalie Merchant and making it one of the best tracks on the album.

The shadowy theme of the album is evident even on the holy roller sounding ‘I belong to Jesus’, which is a sinners mirage rather than a spiritual “I belong to Jesus, when he comes” Marvellous.

Taking inspiration from ‘Night of The Hunter’ and a part remembered dream, ‘A Tale of Love & a Tale of Hate’ is a superbly crafted and carefully measured ballad, and ties with ‘Ask the Dust’ as my favourite. ‘Ask the Dust’ is so bitter and regretful Fante himself could have written it.

If you like your music with atmosphere and feeling, take a walk on the dark side with Porch Song Anthology.

http://www.myspace.com/theporchsonganthology
DB Cooper

Finniston are Steven Finnie and Jolene Crawford (nee Finnie) and are a brother/sister duo hailing from the north of Scotland. They’ve been at it, ahem in the non White Stripes sense, for a couple of years now and have come up with some delicious slices of popular pie. Their second EP, due for release on the 27th July was funded by none other than Polydor Records and this is the first time they’ve added yet more instruments to the mix and boy does it certainly lift them above the riff raff.
Jolene is multitalented; playing mandolin, fiddle, piano and accordion as well as singing backing vocals and Steven is responsible for the songs, the main vocals and guitar. This EP is a full band affair and it certainly adds to the songs instead of drowning them in unnecessary noise.
The EP kicks off with ‘It Angers Me So’ a great song about faults within a relationship and how those little things that once were cute and endearing morph into the most annoying habits in the world and more often than not act a catalyst for the breakdown of a relationship.
The overall feeling of the EP is similar to that of Snow Patrol’s music, which will either be a help or a hindrance, depending on whether you rate Snow Patrol’s music or not. This comparison is particularly evident on the second track ‘We’re Waiting’. Regardless of the comparison though, this song is certainly due to be a favourite on the airwaves.
The next three tracks change the pace a little bit, slowing down for ‘Musings of a Middle Class Boy’. This song is a sweet little number however the pace might be a tad too slow and interrupts the previous upbeat tempo.
‘Another Love Song’ is a definitely pop at its finest. Ba ba ba doo… ba ba ba dooo… oooh… pure dead brilliant man, makes you wanna move ya feet! Get ‘em movin folks!
The final slice of pie we are served is ‘Bellona Shuffle’ which is another poptastic tune for your aural pleasure. And it has to be said, nobody has ever made the accordion sound so funky. Enjoy folks, this a great wee EP.

http://www.finniston.com
http://www.myspace.com/finniston
EP released on 27th July and will be available from their website or FOPP on Byres Rd. Check website for upcoming gigs as well!
Dakota Filou

John Alexander is a Glasgow based singer-songwriter who’s new EP 24-7 explores the deeper feelings of a singer-songwriter. His vocals which are often drawling and off key sometimes, fit perfectly with the mood he has created on this four track EP. And his finger picking style, for which he is known is certainly an aspect that catches your ear, without taking away from the stories he is telling.
The artwork for this EP is so in tune with music; an old dusty car, scorching heat, a beat up ole gueetar, hard liquor and Malboro Red cigarettes, this is pure country blues.
‘When the Wind Blows’ introduces this theme and you can imagine dreamily driving along a deserted stretch of road without a care in the world, absolute heaven.
Up next is the title track ’24-7’ which is perfect for the middle of the night, when you’re feeling a little down in the dumps and missing that one person who always managed to make you laugh even in the most dire of circumstances. Needless to say, the liquor and cigarettes probably aren’t helping your state of mind but this song is beautifully crafted to seep inside your head and flow through your veins sparking all those memories you’d forgotten.
‘Don’t Give It Up’ is the start of the hangover kicking in and you’re trying to fight off the demons of dread. Alexander sings ‘don’t give it up, don’t give it up, don’t give it in… don’t let them win’ before drifting back off into sleep like state. His vocals are scratchy and perfect for this kind of music, there’s obviously a story behind this man and this song hints at some kind of secret he’s hiding.
‘I Will Be’ continues along the same sound as the previous tracks on this EP. If downbeat country blues isn’t your thing, then this probably is not for you but I’m sure it might come in handy when your feeling like shit after a heavy night and the rain’s pissing it down outside, these songs will make you close your eyes and imagine you’re cruising down the desert roads of the USA, the sun on your face, the soft melodies in your ear and you haven’t a care in the world.

www.johnalexander.info
’24-7’ will be released on 10th August at Brel, Ashton Lane, see website for details.
Dakota Filou

Apparently quite a few of the songs on ‘Obvious’ have been kicking around for years with some of the tracks written as far back as 1999. However, there is nothing stale about Dropkick’s latest offering, out shortly on their own label, Taylored Records. In fact, this is their most upbeat and fresh sounding record to date and, whether timed for a July release deliberately or not, the perfect long-player for summer.

