Grooves & Cuts – October 2023
Too many reviews accumulated through the month — so I postponed this month’s article to next month.
Featured Reviews:
Randall Kromm – Late September
Steve Cropper – With A Little Help From My Friends
Chest Fever – Music From Big Pink
Zach Berkman – The Heart Of Zach Berkman
Ben Gage – Two Singing Songs
Skarlett Woods – Letters To The West
That’s Why We Stand – Guitars 4Vets
Mark Joseph – Palisade Peach
Alex Miller – Country 5-Song
Nolan McKelvey – Forward
The Mighty High & Dry – Live. Wild. Love.
Lily & Madeleine – Nite Swim
Good Lovelies – We Will Never Be The Same
Bethlehem and Sad Patrick – This Is What We Do
Nora Jane Struthers – Back To Cast Iron
James Keelaghan – Second-Hand
Spilled Mercury:
Randall Kromm – Late September
The quality of music that is Randall Kromm borders between early Cat Stevens (Yusuf Islam) & gentle troubadours such as Marc Cohen (“Silver Thunderbird”), the gentler offerings of Chris Rea (“Josephine”), Jon Mark (“What Am I Living For?”), Clifford T. Ward (“Gaye” & “Wherewithal”) & Joe Henry (“Trampoline”).
With his 5th CD Late September (Dropped Oct 1-Independent) recorded in Acton, MA, Randall continues to provide finely crafted songs with diversification that always is expressive & poignant. But what makes this set even more appealing is his warm vocals, the steady rhythmic acoustic guitar & inspiring melodies. Everything is exuberant & effective.
The subjects are typical fare: family, relationships & coming to terms with growing older. But nothing is dour or melancholy. Kromm is too wise for that – he makes the 13 tales upbeat & affirming & optimistic.
The Boston-based singer-songwriter is at a point where instead of singing about the short-skirted girls at the dance he ponders the woman he’s chosen to be with. This opens up a whole new songwriting arena if the writer isn’t scared off. Randall isn’t. He’s mining a new vein that perks up the ears.
“Deliver Me,” is mindful of the late Jon Mark who had a soft delivery voice & with help from the late sax player Johnny Almond. They’re both gone now but Randall is still creating a similar vivid musical picture. This is a beauty in the Mark-Almond tradition. A warm return to a style few exhibit.
“Goodbye Summer,” & “Diver” slide into the Clifford T. Ward style where it’s almost an old-English melodic folk approach with impeccable vocals & descriptive words. Randall touches upon so many artists who were “artists” & not mere singers & Kromm does it winningly. This isn’t James Taylor, not Dylan, or even Paul Simon. It’s textures that remain in the ear long after they’ve been sung & not with repetition.
Highlights – “Late September,” “My Day Off,” “Let Your Song Be Wild,” “Deliver Me,” “Goodbye Summer,” “Come With Me Now” & “Mona Lisa In Moonlight.”
Musicians – Randall (lead vocals/acoustic guitars/electric & acoustic basses), Joe Barbato (accordion), Kevin Barry (electric guitars/Weissenborn), Niklas Freund (alto sax), Ella, Emma & Grace Kromm (harmony), Eric Kilburn (co-producer/harmony/dobro/mandolin/mandola), Billy Novick (clarinet), Mike O’Connor (drums), Howie Tarnower (banjo), Jordan Tirrell-Wysocki (violin) & Tom West (organ/piano).
Color image courtesy of Randall’s website. The 47-minute CD @ https://www.randallkromm.com/
Steve Cropper – With A Little Help From My Friends
This is more for soul purists. The whole package is a musical history accounting & showcase for the development of the playing of the legendary influential soul-guitarist Steve Cropper. Despite being a steady purveyor, of a particular sound Steve issued a solo LP in 1969 & though he didn’t become a household name like some musicians his contribution to the genre that produced countless hits is immeasurable.
From the opening – all instrumental, “Crop-Dustin’” to the coda “Rattlesnake,” with its wall of sound horns, Steve had an undeniable signature sound from his Telecaster guitar. The band Booker T. & the MGs were already 7 years into their careers but it’s Cropper who gave them additional lift with his clean, thick tone. Booker T backed acts like Otis Redding, Sam & Dave, Carla Thomas & William Bell, Wilson Pickett & the Staple Singers – and it wasn’t long before Cropper’s guitar graced their hit records. According to Cropper a Gibson guitar is good for single notes but for the chords he played only a Telecaster would suffice.
This CD is heavy with 11 straight classic cuts with 8 bonus tracks on With A Little Help From My Friends (Dropped Oct 6–Concord/Omnivore/78:00). It was produced by Steve Cropper & the original release included no musicians credited. Some tracks started as demos but what Steve remembers is that the songs were played by The MGs, The Bar-Kays, Buddy Miles, Al Jackson, Jr. Donald “Duck” Dunn, Jimmy Johnson, Carl Radle, James Alexander, Richie Simpson & maybe even Willie Hall.
The liner notes say the songs were a tribute to the jukebox. That pretty much sums up the kind of music Steve was famous for. This collection marked the end of his relationship with Stax Records. In 1995 the LP got renewed attention when artists began sampling his music. Few played like Steve Cropper – a careful listener can almost always pick out a Cropper lead guitar. Maybe it’s because the music doesn’t only possess soul, a groove, or even a vibe. But passion.
