Americana Railroad (2021/2022) CD Review

I used to love making mix tapes, and then mix CDs, sometimes organizing songs by subject. One subject that has inspired an incredible amount of excellent folk songs, as well as country and blues, is the railroad. I imagine anyone could list a good twenty or thirty train songs off the top of his or her head. Well, Americana Railroad is basically a fantastic mix CD of train songs, a compilation of both traditional and more modern material, performed by some of today’s best artists. Folks like Peter Case, Dave Alvin, John Fogerty, and Alice Howe perform on this disc. Many of these songs you undoubtedly know, but some might be new to you.

The album kicks off with “Here Comes That Train Again,” a lively number written by Stephen McCarthy, and performed by Stephen McCarthy and Carla Olson. You likely know Stephen McCarthy from his work in bands like The Long Ryders and The Jayhawks. Carla Olson has worked with a large number of artists, and also has a solo career. She also produced this album. There is a Byrds influence heard on this track. “But I hope to see/One day that train’s coming back to me.” Paul Marshall, from I See Hawks In L.A., plays bass on this track. And speaking of I See Hawks In L.A., the album’s second track is from Robert Rex Waller, Jr., that group’s lead vocalist. It’s a cover of Rank And File’s “The Conductor Wore Black,” which was written by Chip Kinman and Tony Kinman, and originally included on the band’s 1982 debut LP, Sundown. Chip Kinman plays guitar on this new version, and Paul Marshall is on bass. It’s another lively country song featuring some really nice work on guitar. And Rick Hemmert’s drum work toward the end feels like a train chugging along the tracks.

“Mystery Train” is a song that has been covered by a lot of artists over the years. I think the first version I heard was by Jerry Garcia and Merl Saunders. I’ve heard it done as folk, country, blues, rock, and it just always work. There are two versions of “Mystery Train” on this album. The first is by Rocky Burnette, and it features some great stuff by Mickey Raphael on harmonica. And again, that rhythm seems to recreate the movement of a train. Rick Hemmert is on drums, and Paul Marshall is on bass. There is also some delicious work by Garry Goldberg on piano. It is a fun rendition. Then Peter Case, a fantastic songwriter himself, here covers the traditional gospel number, “This Train.” In addition to vocals and guitar, he delivers some good work on harmonica. Jesse DeNatale joins him on backing vocals. This is a really nice rendition.

John Fogerty covers “City Of New Orleans,” which is Steve Goodman’s most famous song, though most folks know it mainly because of Arlo Guthrie’s rendition. John Fogerty adds a playful introduction, saying “Well, good morning, America, how are ya?” This track is a family affair, with Shane Fogerty on vocals and guitar, Tyler Fogerty on bass and vocals, and Kelsey Fogerty on guitar. Mickey Raphael joins them on harmonica. This is an excellent, low-key rendition; John Fogerty doesn’t give it anything that isn’t needed. Dustbowl Revival then delivers a fun, cheerful rendition of “Marrakesh Express,” written by Graham Nash and originally included on the debut LP from CSN. I like that work from the horn section, which at one point near the end acts like a train whistle, which is just wonderful. Matt Rubin is on trumpet and Ulf Bjorlin is on trombone. And then just before the end, there is a cool percussion section.

Kai Clark gives us a great rendition of his father’s “Train Leaves Here This Mornin’,” this track featuring some good work by Byron Berline on fiddle and by Kevin Post on pedal steel. Kai’s wife, Amber Clark, provides some backing vocals. This track was originally included on Kai Clark’s Silver Raven, released in 2020. That’s followed by Gary Myrick’s rendition of “Train Kept A-Rollin’.” The first version I ever heard of this song was that by Aerosmith, a band I couldn’t get enough of when I was a kid. It was on the second Aerosmith cassette I ever bought, Get Your Wings (Greatest Hits was the first Aerosmith purchase I made). This version by Gary Myrick seriously rocks as well, and features some great stuff on guitar.

Bill Morrissey is someone I used to see and listen to quite frequently in the late 1980s and early 1990s in Massachusetts, and then I kind of lost track of him and somehow had no idea of his connection with Dave Alvin. Well, on this disc Dave Alvin plays “Southwest Chief,” a song credited to the two of them. It’s one of my favorite tracks. I just love to hear Dave Alvin sing. “Folks that I’ve known and loved keep crossing my mind/As the train keeps rolling, making up lost time/And I’m remembering my dear friend, Bill Morrissey/We were going to write a song, but it never came to be.” So, wait, did they write it together or not? Well, either way, it’s a great song. Johnny Lee Schell plays guitar, Paul Marshall plays bass, and Ben Lecourt is on drums. There is some beautiful playing on this track. That’s followed by Alice Howe’s rendition of “500 Miles.” This is a song I heard a lot growing up. My parents often played Peter, Paul & Mary records, and this song was on at least a few of them. Alice Howe delivers a gorgeous rendition. She is backed by some talented musicians, including Dave Pearlman on pedal steel, Daniel Friedberg (known as Freebo) on bass and acoustic guitar, Jeff Fielder on electric guitar, and John Molo on drums. That is a ridiculous amount of talent to fit onto a single track.