 

The first thing to say is that the boys can take massive plaudits for the fact that their own production is excellent, with not a hint of ‘homemade’ about it. The second, very obvious thing, is that despite Dropkick’s prolific songwriting ability, the 12 tunes are of a consistently good standard throughout.

 

From the opening title-track ‘Obvious’, the boys demonstrate a distinctive Scottish style merged with a hint of Americana. Somebody once said to me that you could hear a band from Central Scotland a mile away, and it’s true there is definitely something about the clean-electric guitar sound, catchy melodies and accent-coming-through-in-the-vocal which binds bands like The Supernaturals, Travis, Teenage Fanclub, The Pastels, Orange Juice etc, together. Dropkick continue this tradition to an extent, but introduce a broader range of instruments to create greater texture to their music (witness lap steel on the lovely ‘Come Around’) and a frequent infusion of banjo or mandolin.

 

There is strength in depth here which makes the best tracks difficult to identify. There is a touch of Belle & Sebastian about “I only have ears for you” but nowhere near as twee, and perhaps The Thrills is a better comparison. “Where was I” is a beautiful lament for people of a ‘coming-up-for-thirtysomething’ vintage and “Obvious” is an energetic Scot-pop gem.

 

As I have mentioned before about this band, what’s fun about Dropkick is that they merge great tunes with light-hearted and clever-but-not-in-a-pretentious-way lyrics which will make you smile. It seems that there is a theme of ending relationships running throughout the album, however the music is far from downbeat and the lyrics too tongue-n-cheek to be melancholic. Cheers for giving Crooked Rain a giggle again – a great listen.

 

Band & Gig info

Doubtful Star records

 

Lambert Butler

  I don't usually pay an awful lot of attention to album sleeves, but when I saw the semi-grizzled guys staring out of this one, all dressed in black, something told me they knew what they were about and the music would be good.

  Well it's better than good, it's bloody magic; the best, sweetest country rock I've heard since I don't know when. Some piano, some mandolin, some acoustic guitar ; mostly gorgeously interlaced electric guitars and plenty of lap and pedal steel for that country colour; vocal harmonies that take you back to the California sound of the early 70s and a very fine, solid rhythm section. The first four tracks hit you with every element of that country rock sound that you've ever loved, and sounds fresh to boot. There's a narrow line between pulling this off and just sounding cliched and tired. These guys pull it off, and sound so sweet and inventive together - there don't seem to be any over-inflated egos trying to run off with the whole thing.

  Lead singer Gavin Munro wrote all but one of the tracks and clearly puts his lyrics to the service of the musical ideas, so that while his lines about dysfunctional relationships or

hitting the road out of town are hardly devoid of meaning, they're more of the type of lyric that is there for the necessary sound of the human voice in the musical mix. A phrase or a chorus hook lodges in your brain and you bellow along, not caring what the hell you're singing about.

  In a relaxed sort of a way, thery're a "busy" band, in the sense that nearly every song has so much little detail in it; little runs on the guitars or piano that embellish the melody and give you new joys to unearth on repeated listenings. In fact my only real gripe is that there is an imbalance toward low-key numbers, and that the 15 tracks could have been shaved to 12 or 13. Then we would be gasping for more, just how an audience should be left.

  By all accounts, Southpaw are a storming live act, so catching them on the festival circuit somewhere this summer is something to look forward to.
John Davy
http://www.southpaw-music.com/

Joe Whyte hails from that US hotbed of music, New Jersey. So it’s no surprise to hear his tried and trusted country rock sound. The opening 2 tracks are the kind of dynamic rockers that make for perfect driving music. ‘Best of Me’ in particular sees Joe with a fine and urgent vocal performance. This is my favourite track and would easily find it’s way onto a home made mix CD of mine. The mid paced balladry of ‘It’s About Time’ is a bit of a let down, an OK tune that is well played but feels a little bland. Things perk up a little though and the title track (5th and final on this mini album) sees him back on good form.
‘Wrecking Ball’ is straight ahead country rock, with no surprises. Whyte is obviously an accomplished musician and writer and it would be nice to see him push the boundaries a bit more
http://www.joewhyte.com