The horns play from some intense charts. The punctuating blare is colorful. Creation is always about discovery & many of Steve Cropper’s pieces are just that. Guitarists like Jeff Beck, Eric Clapton & Stevie Ray Vaughn are all great but they’re not the studio musicians that Steve Cropper was. It’s a specialty. Duane Allman came close to Steve (Duane did a few tracks for Sam Samudio on his solo LP. Sam was Sam The Sham in the 60s & issued a great solo LP devoid of novelty songs). Allman also graced a few soul records Wilson Pickett, King Curtis, Arthur Conley, Aretha Franklin & one by Boz Scaggs.
Steve tended to play melody lines in his solos rather than just meander off in a showboating spotlight style. The pristine sound of this compilation was produced by Cheryl Pawelski.
Highlights – “Crop-Dustin’” “Land of a 1000 Dances,” 99-1/2,” “Funky Broadway,” “I’d rather Drink Muddy Water,” “The Way I Feel Tonight” & “Rattlesnake.” Bonus cuts: “Oh, Pretty Woman,” (alternate version/not the Roy Orbison/Bill Dees song),
Color image courtesy of playitsteve.com CD @ Amazon + https://omnivorerecordings.com/shop/with-a-little-help/ & https://playitsteve.com/
Chest Fever – Music From Big Pink
Usually, I’m not a big fan of this type of tribute but I admit this is done with care & shine. Ok, the band, as good as they are, didn’t invent, write, or conceive any of these brilliant songs by The Band. But, like all great artists of the past, they provide a skill that few have. The ability to take songs from another source & interpret the tunes with dazzling effect.
The opener is “This Wheels On Fire,” & what it lacks is the character that The Band essentially had. But there’s no denying this unit Chest Fever is competent & loves what it does. The guitars snarl, the drums fire off like cannons & the singing is, well, inspired. And sometimes that’s enough.
The 11 reproduced tunes from this inception of Music From Big Pink (Dropped October 20–Blind Owl Records) is not to be confused with the original 1968 LP by The Band (& I doubt it would be). So, this reimagined encore updates the original sessions & refreshes the “oldies” into modern-day swashbuckling versions. Even the unison vocals have urgency, punch & exuberance (“Caledonia Mission”). The efforts to be admired. More tunes hit the target than miss.
Produced by David Kalmusky in Nashville, the music isn’t as their press release described – rock n’ roll & psychedelia. The Band was a roots band, a collaboration that didn’t experiment as The Grateful Dead did with psychedelia.
One listen to Chest Fever’s cover of “The Weight,” while not being as endearing & warm as Levon Helm’s – is indeed performed by this band with verve, thick with mischief in its performance & a surprising delight. It’s an impressive set. A brave endeavor too because there are too many dedicated fans out there to invest in a copy band. This isn’t a copy band – this is a cousin singing a beloved Uncle’s songbook, so to speak.
Too bad they couldn’t track down Garth Hudson, the only surviving member of The Band. He would’ve fit perfectly even with a tear in his eye on their incredibly impressive 15-minute jam of “Chest Fever.” (Worth the price of the CD alone). The Grateful Dead & Phish have nothing on this. The singers even manage to capture the angst & yearning beauty of the vocals that were Richard Manuel. That alone I applaud loudly. This is what it was. And Chest Fever is simply reminding us eloquently.
Highlights – “This Wheel’s On Fire,” “Caledonia Mission,” “The Weight,” “In a Station,” “Long Black Veil,” “Tears of Rage,” “Chest Fever” & a masterful “I Shall be Released.”
Musicians – Chest Fever is the band Mrs. Henry: Jody Bagley (piano/vocals), Daniel Cervantes (guitar/vocals), Blake Dean (bass/vocals), Doug Organ (organ) & Allan Ritter (drums).
Color image courtesy of Chest Fever. CD @ https://chestfeverofficial.com
Zach Berkman – The Heart Of Zach Berkman
This 12-cut blend of pensive tunes is carefully constructed between instrumentation, vocal, mood, atmosphere & ambiance. Some would say laid-back, subtle, melancholy but they’d not be examining the insight. They’d be just listening to what they perceived as plain tunes. The lyrics are far more involved & the music is mature, with an earthy blend of acoustics.
I don’t consider this music lo-fi. If the music had to be compared to something I’d have to draw comparisons to the Scottish band The Blue Nile (always reviewed highly) & an obscure but tightly woven unit The Prayer Boat (there’s a spider-web of delicacy & intricacy in their music). Much the same as Zach (acoustic guitar/vocals) who sings with a thinner voice but with all the sincerity that’s necessary (but not an Elvis, Jim Morrison, or Bruce Springsteen).
He has a tender charming young & wise filtered tonality. Nothing juvenile or elementary though. There’s sensibility & for some maybe the drawback would be that it’s too deep for them, too penetrating & its honesty cuts too close to the surface. Some listeners need everything spelled out. Think about the difference between a cupcake & a French pastry or grape soda compared to sparkling wine.