Deborah Poppink  delivers an interesting and unusual rendition of “People Get Ready.” I don’t think this song would have occurred to me when making a train compilation, but of course it fits. This version features some excellent vocal work, both by Deborah Poppink and Brad Jones. And is that a kalimba we hear halfway through? Why, yes, it is. Deborah Poppink plays kalimba, banjo and piano on this track. That’s followed by “Steel Pony Blues,” another of the disc’s highlights, with just guitar and harmonica supporting the vocals. And there is a nice extended instrumental section in the middle. This is an original song written by Dom Flemons, but sounding like a traditional number. A different version of this song was included on his 2018 album Black Cowboys. John York (who was briefly a member of The Byrds) covers John Stewart’s “Runaway Train,” this version featuring some nice work by Marty Rifkin on pedal steel. Then we get a delicious rendition of Jimmie Rodgers’ “Waiting For A Train,” a song about being poor and trying to hop a train to get home. This recording is by Paul Burch on vocals and guitar, and Fats Kaplin on dobro. I especially love that work on dobro.

No train compilation would be complete without Elizabeth Cotten’s “Freight Train.” Here we have a beautiful rendition by AJ Haynes, sounding almost like a lullaby and featuring some incredible vocal work. This is one of the album’s best tracks. You might know AJ Haynes from her work in the band Seratones. Fellow Seratones member Travis Stewart plays bass on this track, and Josiah Ramblin is on guitar. I heard the story of how Elizabeth wrote this song while still in her childhood from Fur Dixon & Steve Werner, when they used to cover it occasionally. By the way, in the liner notes, Elizabeth Cotten’s name is misspelled as “Cotton.” Then we get into a heavier blues rock sound with a cover of Procol Harum’s “Whisky Train” (here listed as “Whiskey Train”), a song written by Keith Reid and Robin Trower, and included on the band’s 1970 album Home. Here it is performed by Carla Olson & Brian Ray, and they deliver a strong, lively, and fairly faithful rendition.

The disc’s second rendition of “Mystery Train” is by James Intveld. The two versions show how different approaches to the song can succeed equally well. This one is a bit slower and features some good work by Barry Goldberg on organ (he plays piano on the first version). Paul Marshall plays bass on both versions, delivering a different bass line on each one, and Rick Hemmert plays drums on both versions, delivering a different beat. Interestingly, James Intveld plays guitar on both versions. So, essentially the same group delivers two very different versions, both of which are wonderful. Then we are treated to a second vocal performance by Hawks front man Robert Rex Waller Jr., this time on “Midnight Rail,” a song written by Steve Young. I’ve mentioned this before, but Rob Waller has one of the best voices in music, and this track really gives you a sense of where he’s coming from and what he’s capable of. It is yet another of this disc’s highlights. Fellow Hawks member Paul Marshall plays bass on this track, and Todd Wolfe is on slide guitar. Carla Olson plays guitar, and Rick Hemmert is on drums. This fantastic disc wraps up with “I Remember The Railroad,” the album’s second Gene Clark song, this one performed by Stephen McCarthy & Carla Olson. They opened the album, and they close it as well. This track has a sweet vibe, and includes some really nice work by Jesse Owen Wells on fiddle. I also love Stephen McCarthy’s work on mandolin.

CD Track List

1. Here Comes That Train Again – Stephen McCarthy & Carla Olson
2. The Conductor Wore Black – Robert Rex Waller Jr
3. Mystery Train – Rocky Burnette
4. This Train – Peter Case
5. City Of New Orleans – John Forgerty
6. Marrakesh Express – Dustbowl Revival
7. Train Leaves Here This Mornin’ – Kai Clark
8. Train Kept A-Rollin’ – Gary Myrick
9. Southwest Chief – Dave Alvin
10. 500 Miles – Alice Howe
11. People Get Ready – Deborah Poppink
12. Steel Pony Blues – Don Flemons
13. Runaway Train – John York
14. Waiting For A Train – Paul Burch & Fats Kaplin
15. Freight Train – AJ Haynes
16. Whiskey Train – Carla Olson & Brian Ray
17. Mystery Train – James Intveld
18. Midnight Rail – Robert Rex Waller, Jr.
19. I Remember The Railroad – Stephen McCarthy & Carla Olson

Americana Railroad is scheduled to be released on CD on June 17, 2022. It was also released on vinyl as a limited edition double album on the Black Friday version of Record Store Day last year.