Benston Smithy

Gina Villalobos is the new queen of country rock. How delightful, and quite rightly so, however I wouldn’t just limit her to the queen of country rock but as a pioneer for creating music which is truly refreshing and makes you think this lady has something to say. On her second musical offering ‘Miles Away’, the follow-up to her debut ‘Rock’n’Roll Pony’, Gina displays some fine slices of pop-country-rock pie and I have to say, it goes down rather well. On the opener ‘Miles Away’, we’re introduced straight away to her unique, scratchy voice which doesn’t irritate, as one would think, instead it draws you in to her world and keeps you on your toes to the very end. On ‘Hard Enough’, the slide guitars complement the heartfelt lyrics which perhaps convey her views of what it’s like to be a lady in rock and this is particularly poignant when she muses ‘I know I’m hard enough, but I feel my heart too much, but I beg myself to find enough in me.’
Throughout the rest of the album, we have a perfect mixture of pop ditties such as ‘Don’t let go’ and ‘Face on the sheets’ as well as beautiful ballads ‘ Somewhere to lay down’, not to mention her Bee Gee’s cover of ‘If I can’t have you’ which she truly makes her own. All in all ‘Miles Away’ is a collection of perfectly crafted pop-country-rock songs that will appeal to those who appreciate great melodies and interesting voices.
Gina plays g2 on 12th May
Dakota Filou
http://www.ginavillalobos.com

Yard Sale gathers together selected tracks from a few years of releases by the Illinois trio. The main motif from the beauty shop is John Hoffleur’s raspy dark voice and equally dark lyrics. First track ‘Monster’ shows this off beautifully, the kind of fast paced acoustic rock American bands excel at. Defining The Beauty Shop’s sound is difficult; Hoffleur leads the band between Americana, folk and rock. ‘A Desperate Cry For Help’ is quirky Eels style and ‘Paper Hearts For Josie’ is a great tune with a faltering intro that reminds me of Mazzy Star. Acoustic albums can often be a bit samey, but Yard Sale has plenty difference of pace and lyrical fierceness to keep you interested. I’d read some press about ‘The Love I Could Not Have’ being a great song, and it is, but ‘Shell Game’ is the stand out here, Hoffleur bearing his regretful heart in stark, solo style. Even though Yard Sale is a collection of songs from 2 previous releases, I wouldn’t call it a ‘best of’. I think that is still to come.

Benston Smithy
http://www.thebeautyshopband.com

 

some fine americana sounds by John Davy

Gossip are a three piece punk band hailing from The States. According to their biog they are artists, poets, cooks, writers, feminists, designers, musicians & djs, which is quite an ambitious list of things to be quite frankly. Nevertheless, I’d definitely agree with the artists and musicians thing, which they display on their third offering ‘Standing in the Way of Control’, quite admirably.
‘Your Mangled Heart’ and ‘Coal to Diamonds’ were stand out tracks, which might have something to do with the lead singer’s powerfully soaring vocals which completely demand your attention. Reminiscent of the Detroit Cobras and perhaps hints of the Scissor Sisters, Gossip certainly have something funky going on. Punk music you can dance to? Oddly enough, here it is.
Dakota Filou
http://www.gossipyouth.com

The Ronelles are one of Scotland’s hottest bands at the moment. Even before the release of this first album they have built up quite a following based on their scorching live show, supported Kings of Leon and been given airplay on Radio Scotland and Clyde amongst others. These days when a band creates such a fuss it usually turns out to be much ado about nothing. But not this time, Claude. We’ve been sitting on this review since last August when we stole the promo and finally get to post it with the March 27 release imminent

The Ronelles strike a pop/rock vibe, similar to The Stands. They veer from a hefty guitar sound on ‘Magic Blues’ to driven pop on ‘See You For The Last Time’ but it’s when they stay in the middle ground they hit solid gold. ‘Bolt The Doors’, already released as a single, is superb and deserves to be a hit. ‘Staggered Eyes’ and ‘Never Stop Love’ are 2 more crackers that could be candidates for singles too. What gives the sound that bit more is the gallus attitude that seeps through. It makes a real change to hear a band playing simple, honest music with a bit of swagger.

Although the 14 tracks could have been trimmed to 12 or even 11 this is a solid entry from an exciting band. Allow yourself to be swept up, get the CD and go see them live. They have the potential to make it, whatever ‘it’ means to them and, god willing, help our promo copy fetch a good price on Ebay.