The concessions may be minimal, but they are noticeable. The richness is ear-caressing, but plaintive melodies can confuse the mainstream audience that expects to just sing along with inane lyrics or dance to a repetitive beat. They appeal to the sameness of everything & that’s not here. They have their sources – like Taylor Swift.
Mr. Berkman instead, for all his effort addresses through his music life, relationships from a far more personal direction than mainstream music. The Peoria, Illinois artist produced these songs with Ron Pope (piano/banjo/vocals/electric guitar) to create The Heart Of Zach Berkman (Dropped Nov 10-Brooklyn Basement Records/50-minutes).
The gentle force that seeps from the work can be found easily in “Fooled Me Once,” which alone is the structure of the entire CD concept. Heart-wrenching realizations, awkward silences, things that shouldn’t be said & examining the issues of the heart. As for a rockier tune Berkman can do it with his Dave Matthews-like “On the Vine,” that’s decorated by the snap of the drums & female backup vocals.
Zach is Zach perfectly with the superb “Get Found.” A gripping song that cultivates honest emotion & has sparkling instrumentation. The CD is about growing up, but things shouldn’t be difficult. This is why branches of trees usually survive the strongest winds. They bend. They don’t resist or look for all the reasons they must fight. You don’t need a reason for everything because some things just are. Life is for living — but life is also a fight. A fight from conception & being born is no easy feat. It’s violent at best.
On “Always Far,” drummer Justin Glasco asserts himself nicely with a minimum of flash but lots of propulsion. This collection of music by Zach is well thought out, confidently inspired & delivered by a young man who serves up an entirely different meal than most.
Highlights – “Sleep Tight,” “Fooled Me Once,” “On the Vine,” “Alone,” “Get Found,” “Turn It All Around,” “The Way,” “Always Far” & the superb “Settle.”
Musicians – Rachel Ries (piano/acoustic guitar/accordion/fiddle/vocals), Jeff Malinowski (bass/acoustic guitar/vocals) & Justin Glasco (drums/percussion/piano/organ/Xylophone).
Color image by the rusty trailer courtesy of Nicole Mago. CD @ Apple & https://www.zachberkman.com/
Ben Gage – Two Singing Songs
This collection is another typical but engaging effort. Ben Gage is a troubadour who works the soft side of ballads with an Eric Andersen-type approach. Driven by a harmonica the set is a mixture of good tunes that cruise into raw emotions, love stories & tales of bittersweet loss that is — real life.
The songs & lyrics are far better than the juvenile elementary song titles. Something Gage should focus on since the tales he sings are excellent. Despite the sometimes downer topics none are melancholy or depressing. Gage has a wonderful uplifting spirit, there’s nothing intense, or progressive & the tunes are simple but simple isn’t always easy to achieve.
Ben Gage is from Akron; His music reflects many of the Ohio Rust Belt conventions. No shortage of ideas Gage has laid out 10 compelling pieces with little in the way of exaggerating. Each tune has its lasting value especially the John Prine spirited “Tie Me Down” & the sensitive “Wish.”
With “Dorothy,” Gage taps into the old-fashioned 1920s music hall style Bob Dylan tapped into as well a few years back. A lovely song with nostalgia & musically reserved with excellent performances. The CD Two Singing Songs (Drops Nov 3-Indpendent) is a showcase of classy melodies. Nothing is done as a toss-off – care has been taken to capture a mood, an era & its imagination. Gage succeeds throughout because firstly, he has the right kind of voice for these types of songs.
The CD title is appropriate. It’s all sung between 2 voices – Ben (vocals/harmonica/percussion/acoustic guitar) & Dan Socha (vocals/electric & acoustic guitar/upright bass/percussion) with added percussion by Tuck Mindrum. It’s not easy to be engaging with just a spare musical unit but they achieve this since they have good material, excellent playing & they’re tight. There isn’t much information on the package, but the recording is well done. The most upbeat song is “Cold Fingered Blues,” which has a Mickey Newbury-type deep groove that’s captured essentially. Good performance. I have that on repeat.
Gage has this style down to a science. It really doesn’t need a bigger band support. Every song is listenable & interesting. There’s ingenuity & Gage with Socha has carved out a solid sound. Even the basically simple “Otherside,” is marvelous.
Highlights – “Company,” “Blue Bird,” “Tie Me Down,” “Dorothy,” “Messenger Bird,” “Broken Hearts,” “Cold Finger Blues,” “Otherside” & “Wish.”
Color image courtesy of Gage’s Bandcamp. The 38-minute CD @ https://bengagemusic.bandcamp.com/album/two-singing-songs & https://www.patreon.com/bengagemusic + https://www.bengagemusic.com/
Skarlett Woods – Letters To The West
Born in rural Minnesota, living on the fringes of society — Skarlett Woods still discovered music – music of all kinds. She was also someone who didn’t shy away from getting out there. She moved out to Oregon where she worked on a commercial crabbing vessel, biked 6,000 miles across America & built two tiny houses (one where she lived for 5 years without running water). Then, she returned to Minnesota & averaged 200 shows per year. Lazy? Not Skarlett. This is her sophomore 10-cut that has songs about despair & hope. It’s a concept CD about living today in the West & life in the past.