Michele Thomas: “The Assumption” (2022) CD Review

Since the 2016 election, this country has been quickly sliding backward into troubles we’d hoped were firmly in the past. Things are bad for anyone with a soul, but particularly for women, as was made perfectly clear this week when a terrible Supreme Court decision was leaked to the press. Are decades of progress going to be wiped out by a court deliberately stacked with right-wing nuts? It looks like it. And though most people are exhausted after four years of a racist regime and two years of a pandemic, we are going to have to enter the fray once more. It’s a good thing we have music on our side. Michele Thomas is a soulful jazz vocalist and songwriter based in Chicago. On her new album, The Assumption, she offers a good selection of covers, as well as some excellent original material that reaches out to us in these troubled times, dealing with racism and loss. The first line she sings on her new album sets the tone, “I ain’t gonna let nobody mess with my soul no more, no more.” A joyful defiance is just what is needed these days, and that is exactly what we hear in her voice. In addition to the vocals, Michele Thomas plays keyboards and percussion. Joining her on this release are Clark Summers on bass, Chris Mahieu on piano and organ, Neil Alger on guitar, and Darren Scorza on drums and keyboards, along with a few guests on various tracks.

The album opens with “No More,” which was written by Hubert Laws and Jon Hendricks, and included on Jon Hendricks’ Tell Me The Truth LP (it was also earlier released as a single). This track has a delicious groove, with some nice work from the brass section of Jeff Hedberg on trumpet and Chris Greene on saxophone. But perhaps most importantly, its lyrics feel empowering, which folks are going to need in the coming days and weeks: “I ain’t gonna be the kind that won’t make a scene no more, no more.” Michele Thomas delivers a passionate vocal performance. This track also features some good work on both keys and guitar. That’s followed by a cover of “Love Dance,” a more relaxed, romantic number written by Ivan Lins, Gilson Peranzzetta and Vitor Martins. I really like what Michele Thomas does with this song. There is a soulful presence guiding the track’s progress. I also like the loose feel on the drums. And there is a good lead on guitar followed by a wonderful piano lead. Both the guitar and piano leads have a sense of freedom, of being relaxed and letting the music flow naturally.

Then we get into the original material, beginning with “I Know Because You Told Me So,” which Michele Thomas wrote with Damian Espinosa. This one finds her in a more cheerful mood, which we hear in the scat at the beginning of the track. Here is a taste of the lyrics: “Maybe I’m dumb and blind/Of the lines between the acts of true self-love or self-adulation/Too long on the other side of that wall/I’ve been in my chamber of self-depreciation.” It feels designed to raise our spirits. Her spirits too seem to have been raised, for she even laughs at one point toward the end. Jeff Hedberg and Chris Greene return on trumpet and saxophone respectively. That’s followed by “These Days,” another original composition. As this one begins, there is some chatter, like we’ve entered a room that is busy with activity. That soon fades as the song begins. Was that a memory? Are those people gone? “And realize these days are so much shorter/Since you’ve been gone/But I’m standing much taller/Than I had before/Who knew that your shoulders stayed beneath my feet all along.” It is a song of gentle perseverance.

“Plot And Stone” is another original song, this one also dealing with loss, but an older loss. It begins at a cemetery, then takes us back into memory. “I remember from the armchair of the living room/You bellowed your decree/The final act of a dying man/Letting go of what couldn’t be/Feeble, angry words filled the room from wall to wall.” And check out these lines: “Now I can’t find you here/It’s just a plot and stone/But even though you’ve gone away/You couldn’t leave me alone.” The idea of standing at a grave site and not being able to find the person is heartbreaking, but we also begin to wonder about the relationship and the pain of the past. It is a strong and moving vocal performance, and when it seems she needs to pause to collect herself, the guitar takes over, speaking for her, or perhaps to her. That’s followed by “Dark,” one of the strongest, most powerful tracks. It features a phenomenal vocal performance and excellent lyrics, addressing racism. “You don’t understand the dark/Because of your greed for the light/But you’re blind to the light/Because your heart is so cold.”  

Michele Thomas begins her rendition of “Spiral” with some scat. This is a tune written by John Coltrane, with lyrics added by Michele Thomas. This track provides a chance for the musicians to shine in that great instrumental section. There is even a good lead on bass. That’s followed by a gorgeous cover of “Autumn Nocturne,” taking us back to a different time, a more romantic time. “Still I’ll remember last September/You and I said goodbye/Whispering that we would be returning when/Autumn comes again.” There are some strikingly beautiful moments. Close your eyes and find yourself in a different time. Then “I Carry” is a song written by Damian Espinosa, adapted from a poem by E.E. Cummings. It features Chris Greene on saxophone and David Youngs on backing vocals.