Farmfoods McCoy

http://www.theronelles.com

http://www.myspace.com/theronelles

http://www.neontetrarecords.co.uk

Laura McGhee is a 23 year old from Bonny Scotland. An accomplished violinist and singer-songwriter, her first offering ‘Green Eyes’ is an interesting mix of songs. Her delivery of the songs in a broad scots accent is a little off-putting and perhaps pushes this album towards twee territory like in ‘Tell it Tae the Lover’, however her violin playing is an absolute pleasure to listen to. I’d have to say though, this is really something for the Capercaillie crowd and such like. If that doesn’t tickle your fancy, then there’s not much here for you.

Dakota Filou

http://www.lauramcghee.com

This first release from the Glasgow based Irish doctor cum singer songwriter is a pretty good effort.  To state the obvious; singer songwriters need a good voice and good songs. Colgan has both here; just listen to the 1st track ‘That First Time’. His voice is crystal clear, powerfully driven and hits you between the eyes. Instrumentation is excellent too, and the EP has great sounding production.
His songs cover the familiar territory of love and loss, but not all are downbeat. On ‘Sunny Days’ Colgan proves singer songwriters CAN occasionally have a good day, and write a good song about it too. That track and the closer ‘I Can’t Do This Anymore’ are my standouts. ‘I Can’t... .’ being a stripped down number playing a quiet guitar off Colgan’s piercing vocals.
Some good work here, give him a whirl!
http://www.eoghancolgan.com

Calabasas (Spanish for pumpkin, allegedly) is the follow up to 2001’s Merchant House Tapes, and finds the Edinburgh outfit on good form
The album displays a good blend of pop garnished country rock, and the dual vocals of Keith Benzie and Ross Taylor bring something extra to the mix. ‘Wendy’ is a great combination of Taylor’s roughly hewn voice and some fairly tender lyrics, and ‘Hollow’ has great interplay between the two frontmen.
The Sundowns  play straight ahead rockers (‘Better off’),  laid back americana (It’s You) and Tupelo tinged acoustic numbers (August Time) as well as anyone. ‘It’s You’ has some great pedal steel work from Ali Campbell (insert UB40 joke here), and the album’s general west coast vibe hits fine and true. ‘Hollow’ and ‘August Time’ are my personal standouts and only 1 track, ‘Mockin Bird’, didn’t agree with me.
Calabasas was released last year, and is receiving some well deserved promotion now. Since the initial release The Sundowns have been busy, adding Rachel McKenzie to the band and gigging heavily. They have plenty ambition as well as talent, so the name should become more familiar over the coming months.

www.thesundowns.co.uk
Benston Smithy

Ralston Bowles name ain't showbiz and his genuinely heartfelt debut 'Carwreck Conversations' is the antithesis of everything shallow and 'celebrity'. Ralston pours his heart out over 10 folky, rootsy, bluesy tracks on which his soothing voice narrates us through hard times, romance gone dead and old school days with a great deal of sincerity. The music is in the singer-songwriter mould, led by vocal and accoustic guitar with the more up-beat moments enhanced by blues guitar plus a bit of mandolin. Comparisons include Californian roots-man Dave Alvin, Delbert McLinton and, undeniably, Springsteen. For a good example of the range of Ralston's music, check out back-to-back tracks 'You already knew that' and 'What about me'. I enjoyed this album and would in no way want to de-cry it, but does anyone geta bit of Dire Straits on Track 5? No, just me...

www.ralstonbowles.com

Lambert Butler

.shared with netrhythms.com

(4clouds) This is North Carolina based Desmelik’s 4th full album and contains some real good music. Desmelik has a real traditional Americana vibe. His songs are simple, well crafted and instantly likeable.

Opener ‘Nothing At All’ is a gently rolling number with a terrific bit of slide work, which is matched in quality by the following, bass slappin' and organ blowing, ‘Falling Down’ That track and ‘Feels Like Standing Up’ are the standouts. I felt the second half falter slightly (excepting ‘With Myself’) though that is in comparison to the first five cracking tracks. At times his voice reminds me of Willy Vlautin and Peter Case and, particularly on ‘Feels Like....’ Kevin Kinney of the defunct Drivin ‘n Cryin. Now there is a reference so obscure you probably feel like you’re reading ‘MOJO’! (£3.95? Not Likely!)