Produced by Kevin Bowe & Skarlett Letters To The West (Dropped October 27–Cedar Woods Records) explores the places she has lived & been to & her life’s experiences. It’s a personal set that’s absorbing & poignant. The music isn’t an average contemporary folk-roots-oriented music but a clean mix of styles that are traditional in nature & performed with zeal & potency. Even the instrumental interludes & intros are warm before they lead into the subtle & broader repertoire.
“Overture/Portland, OR” is folky in a more serious vein than most – closer to the late Judee Sill (“The Kiss,” “Jesus Was a Crossmaker”) than Joan Baez. The sonics are there, the drama is measured & the vocals are pristine. The effects are used liberally & tastefully. The impeccable voice behind these songs lived the stories. There’s a natural outpouring behind the vocals & the instrumentals. The songs have tenderness & an ambitious arrangement to flesh out the sophistication without being pretentious.
“Can’t Stop (Thinking About You),” takes a page from the Ferron songbook who is also an ambitious lyricist & storyteller. With the addition of backup vocalists, the effect borders on Indigo Girls – and that’s to say that those fans will embrace this woman’s work.
There’s a Joni Mitchell foundation to her words mixed with a Sarah MacLachlan whispery relevance. It works marvelously for Skarlett because when she does this, she creates a wholly new musical conception. There are drifts briefly into Jane Siberry-territory (“Close To You, Braver These Days),” but Skarlett stays within an acceptable stylistic range. The rockiest track is “MN Farm Girl” where Skarlett certainly asserts herself with a tight groove.
Highlights – “Overture/Portland, OR” “Can’t Stop (Thinking About You),” “Somewhere Between Stanley & Lotus – Gently,” “Close To You (Braver These Days),” “Me, I, Me, Me,” “Somehow (Letters To The West)” & “MN Farm Girl.”
Musicians – Skarlett Woods (7-string/Nylon guitar/acoustic & electric guitar/electric sitar/banjo/keys/beat noises/mouth trumpet/harmonies/lead vocals), Noah Levy & Peter Anderson (drums), Kevin Bowe (bass/electric guitar), Rick Manik (sax), Dave Budimir (trombone), Tommy Barbarella (Wurlitzer/B3 organ) & Gregory Byers (violin/viola).
Color image courtesy of Skarlett’s website. The 35-minute CD @ https://skarlettwoods.bandcamp.com/album/letters-to-the-west & https://www.skarlettwoods.com/
That’s Why We Stand – Guitars4Vets
While the packaging lays the patriotism on a little heavy the music is exceptional. This is a 15-track charity compilation to benefit Guitars4Vets – a simple musical “thank you.” It’s a well-done tribute led off by Rockie Lynne’s “We Want To Thank You,” that’s a well-recorded blistering rocker. Followed by Geoff Elvee’s “Home From Iraq,” — equally compelling.
The songs focus on service, sacrifice & country by a variety of artists with big names (The Charlie Daniels Band (“Iraq Babies”), John Schneider & Gov Mike Huckabee, Steve Wariner & some moderately famous (The Orphan Brigade – excellent on “We Were Marching on Christmas Day”), with Nu-Blu, Mike Nolan, Beyond the Badlands, Joshua Ray Hudson, Todd Menton, Wayne Taylor, Lehto & Wright, Scotty Hasting & Doyle Dykes — all donated time & talent.
All proceeds go directly to Guitars4Vets (Drops Nov 3–New Folk Records) to help with their PTSD (Post Traumatic Stress Disorder). The charity has given over 5,000 guitars & over 50,000 guitar lessons to these service people through the years.
Albums like this teeter into a danger zone of being pompous, overblown, bordering on novelty-oriented performances, or simply over-emotive. But as the tracks pass each is done with reverence, soul & seriousness. Very impressive. As they said during the “We Are the World” sessions the artists were asked to check their egos at the door. They all did that for these sessions. Even tracks by some artists I’m not familiar with were superb. The arrangements were tight & meaningful. This set matters…these artists succeeded.
Highlights – “We Want To Thank You,” “Home From Iraq,” “We Were Marching on Christmas Day,” “Welcome Home Soldier,” “Quietly,” “That’s Why We Stand,” the instrumental “When Johnny Comes Marching Home Again,” “Iraq Babies,” “Keep It Up” & a powerful acoustic guitar instrumental of “God Bless America.”
CD @ https://newfolk-records.com/thats-why-we-stand
Mark Joseph – Palisade Peach
Another penetrating stab at soul music with all the trimmings of its original ’60s inception. Nice to hear this old genre being treated with some juicy grooves & backup singers. It has that vibe that I heard years ago by Southside Johnny & the Asbury Jukes when they recorded a dynamic tune “Ain’t Got The Fever No More.” It’s true that Van Morrison often tossed some of these types of soul numbers into his repertoire & the urban blues singers dabbled in soul (Gary U.S. Bonds, Mitch Ryder & Garland Jeffries).
But this has a touch of Dr. John swampiness & Mark Joseph really lays it out with some steam & barbecue sauce in the 9-ribs on Palisade Peach (Drops Nov 3–Independent) that triggers some scorching piano on “Whole World’s Got the Blues,” followed by a stabbing lead guitar. This is tasty. Get me a 6-pack I’m going to be here for a while.