Michele Thomas turns playful with a good rendition of “Nobody Else But Me” that gently swings. “I have my faults/He likes my faults.” Those lines always make me laugh. She delivers a bit of scat in the second half. This track also features an excellent lead on guitar. The album concludes with a cover of Blind Faith’s “Can’t Find My Way Home,” written by Steve Winwood. The first time I heard this song, back when I was a kid, I thought it was kind of funny, the idea of a guy who is so wasted that he can’t find his way home. But over the years, this song has become sadder and sadder to me, and I get the sense this person might never find his or her way home, that it’s more a permanent state than a temporary one, that in fact, that home may no longer be there for him anyway. This rendition has a lively rhythm and features some wonderful work on guitar.

CD Track List

1. No More
2. Love dance
3. I Know Because You Told Me So
4. These Days
5. Plot And Stone
6. Dark
7. Spiral
8. Autumn Nocturne
9. I Carry
10. Nobody Else But Me
11. Can’t Find My Way Home

The Assumption was released on March 25, 2022.

Mark Winkler: “Late Bloomin’ Jazzman” (2022) CD Review

On his new album, Late Bloomin’ Jazzman, vocalist and lyricist Mark Winkler presents a good mix of covers and original material, some of it addressing the subject of aging. And, yes, that is a subject that has been on my mind lately. And I imagine I’m not alone. The pandemic and the insane political circus we find ourselves in have given many people cause to reevaluate priorities and to realize just how brief this whole thing is. On this release, Mark Winkler performs with several different configurations of musicians on various tracks. Pianist David Benoit, with whom Mark Winkler recently collaborated on Old Friends, plays on several tracks. Jamieson Trotter joins him on piano on other tracks. Mark Winkler is a talented and experienced vocalist, and so it is no surprise that he attracts talented musicians to his projects.

The album opens with a cool rendition of “It Ain’t Necessarily So.” I’ve said it many times, but you can never go wrong with Gershwin. Mark Winkler digs right into this gem, delivering a delicious, energetic rendition. The arrangement is by John Clayton, who plays bass on this track. This track also features some fantastic work by Bob Sheppard on saxophone, keeping things lively. David Benoit is on piano, Christian Euman is on drums, and Grant Geissman plays guitar on this track. Just before the end, Mark Winkler’s delivery gets more intimate for lines that might stand out for listeners in these days of extreme division: “People getting so tribal/But if you think I’m your rival/Ain’t necessarily so.” He follows that with a cover of Michael Franks’ “Don’t’ Be Blue,” from Franks’ 1977 LP Sleeping Gypsy. This is another good choice in these bizarre times, offering a friendly hand and advice. “Don’t get locked into your sadness/Cop a bluff, yeah, strut your stuff/If you stumble, just be tongue in cheek.” This track features some great work by Grant Geissman on guitar, and then a wonderful lead by Jamieson Trotter on keys.

Interestingly, Mark Winkler follows “Don’t Be Blue” with a song that sounds blue from its opening, “When All The Lights In The Sign Worked.” This is an original composition, with lyrics by Mark Winkler and music by Joe Pasquale, taking place on a rainy night in Los Angeles. Mark delivers a cool vocal performance that immediately makes us think in black and white images, in shadows. And he acknowledges that very vibe in the lyrics: “Shadows wrapping you in mystery/Like an actress in an old film noir.” And check out Brian Swartz’s work on trumpet! And speaking of cool, the album’s title track begins with a bass solo by Gabe Davis that is several shades of cool. Where do you go from there? Well, you have to add finger snaps, and then a vocal performance that is part beat poetry. Everything about this track is wonderful. And, yes, this is one of the songs that deal with aging, this one in relation to the world of music. “While the world shoves aside the particular hipsters who play/Who’ve paid their dues and lived a little bit along the way.” There are some great touches and accents by all the musicians backing him. I especially love that work by Christian Euman on drums.

“In Another Way” is a moving song about dealing with loss. It has a hopeful tone and message, in lines like “But love is never lost/It just comes back in another way.” The music for this original composition was written by Michele Brourman, who also did the arrangement. David Benoit delivers some pretty work on piano. This song directly addresses the person who has died, which makes it even more moving: “And yes, it’s strange/Now that I’ve lost you I guess I’ve changed/Would you even like me now?” That line, “Would you even like me now,” is heartbreaking. And check out these final lines: “The things we love the most we lose/But if we survive the pain/In the end love will come back in another way.” Mark Winkler then dips into bossa nova with “Bossa Nova Days,” another original composition, this one with music by Bill Cantos, who also did the arrangement. And, hey, who among us isn’t going to relate to this song’s opening line, “I wasn’t born for these times”?  He follows that line with a thought on today’s music, “Music’s not musical.” I remember an interview with Jerry Garcia where he mentioned that rap actually isn’t music at all, which is true. In this song, Mark Winkler wants to get lost in the older music, and in the days when it prevailed.