This CD will appeal to any Americana fan; it’s as simple as that.
Arturo Bandini
http://www.davedesmelik.com

  I always tend to associate Australia with glossily produced rock or pop outfits rather than country bands, alt. or otherwise. However Brisbane seven-piece Halfway are picking their way down this road with ‘Farewell to the Fainthearted’ on the same label as Gina Villalobos, the indigenous Laughing Outlaw.
The dozen songs on offer are well composed, well played ‘traditional’ country rock in the style of Ryan Adams and Wilco. The songwriters John Busby and Chris Dale bring their own environment into things with ‘Six Hours from Brisbane’ and ‘CQ Skyline’. ‘..Brisbane’ also brings some of that legendary Aussie bluntness ‘six hours from Brisbane/broke and bored and sniffing glue/hey fuck all your old friends keep your heart open/ I’ll be back for you’ Solvent abuse in a country song? Bonzer, mate! In fact, Halfway shatter most of my antipodean daydreams. En masse barbies, bronzed Sheilas and relaxed attitudes to work have been replaced by weariness, unrequited dustbowl love and enough booze to sink the QE2. Actually that last one WAS part of my daydream. The Raymond Chandler quote in the liner notes really does set the tone.
A slight criticism would be that Halfway don’t seem to properly cut loose with their venom and attitude. Maybe they do live, or maybe it’s just not their thing. This is an excellent listen and well recommended.

Farmfoods McCoy
http://www.halfway.com.au        http://www.laughingoutlaw.com.au

This is the second release from the duo of Cynthia Frazzini and Craig Aspen (collectively The Believers). Arriving here via Denver, Seattle, New Orleans and Peru, they have put a lot of work into this album. Already critically acclaimed stateside, crooked rain is happy to give this the stamp of approval. I’m sure they’ll be over the moon now.
Crashyertown will appeal to anyone who likes country rock with a twist.
The opener ‘Railroad Spikes and Shotgun Shells’ is upbeat and full on, ‘Long Way to Heaven’ sublime and ‘Good Days’ keeps up the tradition of ironic C&W song titles.
One of The Believers many plus points is the vocal duelling between Frazzini and Aspen, most notably on ‘Highway Song’ Frazzini in particular has a voice that is proper country, powerful but with a delicate edge. The instrumentation is superb too, and the album reeks of soul and energy.
A terrific release which makes me want to find the first album, ‘Row’
Benston Smithy
http://www.thebelieversusa.com
On Tour in October!!!!!

Modern life is hard. Petrol prices, bra wars, global warming and the constant risk of underarm indiscretion push you to the limit. But every once in a while something comes along unexpectedly and restores your faith. When The Human Cannonball dropped through my letterbox it was the greatest act of serendipity since I found a copy of Razzle next to the comics in Menzies all those years ago.

Hailing from Santa Fe, Joe plied his trade in Austin and by all accounts set the local scene alight, before moving back. The Human Cannonball is his 5th release, and first in the UK. Weighing in at 50mins this 13 track cd covers a range of booze soaked and irreverent themes. AWOL chicks, jam bands and vacuum cleaner pushing single mothers all get a look in. Joe treads the quirky line in most of the songs, but he backs up the lyrics with some solid tunes. He defies easy categorisation. A countrified Clem Snide with punk attitude is the best I can come up with.
‘Oklahoma Bound’ is probably my favourite track, a menacing hoe down with some great banjo work, the title track is a terrific ‘fuck you’ song, and ‘Anita Pita’ would disarm even George Dubya. The slow closing track ‘Heaven’ is beautiful in it’s simplicity

The Human Cannonball is a great album which deserves to heard. Charming, endearing and funny in a way that we all wish we were, this is one of the best releases of the year.
Stinson Bolinas
http://www.joewestmusic.com  Joe is over here on tour Oct/Nov http://www.medicinemusic.co.uk

If 'Post to Wire' marked RF's (belated) arrival here in the UK, then The Fitzgerald' will cement their position as THE alt.country band of the times.

These bleak, dark and at times distressing songs showcase the songwriting talents of Willy Vlautin. The stripped down accompaniment of the band really brings the lyrics to the fore. And the lyrics are the absolute heart of this album. Vlautin wrote this whilst staying at Reno's Fitzgerald hotel, and he 'celebrates' the shadowy inhabitants of this casino city in his songs.  Tortured janitors, AWOL soldiers, bloodied gamblers, runaways and adulterers are all brought to life here. Their stories are offered to us in a simple, engaging way which has somewhat unsurprisingly led to comparisons with 'Nebraska'. The acoustic nature of the two isn't the only similarity, both are stunning examples of excellent songwriting. Springsteen and Vlautin are the two supreme evangelists of blue collar America.

Anyone who ever had a heart will be stopped in their tracks by 'The Janitor', a disquieting story of love and despair. Other stand outs (in a stand out album) are 'Incident at Conklin Creek', 'Welhorn Yards' and 'Laramie, Wyoming'

This is for the Arturo Bandini's, the Henry Chinaski's. For anyone let down, strung out and struggling. For You and Me.

Farmfoods McCoy