At this point in his career, Mark could resurrect Canned Heat to its former glory with his piping-hot vocals. Mark doesn’t just rest on his talent alone but cooks up a jambalaya of covers starting with “Come On In My Kitchen,” with Love Me In the Dark – the tune is syrupy sweet but not with white sugar with molasses dark & delicious.
Produced by Steve McCormick (guitars/backing vocals) & recorded everywhere from Florida to Minnesota & California the band really captures the essence of this genre wherever they hang their hats.
“I Believe I’ll Dust My Broom,” has been covered a thousand times but I guess there’s room for one more. Mark Joseph’s version is plugged into the tradition of feeling electrified. Nice harmonica run sizzles through the melody. But it’s the vocals that have the devil’s blessing. It just doesn’t sound like an oldie; it does sound like it was recorded in a juke joint though. I guess that’s a compliment.
“Venice Grind,” has a healthy dose of backup singers capturing the soul of Ray Charles’ Raelettes. A sultry sax blows & Mark’s gone full Dr. John with his intonation & phrasing. The song is just bluesy swampy gorgeous. Albert Lee helps out on “Daisy Train,” with lead guitar & which gives Mark lots of creds even though this CD is impressive with every song. There’s no going through the motions – these players enjoy what they’re doing & they respect the genre. If you can’t find a new way to play an old blues song that’s been done to death — you have to inject your character. Mark Joseph does this.
Highlights – “Whole World’s Got the Blues,” “Come On In My Kitchen,” “I Believe I’ll Dust My Broom,” “Daisy Train, “Venice Grind” & Sad Mississippi Blues.”
Musicians – Mark Joseph (lead vocals/lead guitar/bass), Stanley Behrens (harmonica/tenor sax), Jerry Jemmott & Tom Freund (bass), Ricky Cortes (fretless bass), Tony Austin & Michael Jerome (drums/percussion), Toby Lee Marshall (Hammond B3/piano), Melvin Seals (Hammond B3), Craig Wasner (piano), Albert Lee (Lead Guitar on “Daisy Train”), Heather Donovan, Steph Devine, Jill Mikelson, Alex Steele & Ryan Balthrop (bgv) & Doug Christianson (percussion).
Cover & color image by Josh Stewart CD @ https://www.markjoseph-music.com/
Alex Miller – Country 5-Song
This is a short showcase of 5 songs where Alex Miller approaches that depth that only a few country singers have. Not too much twang but just enough to lend authenticity to the tales. There’s nothing outlaw here, or super-creative but the songs are likable & most importantly memorable.
“Girl, I Know a Guy,” opens the extended play CD & it stays in the fast lane throughout. Miller’s from Kentucky & with help from award-winning producer Jerry Salley (harmony/bgv) he adds a little rock enthusiasm to “When God Made The South.” It’s a winning combination on Country 5-Song (Dropped October 6-Billy Jam Records).
Listeners who enjoy George Strait, Hank Williams, Jr., or Trace Adkins will find Alex Miller (guitar/lap steel/ukulele/bass/banjo/fiddle) to their liking. Strong expressive vocals are usually preferable — because some songs require the authority to be believable. Miller gives it his all on these though some subjects in this set are typically country-oriented Alex manages to set up his lyrical lines with some colorful cleverness.
The 5 songs were recorded at the Gorilla’s Nest in Ashland City, TN & the musicians backing Miller are tight & in the zone. Miller comes close to novelty at times but keeps it on track with his smooth refined phrasing that at times will make old-timers recall the legendary Roger Miller (no relation).
Highlights – “Girl, I Know a Guy” & “When God Made The South.”
Musicians – Steve Brewster (drums), Kevin Grantt (bass), James Mitchell (electric guitar), Kerry Marx (acoustic guitar/Gitjo), Joel Key (acoustic guitar), Jenee Fleenor (fiddle), Mike Johnson (steel guitar), & Gary Prim (keys).
CD cover photo by Stephen Johnson. The 16-minute CD @ https://alexmillercountry.com/
Nolan McKelvey – Forward
This 10-track set continues in the tradition of a Phoenix, Arizona musician who has had a 25-year career in Americana music. Music that touched upon the avenues of alternative country, the warped pine floorboards of bluegrass, the humid byways of classic country to the back alleys of rock n’ roll — amassed acclaim wherever he performed.
Though his vocals are not twangy, he is at best folky, but not as authoritative as some of the legendary singers. Nolan McKelvey does possess an authenticity in his showcase, his voice is inspired & his reliance on poignancy is admirable. Not something that’s usually taught in singing classes.
Nolan starts off with the title track, an anthem to positivity from Forward (Dropped May 26–Hemifran) it captures an honesty in the music that some would say is retro when it’s really just an ear-caressing arresting voice laying down a path of unwavering classicism.
There is a hue of Jimmie Dale Gilmore (not as quirky) in some tunes, a casualness in the songwriting that isn’t heavy-handed & the melodies are picturesque. They summon memories & coalesce feelings & though many songs are commercial enough to be hits they’re not mainstream glut. That’s because this singer-songwriter knows what he’s doing. I found this a satisfying set. The subjects are melancholy & based on true events that affected Nolan. The instrumentation has emotional heft & skates along in a Gram Parsons/Lyle Lovett manner rather modestly. Nolan articulates his material well. Obviously, a seasoned musician. Each tune has its personality & character.