Mark Winkler presents a cover of “Old Devil Moon” that moves swiftly, in large part due to Gabe Davis’ great work on bass. This is a fun track, with an arrangement by Rich Eames, who plays piano on it. “Want to laugh like a loon/It’s that old devil moon deep in your eyes.” Oh yes, everyone wants to experience love like that. And one thing I love about this track is that delightful lead on piano. That’s followed by a sweet rendition of “I Always Had A Thing For You,” a song with lyrics by Lorraine Feather and music by Shelly Berg. Mark Winkler delivers another passionate vocal performance on “Before You Leave.” Plus, this track features some pretty work on piano by Jon Mayer, who wrote the music and arranged this one. The lyrics are by Mark Winkler and Shelley Nyman. “Before this night is over/Back in your arms/Just love me one more time/Darling, before you leave.”

“Old Enough” is an original song that deals with aging and changing perspectives on music, gaining wisdom to appreciate certain things. Jamieson Trotter wrote the music and did the arrangement, and delivers some excellent work on piano. Kevin Winard plays percussion on this track. “And I’m old enough not to be fooled by the lights and the show/But I’m still young enough to know I don’t know all that much, don’t you know.” The lyrics might be directly about music, but obviously can be applied to other realms. Hey, my position has always been that no one knows all that much. That’s followed by “Marlena’s Memories,” which also touches upon aging, and more specifically confusion due to Alzheimer’s, and living within certain memories. Sure, the song is sad, but Mark Winkler somehow pulls something hopeful out of the situation. Jamieson Trotter also wrote the music and did the arrangement for this one.

The album concludes with “If Gershwin Had Lived.” There are times when I think about certain songwriters and musicians and wonder what they would have come up with had they lived longer. My girlfriend and I were just talking about Buddy Holly and all the great songs that were never written because of his early death. While Gershwin wasn’t quite as young as Buddy Holly when he died, he was still much too young. Mark Winkler sings, “If Gershwin had lived/Think of the songs he’d have written by now/The world would be better somehow/Think of the treasures he’d have found.” Just think if we could get even one more song from Gershwin, and how even that one song would impact the world of music. His music is among the most covered of any artist. Rich Eames did the arrangement for this track, and plays piano. At the very end, he gives us just a bit of “Rhapsody In Blue,” one of the greatest pieces of music ever composed.

CD Track List

1. It Ain’t Necessarily So
2. Don’t Be Blue
3. When All The Lights In The Sign Worked
4. Late Bloomin’ Jazzman
5. In Another Way
6. Bossa Nova Days
7. Old Devil Moon
8. I Always Had A Thing For You
9. Before You Leave
10. Old Enough
11. Marlena’s Memories
12. If Gershwin Had Lived

Late Bloomin’ Jazzman was released on April 8, 2022.

Lee Rogers: “Gameblood” (2022) CD Review

Lee Rogers is a singer and songwriter from Carrickfergus, a town in Northern Ireland. He released his first official album more than fifteen years ago, Drawing Clocks, and followed it with Citizen: General several years later. There were also a couple of demo EPs, but for a while Lee Rogers focused on another of his passions, that of a tattoo artist. But in 2020, he started releasing new music, including a strangely haunting rendition of the Bee Gees’ “Stayin’ Alive.” An EP titled Dark Notions soon followed. And now he is releasing a new full-length album, Gameblood, which features all original material, written or co-written by Lee Rogers. Joining him on this release are Paddy Lavin on drums; Simon Francis on bass; Colm McClean on guitar and pedal steel; and Gareth Dunlop on guitar, piano, synths, percussion and backing vocals. The striking album cover artwork is by Mark Reihill, and looks like it comes from a graphic novel about a troubled hero, or antihero, which is fitting for some of this disc’s tracks.

Lee Rogers opens the album with “Everytime,” an interesting love song about his wife. “And I was searching everywhere/I was looking for no other/Every time I move with you/Every time I’m wanting you/Every time I talk to you/Every time I run to you.” I am lucky to have that special person in my life who helps calm me when things seem mad, and that’s what this song is about, acknowledging that person and how fortunate he is to have her in his life. “For the rest of my life/For the rest of my life/For the rest of my life,” he sings at the end. When I say that to my girlfriend, she playfully teases me, “We’ll see.” That of course makes me even crazier about her. This song has something of a pop sound and feel. It is followed by “Silent Song,” which has a gentler folk vibe as it begins, but soon on takes on some pop elements too. “The road to heaven runs through hell/You gotta get lost to find yourself/And a heart’s gotta break/For love to make its way in and out.” This one was written by Lee Rogers, Gareth Dunlop and Patrick Lavin.

