Grooves & Cuts – 2024 – #1
The late Lawrence Welk was quite the anti-rock band leader. His music was corny to young listeners but relaxing to their elders. His show was on the air for quite a long time, so someone was watching. His cast of shlocky musicians in his orchestra were quite accomplished as good ensemble players & solo artists.
Welk was not a fool. Neither was Columbia Records’ A&R head Mitch Miller (“Sing Along With Mitch”). They may not have been in step with the new modern rock music, but they were watching what was going on. Welk knew what happened back in the 50s with Elvis, Buddy Holly & Chuck Berry — he wasn’t deaf or blind. Elvis’ appearance on the Ed Sullivan Show (which initially rejected Elvis until he got higher ratings for The Milton Berle Show, Steve Allen Show, Tommy & Jimmy Dorsey Show & Jackie Gleason) was noted by music insiders. Something was happening. Welk & Miller were leaders not only in front of the camera but behind the scenes. As was Bert Kaempfert’s in Europe with Decca Records & the infancy of The Beatles.
One year on Welk’s show Welk allowed a group on his show as a guest that puzzled youngsters & wide eyes from his mature audience. The instrumental combo The Chantay’s (“Pipeline”) appeared. One assumption about how that came about was that both The Chantays & Welk were on the same record label Dot Records (which may be true). But Welk was a powerful entertainment presence, like John Hammond. No record company was going to dictate who would be on his show (a highly rated program with a solid loyal audience even when it went into syndication).
Welk’s show aired originally on ABC-TV & there may have been some influence at play to gain a wider, younger audience. However, Dot Records was founded by Randy Wood (Lawernce Welk’s producer) so it may have just been an effort of cross-promoting. The most obvious reason.
However, what’s peculiar is that Welk himself covered the instrumental with his orchestra on an LP called “Scarlet O’Hara” (Dot Records). There must have been a business connection because they were the only rock n’ roll group ever invited to the Welk show.
What I think though not confirmed is that the song could’ve been picked up by the Welk Music Group (a large publishing firm owned by Lawrence Welk that included many rock compositions). The tune was originally published by the Downey Records group (that’s where The Chantays originated) — a small record label distributed by Dot. Aside from this, Welk years later, not being hip, had his orchestra play as his singers sang a cover of Brewer & Shipley’s hit “One Toke Over the Line.”
What? Welk’s people didn’t know what that song was really about & neither did his audience. Those who did – must have been surprised since it was cool to witness. The song was about smoking weed. Welk once said he would’ve had more contemporary artists as guests but feared his strict older demographic conservative audience wouldn’t buy it. Nor would their sponsor Geritol. Not exactly Coca-Cola, Pepsi, or Bazooka Bubblegum.
Had Welk booked some mainstream acts his show may have gained new sponsors. The Welk Music Group today publishes songs by John Hiatt & many major country music songbooks. Some Pink Floyd compositions, Garrison Starr, Pat Benatar, World Party, Dolly Parton, Emmylou Harris, Linda Ronstadt, Jerry Jeff Walker, the Indigo Girls, Chris Isaak, Barenaked Ladies, Jerry Lee Lewis, Joan Baez & many others.
Welk had wise people employed. He’s gone now but his company thrives as a music publisher.
Later, Tony Bennett with his career floundering allowed his son to become his manager. And then his late career musical transformation began. When Johnny Cash late in his career was abandoned by his major label Columbia he fell in with Rick Rubin & his independent label. His career escalated.
These are miraculous stories in music.
Notice: Grooves & Cuts reviews will become briefer in the coming months to get more reviews published of titles that arrive too late for a full review.
Spilled Mercury:
Marx Cassity – 2Sacred
Somewhat different but the interest lies in its brave application of modern ingredients to an old form. A Native American LGBTQ+ artist it’s music from acclaimed singer-songwriter Marx Cassity (vocals/acoustic guitar/piano). A member of the Osage Nation, a mid-western American tribe of the Great Plains with tribal land in Oklahoma & other states. The PR states that the music is considered “Folktronic Native Americana.”
The CD is a groundbreaking effort produced by Marx Cassity with Lynx DeMuth. The 10 tracks of 2Sacred (Dropped Nov. 5, 2023–Independent) examine what it’s like to be Two-Spirit (a Native American LGBTQ+ person & one who has learned to love & accept themselves & pursue art as an act of devotion).
Despite some listeners not being Native American or LGBTQ+ this should not deter their listening experience. The music is enchanting with a spiritual edge that’s enthralling. “Somewhere” opens the CD & it’s an intoxicating melody. Cassity’s vocals are articulate & may even explore the worlds of singers like Enya, Ferron & Phranc — voices that shape songs with many colors. The music here is easy to like. While some songs need to be understood it also possesses an ability to penetrate the ears & become one with the soul.
“Mourning Dove,” has a beautiful Native American feel but the attraction comes from the same place that occupied Susan Osborne’s “Lay Down Your Burden,” on the Paul Winter Consort LP “Common Ground.” The vocalizing is earthy, haunting, pastoral & melodic.
There’s a lot more to this effort about hardships & persevering that I don’t have space to explain. I’m only qualified to comment on the musical effort & what I hear from Marx Cassity is wonderful dedicated work. The emotionally strong “How Long,” is a driving near-spiritual conjuring of feelings – some perhaps recessed maybe not.
“A Little Better,” curiously has a soulful vocal style that’s well-performed with falsetto similar to singer-songwriter Joan Armatrading on some of Joan’s exciting pieces. The sinewy “They Way You Move,” is solid — very early Armatrading in tradition. The tunes are catchy, some even heavy & intense as “Thunderbird.” Though each carries a responsible message. Sometimes that’s the best kind of music. You may learn something. The synth used in this folky effort was used with expertise & folk traditionalists should enjoy the showcase.