Highlights – “Forward,” an ode to the departed “Tir Na nOg,” “Pretending,” “Phoenix Rising,” “Tears In the Dells (Yarnell),” “Other Side,” “Sweetest Dream” & “New House.”
Musicians – Nolan (acoustic guitar/upright bass/vocals), Ron James (drums/bass/percussion/vocals), John Willis & Tim Hogan (bass), Jeff Lusby Berault (guitars), Megyn Neff (violin), Dana Colley (saxes), Jon Raulhouse & Ryan Stigmon (pedal steel guitars), Thomason Knoles & Andy Rauff (keyboards), Tim Kelly (dobro), Dave Desmelik (guitar).
B&W courtesy of Hemifran. CD @ Apple & http://www.nolanmckelvey.com/ & https://nolanmckelvey.bandcamp.com/album/forward-album
The Mighty High & Dry – Live. Wild. Love.
This is the Rochester, NY band’s 3rd CD & it gets out of the starting gate with some nice funky bromides. The group has a cool Arthur Connelly (“Sweet Soul Music”) significance along with a Bar-Kays (“Soul Finger”) horn combinations & jabs that keep all the others on the ropes.
I haven’t heard stuff like this since the late 60s or early 70s. The soul-stirring is tangy & there’s lots of grease on that lead guitar. What’s equally inspiring is the band vocals with a mélange of nonsensical sound that is a jambalaya of crafty oozing gut-wrenching juke joint atmosphere. Not easy to do.
The 13 smoking tunes on Live. Wild. Love. (Dropped May 31-Gotta Groove Recordings/Don’t Interrupt Records/60:00) were recorded live in 2019 & features a hotbed of players. The opening tune “Mississippi Woman,” is an original by lead guitarist/vocalist Eric Katerle & it sounds like it was plucked out of the late 60s when tunes like this were hits on the top 40 stations. Eric almost masters the highly polished Steve Cropper lead guitar style & which may be the secret ingredient to these tunes.
The magic continues on Alex Cote’s (drums/vocals/acoustic guitar/harmonica) “Some People Want To Watch the World Burn,” which is quite appropriate for today. The live performance certainly captured the atmosphere in these places. The tracks are made even more radiant not by more juke joint blues but a jazzy combustion on “Messed Up,” courtesy of the meticulous vocals of Vanessa Mangione & some hot piano licks & crunchy lead guitar walking. Great tune. Old fashioned, with a tint of the 50s but performed with perfume & muscle.
The group is a little Average White Band in spirit, but they have more vintage gusto in their vibes. They don’t sound like they’re going to swim in the commercial end of the pool. They bear the scars of the musical genre & their spirit is in their timbre. The catchy Alan Murphy (rhythm/acoustic guitar/keyboards/vocals), “Down By the Wayside,” has verve & vigor. “Little Red Dress,” oozes sex in the manner of risqué saucy albums of the 50s by Rusty Warren or Bert Henry. Wear a towel.
Highlights – “Mississippi Woman,” “Some People Want To Watch the World Burn,” “Messed Up,” “Misused/Mistreated,” “Down By the Wayside,” “I Hear My Heart,” “Alexander’s Drum,” “I Want To See Your Face Again,” “Little Red Dress” & “Wild Love.”
Musicians – Kyle Vock (bass/vocals) with Vanessa Mangione (lead & background vocals), Zahyia Rolle (co-lead vocals), John Viviani (rhythm guitar), Abby Kelso & Sharon Kaplun (bgv), Evan Dobbins (trombone), Quinn Lawrence (tenor sax), Angel Lopez (trumpet), Ron D’Angelo (trumpet), Mike Edwards (tenor sax) & Sean Joseph (trombone).
Color image courtesy of Michael Overman. CD @ Amazon & https://www.themightyhighanddry.com/band/
Lily & Madeleine – Nite Swim
This is the Indianapolis-based sibling duo’s 5th CD of pop-folk music & it gleams tales of independence & self-love over a bad relationship, all sweetened by some luxuriant orchestral slickness. The women charge their material with songs about vulnerability, acceptance, embracing shame, understanding one’s own feelings & the complexities of intimacy.
The 10-track Nite Swim (Dropped Oct 6-Independent) was produced by Shannon Hayden (acoustic guitar/mandolin/cello/synth/ambient electric guitar) with other instrumentation provided by Devon Ashley, Heidi Gluk & Jared May. The songs explore maturity, but the vocals are somewhat in an ambient posture – dreamy & surreal in “Windowless Bedroom.” But the young ladies present the material in a warm expressive manner. The addition of the cello-like sounds cultivates a slick showcase.
“Nite Swim,” takes an expressive route, much the same as an old B&W film is photographed in a noir milieu. The music has its mysteries, its dark shapes & prevailing drama. Their voices add to the production value of the melody. At times there’s a dislocated color to it all but it comes off as quite creative. The music swells like a balloon being blown up – an inch away from bursting but never does.