“Uneasy Love” is a powerful song. I love that moment when it kicks in. The lyrics contain a reference to Tom Waits’ Mule Variations, an album that came out in 1999: “And all we had was Mule Variations/Her undying patience/Uneasy love/And all I have now are crystalline memories of her/Her frequencies deep within me stir/Like taking every drug.” That’s followed by “The House,” which also grabs me, but in a different way. There is a strange, undeniable beauty to this song, especially in the vocals, as the track begins, and it is his voice that pulls me in. “There is a house at the end of the road/It holds stories that no one else knows/Dreams, hopes and coal smoke/Looks like there’s nobody home.” This is one of my personal favorite tracks, and I love it more each time I listen to it. That in turn is followed by another of the disc’s highlights, “Life And Lies.” Its opening lines are ones most people can relate to, particularly in these strange days we find ourselves in: “I was feeling lonely/Feeling low/This booze just isn’t working/But it got me long ago.” We are living in dark times, no question about it, but we can still find warmth and beauty in the affections of that special someone, in sharing a drink with him or her. And how’s this for an honest line: “And I’ll make a toast to this life and its lies.” I also love these lines: “She said I think I’ll have a whiskey/So we both will taste the same.”

In “Haunted,” Lee Rogers sings, “Why did you leave me here/In a place where you’re not near/Where I can’t follow you/I see you in these halls/Your voice is in the walls/I hear you screaming let me in/I’m haunted, haunted by you.” And we can hear it in his voice, the truth of it. His delivery is honest and captivating. That’s followed by “Homeward Bound,” another interesting song. The second line is “That’s not my blood upon the table.” Lee Rogers allows a pause after that, letting that image sink in, and giving us a moment to wonder what is happening, all while that steady drum beat continues. There is something gentle in his delivery here. “And the world keeps turning/I am lost and found/But the fire’s still burning/This ship is homeward bound.” This is yet another of the disc’s highlights.

“Won’t Find Me” is a pretty song. “You won’t find me anywhere but here/No other time or place/No other memory but here.” I love the way this one gently holds us. It feels like we and the song together could drift away into sweet, painless eternity or oblivion. That’s followed by “Fool’s Gold.” This one has a brighter, more cheerful pop sound. “January already/Where does the time go/And I can hear a far-off crowd/Calling out my name/I’ve never seen the faces/The voice is still the same.” Lee Rogers wraps up this album with a beautiful song, “Barefoot In The Basement,” a song addressing loss. It was co-written by Foy Vance, who also joins Lee Rogers on vocals. Nathan O’Regan also provides some backing vocals. This song offers a comforting sound and image. “Heaven is a million different places/You are home, barefoot in the basement now.”

CD Track List

1. Everytime
2. Silent Song
3. Uneasy Love
4. The House
5. Life And Lies
6. Haunted
7. Homeward Bound
8. Won’t Find Me
9. Fool’s Gold
10. Barefoot In The Basement

Gameblood is scheduled to be released on May 13, 2022.

The Slocan Ramblers: “Up The Hill And Through The Fog” (2022) CD Review

The title of the excellent new album from The Slocan Ramblers, Up The Hill And Through The Fog, feels like the direction we’ve all been going, doesn’t it? The last several years have been maddening in a variety of ways, and it seems like we’re struggling up a hill and can’t see the top because of some dark mist surrounding our every step. Well, bluegrass music might be just the thing to dispel the fog, and to give us that extra bit of energy to reach the top of the hill. If not music, then what? I can’t think of anything else these days that works. The Slocan Ramblers are based in Toronto, and made up of Darryl Poulsen on guitar and vocals; Adrian Gross on mandolin, mandola and vocals; and Frank Evans on banjo and vocals, with Charles James joining them on bass and vocals. This album features mostly original material, with all three members contributing songs.

The album opens with “I Don’t Know,” an unusual sort of love song. It is a mix of bluegrass and pop elements, and has a great sense of movement. Almost from its start, this song seems to drive forward. Here is a taste of the lyrics: “I couldn’t possibly ask for anything more/In these past few years/I hit the pavement and the beers/And it’s taken its toll on me/But you seem to keep me on track/Always scratching my back/Safe and warm from the storms at sea.” A lot of us can probably relate to this line: “I don’t know, I don’t know what she sees in me.” These lines also stand out for me: “I always thought it sounded good/To have a cabin in the woods/With only me to hear my thoughts and prayers/I’d write a novel through and through/And maybe an opera or two/And perform it for the fox and the bears.” When I’m in the city, a cabin in the woods sounds ideal. Then when I’m in the woods, I am eager to get back to civilization. This song was written by Frank Evans. It is followed by “You Said Goodbye,” which was written by Darryl Poulsen. This one is a more traditional-sounding bluegrass tune, a lively and fast-paced gem. “I wish I could turn back time/I’d go back in time when things were mighty fine/I wish I could turn back time.” Ah, but from this song’s vibe and pace, we get the sense he’s going to be okay. And that’s what we want for ourselves as well. There is some fantastic playing throughout this track, including a cool instrumental section before the end.