Lily & Madeleine (Jurkiewicz) do explore similar territories as Jarboe, Jane Siberry, Julee Cruise, Kate Bush, Nina Hagen, Lena Lovich & Angelo Badalamenti & they do it quite well too. Getting back to a more basic structure musically the duo strides into “Rolling Rock,” that’s more accessible to average ears. Their unified voices have a beautiful tone & the piano has a dark eccentric blend. The addition of the crunchy retro lead guitar is good. It elevates the tune from laid-back saloon fare to burlesque artistry. And again, their voices together are just like cherry syrup pumped into a big cold glass of Coca-Cola.
Their music has dark specks in it but sometimes they sparkle & that’s what makes it all stylistically alive.
Highlights – “Windowless Bedroom,” “Nite Swim” & “Rolling Rock.”
Color image courtesy of Anna Powell Denton. CD @ https://www.lilandmad.com/
Good Lovelies – We Will Never Be The Same
The songs are light-hearted & well-played. Not as folky as The Indigo Girls or as intense as Canada’s The McGarrigle Sisters but they have a lovely sound to their voices & harmonies. The lead track “Young At Heart,” has a bit of pop confection. These 12 aurally expressive pieces from their 5th CD We Will Never Be The Same (Dropped October 6–Outside Music) are not necessarily confections, or sugar-coated since many seem to be quite delightful & have reflective qualities. Some sound like you have heard them somewhere else. From the pop-oriented first track, the deeper lead vocal supported by the fortifying female vocals in unison makes “Tip To Toe,” a well-punctuated song.
The ladies are the missing link between groups like Heart, Fleetwood Mac & Abba. But it’s true & what makes it all palatable is the glistening vocalizations throughout their ballads. Satiny smooth, with all the artistic expression required to make these edgy pop songs earthy & well-defined. Even the more subtle tunes like “Baby I (Say What You Need),” is beautifully constructed with delectable voices in a spirited ballad that’s not sweet whatsoever.
Sometimes edginess is good but in the case of this trio, edginess is not always required. The vocalization is everything. Their voices are like a tiger’s fur as it ripples against an oak. Moments of uniformity no one really notices until they see it, hear it & realize it. More Celtic-folky & traditional in nature is the excellent “All My Days,” which elevates the trios pop-music to true realms of roots music. This is a jewel & their musicianship validates their impeccable showcase.
Highlights – “Young At Heart,” “Tip To Toe,” “Keep Moving,” “Baby I (Say What You Need),” “I Should Tell You More,” “Blurry Days,” “All My Days,” “Slow Down” & “Find Our Way Home.”
Musicians – Kerri Ough (vocals/acoustic guitar/banjo/keys), Sue Passmore (vocals/acoustic guitar/bass/percussion/keys) & Caroline Marie Brooks (vocals/acoustic & electric guitars). Touring band: Steve Zsirai (bass), Mark Mariash (drums), Robbie Grunwald (keys) & Christine Bougie (lap steel & electric guitars).
Color image courtesy of Jen Squires. CD @ iTunes + https://goodlovelies.bandcamp.com/album/we-will-never-be-the-same & https://goodlovelies.com/
Bethlehem and Sad Patrick – This Is What We Do
Like most teams, their songs focus on love, struggles, hardships & growth within the human spirit with a tilt toward soulful vocals & body percussion with lo-fi guitars. They still manage to deliver songs with a punch. Tales of being in & out of love, being aware in the city, struggling to find your way in modern times & seeking some kind of peace for yourself. The music is a hybrid of folk, some blues with jazzy exponents.
Sad Patrick provides the instrumentation (acoustic & archtop guitar/Rhodes/violin/cello) while Bethlehem shapes the specialized percussive vocals, body percussion, Tarima wooden platform drum, improvisation & within her “vocussion” showcase. There are 12 examples of what they do on their 3rd CD This Is What We Do (Dropped Aug 17-Independent/BeSadMusic/39:00).
Not sung as a blues, or New Orleans-styled dirge the classic traditional “House of the Rising Sun,” is rendered with a totally soulful spiritual tinge with little in the way of showboating – it’s all presence. It’s all done spare with a soaking chills-down-the-spine gospel-flavor. Quite different from how we’re used to hearing this. Here, instead of a standard, it’s creative & truly accessible.
“The Language,” is supported by finger-picking acoustic guitar & Bethlehem’s honey-smooth voice that pours the words down drip by drip. It allows the music to slide off a spoon of percussive taps. It’s certainly a new way of listening to a tune & it’s propulsive. Songs tend to skip along into different genres & still maintain their attraction.
“My Every Other Tenderness,” is jazzy in a manner reminiscent of the songwriting/vocalizing team of Lambert, Hendricks & Ross. Bethlehem does it all justice. Her future if she goes solo is definitely jazz since this is where she excels. Her range & timbre — perfect. With her percussive allusions, she lays down an interesting framework around her vocals. With “Come & Get My Love,” the vocals are still in a lounge setting with retro acoustic guitar jazz inspiration. Gentle stuff like Nancy Wilson, Dakota Staton & Lena Horne in a smoky candlelit atmosphere. For selective tastes but good, good, good.
This material is a little more for mature audiences. Let’s say the wine drinkers instead of the beer drinkers. The Manhattan or Martini crowd instead of the little umbrella Mai Tai group. It’s low lights, ambient & filled with mood. Not moody, just mood. Where they serve food with cloth napkins & not paper napkins. You get the gist. Then sit back & relax.
Bethlehem and Sad Patrick will do the rest.
Highlights – “House of the Rising Sun,” “The Language” & “My Every Other Tenderness.”
CD @ https://besadmusic.bandcamp.com/album/this-is-what-we-do & https://besadmusic.com/
Nora Jane Struthers – Back To Cast Iron
Though Nora seems to be fortified in the basic female singer-songwriter mold she has an exuberant 10-song showcase that follows a path woven from a purer & exciting soil. Right from the start with “Is It Hope,” into the superb rocker “Oh To Be Home,” Nora cooks with a low blue flame & the flavors reach into the ceiling with gusto. I like this young lady. She has true grit. Her arrangements are tight & her band of musicians — remarkably good.
“Car Henge” has a retro harder rock opening, but the manner Nora uses she refreshes the tune imaginatively & her voice is cohesive. This won’t send your heart into palpitations, but it will get your toes tapping & hips grinding.
Where did R&R go, they ask? Well, some of it’s over at Nora Jane Struthers house & it can be found on the emotionally bracing Back To Cast Iron (Dropped Oct 27-Independent) produced by Neilson Hubbard (keyboards/percussion/drums).
The admiration I have for Nora is that she knows how to twist her lyrics, to make a simple lyric look like water but it’s really vodka. The title cut “Back To Cast Iron,” is one such example. Superb.
Born in Virginia & raised in NJ Nora (acoustic & electric guitar/vocals/harmony) is a woman who knows how to use her voice to squeeze out the angst many feel & can relate to. Yes, yes, yes — “saying goodbye to something you love.” Wow…what a concept. Nora touches lightly on a commercial 60s style female country singing style with “Children They Need You (All The Time).” Good, but a bit novelty-oriented. But going forward on the LP her country is sharp, robust & supple. The coda is “Back On The Road,” which is addictive, it takes R&R musical curves that are thrilling.
Highlights – “Is It Hope,” “Oh To Be Home,” “Car Henge” “Life of a Dream” & “Back On The Road.”
Musicians – Joe Overton (pedal steel guitar/harmony/clawhammer banjo/), Drew Lawhorn (drums), Steven Daly (electric guitar), Lex Price (bass), Juan Solorzano (bass/electric guitar),
Color image & CD image from Nora Janes website & by photographer Bree Marie Fish. CD @ https://norajanestruthers.bandcamp.com/album/back-to-cast-iron-2 & https://www.norajanestruthers.com/
James Keelaghan – Second-Hand
Of special consideration comes this 10-fingered expressive set Second-Hand (Borealis/38:00) both vocally & lyrically by baritone singer-songwriter James Keelaghan. The CD is marked by infectious melodies throughout.
Originally released in September 2022 James is now touring the album in the U.S., Canada & the U.K. So, to help acquaint audiences with James’ music we’ll offer a few kind words on this fine well-crafted fluent showcase.
James has been known to tackle topical issues, basic intimate stories, a sense of history & lots of originality. Vocally, he may remind one of the late Roger Whittaker, but not as middle-of-the-road & forceful. Or, the late 80s English vocalist known as Black (Colin Vearncombe) who also explored such topics with a powerful voice (“Wonderful Life,” “Now You’re Gone”).
The set has interesting music sung with skill & wonderful intonation, phrasing & range. James has the skills to get songs over powerfully without being overly dramatic. There’s romance in many of his melodies & always sincerity. A style not often heard nowadays which is refreshing. What is also intriguing about James’ material is he doesn’t sing about standard topics. He’ll explore a historical situation & apply it to today, how “surrendering” can be as important as being victorious. This is quite a compelling singer-songwriter.
The CD includes a stitched lyric insert with excellent color photos. The recording was made in Montreal, Canada & was handsomely produced by Bill Garrett (guitar). James is not as folky as the late Gordon Lightfoot, (though he comes close with a song like “Alberta”). He has his own signature style of good crafting of songs & does it consistently. It’s a mix of middle-of-the-road, easy listening & simply good narratives.
Highlights – “Walk On,” “La Cattiva Strada,” (“The Bad Road”), “Before the Morning Sun,” “Gave It All Away,” “Alberta,” “Gathering Storm,” Jesse Winchester’s “Eulalie” & “The Benefits of Surrender.”
Musicians – Adam Lalonde (drums), David Woodhead (bass), Bob Cohen & Dave Clarke (guitars), Bob Stagg (piano/bass/accordion/Hammond organ), Kelly Prescott (vocals), Pahris & Jason Romero (vocals), Gilles Castilloux (percussion) & Joe Grass (pedal steel guitar).
Cover image courtesy of Jenn Squires. CD @ Amazon & https://keelaghan.com/
*
Grooves & Cuts – October 2023
CD & Digital Links can be bought at the artists’ respective websites. No photography will appear without a photographer’s credit or owning source.
All pictures, images & CD art displayed in any review were sent from publicists, the artists themselves their websites/Facebook, or PR reps. When available all photographer credits will be noted.
Notice: Obituaries have moved to their own page.
Grooves & Cuts – October 2023