Things relax a bit then with “Won’t You Come Back Home,” a gentle, pretty song featuring some excellent vocal work. “If I could buy away the heartache/Wouldn't have a nickel to my name/All my pockets would be empty/But you'd be right back here again.” This one was written by Frank Evans. Then we get the album’s only cover, Tom Petty’s “A Mind With A Heart Of Its Own,” from his Full Moon Fever album. They playfully count off this one and then it kicks in with a great force. They do a really good job with it, turning in a fun and rocking rendition. That’s followed by “Snow Owl,” the album’s first instrumental track. This one was written by Adrian Gross. It has a rather cheerful, but also thoughtful sense about it. There is some excellent work from all the musicians, and I especially love the guitar work on this track. Then “Bill Fernie” feels like a traditional folk tale, though it is a new song written by Darryl Poulsen. There is a whole lot of good banjo playing on this track. And that work on mandolin stands out for me. I’ve said it before, but something about that instrument works to drive away worries and misery.

“Platform Four” has a darker, meaner sound at the start, like it is going to sneak up on us. After a minute or so, it begins to pick up, and once it does, there is no slowing it. This thing really takes off. It is a seriously cool instrumental track, written by Frank Evans. This one ends up being one of my favorites. I want to see them perform this one in concert. That’s followed by “Streetcar Lullaby,” yet another of the album’s highlights. This one was written by Adrian Gross and features some wonderful harmonizing. “You see/Through me/In this ever after/Like an old stern wheel run aground/The ship’s run ashore.” There is something beautifully sad about this song. The energy picks up again with “Bury My Troubles,” also written by Adrian Gross. Yes, a song titled “Bury My Troubles” seems able to do just that. Bury them, leave them far behind. This fast-paced, fun track should have you smiling immediately.

“Harefoot’s Retreat” is another lively instrumental tune, this one sounding like a great dance that we all want to take part in. That’s followed by “The River Roaming Song,” which has a sweet, gentle vibe. It’s a wonderful folk song to raise our spirits and remind us of how good life can be even as it is passing. This is something we need in these strange times. “Catch a glimpse in the night ‘fore the sun comes to rise/And the sky is painted blue/You can see the little bear in the sky dance high/As the seasons pass on through/But as long as you’re at home/And still forever I’m a-roaming/Well, I’m coming back home to you.” Both “Harefoot’s Retreat” and “The River Roaming Song” were written by Adrian Gross. The album wraps up with a lively tune titled “Bring Me Down Low,” written by Frank Evans. “Well, you tell me that you’re leaving/But you just don’t want to let go/You tell me that you’re grieving/Over what we had before/Then you bring me down low.” This track features some seriously impressive and joyful playing. It’s another song I want to see them perform live. Okay, yeah, I need to see this band in concert. This song fades out, and we get the sense they could jam on it for a while still. Hey, maybe they still are.

CD Track List

1. I Don’t Know
2. You Said Goodbye
3. Won’t You Come Back Home
4. A Mind With A Heart Of Its Own
5. Snow Owl
6. Bill Fernie
7. Platform Four
8. Streetcar Lullaby
9. Bury My Troubles
10. Harefoot’s Retreat
11. The River Roaming Song
12. Bring Me Down Low

Up The Hill And Through The Fog is scheduled to be released on June 10, 2022.

Record Store Day 2022 Purchase

Hi, everyone. On Record Store Day, I bought several records. I've been seriously enjoying them, with one exception. In this video, I talk about that exception.

Family Shiloh: “At The Cold Copper Ranch” (2022) CD Review

The new album from Family Shiloh, At The Cold Copper Ranch, is really the result of two families. First, of course, there is the Pennington family, led by Colby Pennington on guitar and vocals, and Kimberly Pennington on vocals, along with their children and other relatives. Then there is the Smith Family, led by Mike and Kali Smith, along with their daughters, who run the Cold Copper Cattle Company in Burnet, Texas. The Smiths commissioned the Penningtons to writes songs about their ranch, and this album is the result. The album features all original material, and yes, these songs are all about the ranch and cows and so on, and also about family. Family Shiloh is made up of Colby Pennington on acoustic guitar, vocals and harmonica; Kimberly Pennington on vocals and whistle, Jonah Pennington on guitar, vocals, bass, organ, percussion and harmonica; Chloe Pennington on vocals, fiddle and piano; Adeline Pennington on vocals and fiddle; and Patience Pennington on vocals. Joining them on this recording are Brent Pennington on bass, Andy McAllister on drums, Damien Llanes on drums, Dave Biller on pedal steel and guitar, Billy Horton on standup bass, Mickey Raphael on harmonica, Marty Muse on pedal steel, Paul Glasse on mandolin, Christopher Gregory on guitar, and Dejan Nikolic on accordion.  Also, the Smiths join Family Shiloh on this release, providing some hand claps.

The album opens with “Cold Copper Theme,” which has a delightful country sound, a relaxed, classic style featuring some smooth and sweet vocal work. They immediately put us in the place of this ranch, with the whole vibe of this song, in addition to the lyrics. “Anyone who knows me/Knows just where I’ll be/Sitting at the end of the day/Yes, I’m here by the water/Of the old Cold Copper/You can bet that’s where this cowboy’s gonna stay.” This song also mentions two other songs, “Don’t Fence Me In” and “Home On The Range.” This is a wonderful song, working to put us in a good, mellow mood, almost like a dream, and it features some nice work by Dave Biller on pedal steel as well as some beautiful vocal work. That’s followed by “(It’s Gonna Be A) Longhorn Day,” a livelier number with a good groove. And here we get those hand claps from the Smith family. “Somewhere in the getting there/The trail turns serpentine/But keep your tail upon the trail and live that longhorn dream.” Then “Dunn Lucky Dice” is a little goofy. It’s about a longhorn auction, with Bruce McCarty and Dale Hunt as the auctioneers, and is also sort of a love song. Dunn Lucky Dice, by the way, is the name of a cow on the ranch.

“Kansas” has such a pleasant vibe about it, and features some good work on fiddle by both Chloe and Adeline Pennington. And Marty Muse delivers some sweet work on pedal steel. “You’re not alone in being lonely anytime.” That’s followed by “In Lieu Of You.”  I love Mickey Raphael’s melancholy harmonica work at the beginning of this track (and throughout it). “I’m all booked up/With the hours I spend looking at the moon/Wondering what I’ll do/In lieu of you.” This track also features some excellent work on guitar, and is another of the disc’s highlights. Then “Look At All Them Cows” sports a playful title, but there is also an endearing sweetness to this song, and to their vocal delivery. “Sunshine Soul” is a fun, bright, peppy number about seizing the moment. It features some nice work by Paul Glasse on mandolin, and by Dejan Nikolic on accordion. “Delta Lucky Ace” is a song about a specific bull at the ranch. This one feels a bit goofy, a bit odd to me, especially the strange adulation for the animal in lines like “All the girls gonna fall in love/So raise your glass/To Delta Lucky Ace sitting on his throne.” Right? Isn’t that weird? Or is it just me?

“Burnet County Backroads” is a song about enjoying the country life. “O, I love how the hot wind blows/Up and down Burnet County backroads/It’s time to unwind and to unload/This city strife and to let it go.” There is always something appealing about leaving the stress of the city behind, and to relax far from the bustle. Of course, I know I’d grow bored soon, but songs like this make me momentarily forget that fact. That’s followed by “A Thing I Do,” a song about singing, about writing songs. “And I don’t put a bridge in every song/‘Cause many times I build one/And burn it and it’s gone/So I’ll get back to doing what I do/Exactly what that is, I’ll sing it one more time for you.” Jonah Pennington delivers some good work on harmonica, and I love those gorgeous backing vocals. Then “No 4C Blues” is a good country blues number featuring  some excellent vocal work from Chloe and a lot of great guitar work as well. When this track kicks in, it becomes quite fun, soon beginning to rock. “Meet me on the back porch/Baby, we’ll take in the view/Well, there ain’t nobody frowning/Because there ain’t no 4C blues.” I assume 4C stands for Cold Copper Cattle Company. This is one of my favorite tracks.

“Come With Me” has a different vibe right from the start, as it begins with some pretty work on piano. Chloe Pennington not only plays piano and delivers a wonderful vocal performance on this track, but she also wrote this one. “Come and ride the range with me/Live a life of liberty/Breathe it in and let it be.” I also love that pedal steel work from Marty Muse. There is something incredibly appealing about this song, its theme and its sound. The album then concludes with “Cold Copper Reprise,” which is a continuation of “Cold Copper Call.” “Some things never change/Like this life on the range/And the way I feel about you.” Halfway through, it feels like the track is ending, but it then continues in a somewhat different direction, with some great stuff on harmonica by Mickey Raphael.

CD Track List

1. Cold Copper Theme
2. (It’s Gonna Be A) Longhorn Day
3. Dunn Lucky Dice
4. Kansas
5. In Lieu Of You
6. Look At All Of Them Cows
7. Cold Copper Call
8. Sunshine Soul
9. Delta Lucky Ace
10. Burnet County Backroads
11. A Thing I Do
12. No 4C Blues
13. The Last Herd
14. Come With Me
15. Cold Copper Reprise

At The Cold Copper Ranch was released on April 29, 2022.