A final thought maybe that the thread through each tune is “You’re here for a reason.” Indeed.
Highlights – “Somewhere,” “Mourning Dove,” “How Long,” “A Little Better,” “Thunderbird,” “The Way You Move,” “Fly Away” & “2Sacred.”
Musicians – Brandon Warren (drums/percussion), Paul Olguin & Clay Parkman (bass), Michael Abraham & Eddie Martinez (electric guitar).
Color image courtesy of Marx Cassity Bandcamp site. CD @ https://marxcassity.com/ & https://marxcassity.bandcamp.com/album/2sacred-marx-cassity
Sofia Talvik – Center of the Universe
Nordic singer-songwriter with a wispy vocal style on “Circle of Destruction,” embellishes her tale with lovely musicianship, arrangement & melody despite the doomy title. There’s a tint of Joni Mitchell in her folky tone & delivery but also a loveliness to her voice that was once the early folk voice of Marianne Faithful (“Wild Mountain Tyme”) & Mary Hopkin (“Goodbye”). Sofia is easy on the ears and angelic at times.
With the 10 cut Center of the Universe – (Dropped August 2023-Independent) the project was produced by Ms. Talvik who also wrote the songs. The work is smartly created & filled with one tantalizing melody after another. What this CD possesses is not just songs but well-developed ideas for songs. The lyrics are poignant, the music enchanting, with nothing but positive vibes that seep from every note.
The songs are then decorated with tidy accordion flourishes that elevate the melody into such rural beauty & inhabit Sofia’s honeyed vocals. This is the Swedish artist’s 9th & Sofia had cracked the Folk Radio Charts USA throughout the fall (2023) & even received a Grammy nomination for Best Folk Album.
The CD has its serious subjects so it’s not all just entertainment. Sofia sings of missing children, she saw posted on her last tour. Artists like Sofia, serious artists — can find subjects for songs beyond the menu so many seem to pull from. Sometimes a song will reach more eyes than a poster on a wall alongside an ad for pimple cream. This is where in the inspiration for the song “Center of the Universe” originated. It has little to do with space travel.
“Desert Nights,” has some tidy finger-picking acoustic guitar & the vocals are reminiscent of the late Judee Sill (“Jesus Was a Crossmaker,” & “The Kiss”). That is to say, the voices are indulging in a narrative of beauty as well as lyric. With “Broken,” Sofia sings in a wonderfully whispery Alison Krauss tone & it’s equally, personally serene. Sofia breathes Americana with every lyric & the music follows her. The music knows she is one where it belongs.
There’s a short informative documentary about the making of Sofia’s album on YouTube that should be of interest.
Highlights – “Circle of Destruction,” “Center of the Universe,” “A World Away,” “Two Thirds,” “Meanwhile In Winnsboro,” “Too Many Churches,” “Desert Nights” & “Broken.”
Musicians – Sofia (guitar/vocals), Drake Duffer (mandolin/classical guitar), Peyton Clifford (accordion), Janne Manninen (bass) & Joakim Lundgren (drums/percussion).
Tinted image courtesy of Sofia’s Bandcamp site. CD @ Apple Music + https://sofiatalvik.com/
The Babys – Live at the Bottom Line – 1979
While not strictly an Americana band this unit had a fairly good run in the late 70s sparked with a few good hits with high decibel lead vocalist John Waite & entrenched in American rock n’ roll. They displayed it far better than many wannabes that came across many turntables. But this band played with a fervor & rhythmic heat & the songs sizzled. In the late 70s new wave & punk was prospering among the late-entrees of what was left of disco & the proliferation of alt-rock that was Dead Kennedys, Fear, Black Flag & bands of that ilk.
Instead, The Babys dug deep into the trenches of rock n’ roll & came up with some invigorating performances. They weren’t The Stones, The Beatles, The Kinks, or The Who but they were in that Loverboy, Cheap Trick & REO Speedwagon frame solidly. They had energy & if they stayed in the oven a little longer to absorb some American blues traditions they may have lasted longer. But they did step over the pop-rock glittered borderline & that’s where they may have lost traction. Waite himself did continue to ignite with his solo career (“White Heat,” “Euroshima”).
Their live track here “Give Me Your Love,” is indeed bluesy, a little decadent in spots, but the guitar solo smokes, the arrangement stings & Waite is in fine form. The live performances were captured at New York’s Bottom Line & while the songs may have appeared on their first 3 LPs, some were new tunes & all of these live takes are previously unreleased.
This collection Live at the Bottom Line – 1979 (Dropped Jan 5–Omnivore Recordings/53:00) was produced for release by Gregg Bendian & Cheryl Pawelski. The first few tracks sound a little muddy but by the time they cruise into “Run To Mexico,” the sound improves & the performance energy comes through the grooves. It’s 11 tunes of a band that knew how to set alight excitement in their live shows & on record. The truth is in the ears.
The most notable tunes are the Ray Kennedy/Jack Conrad penned chart-toppers “Isn’t It Time,” (Kennedy recorded this as well on his solo LP) & the beautiful “Every Time I Think of You,” with glorious female backing vocals. The variety is evident in the showcase. Keyboardist Jonathan Cain is offered a solo vocal spot with a new track “Stick To Your Guns” that was recorded for an LP but never issued. This song walks the ledge of Journey-Bon Jovi-style balladry. Cain asserts himself well though there are some sour notes. But that’s a live showcase baby & it happens.
By now it’s all nostalgia, but this is a listenable treat for wanting to remember what was stabbing your ears in the late 70s. And while there was Warren Zevon, Andrew Gold & Fleetwood Mac – there was the ass-kicking John Waite & the Babys to keep the music shaking the beer in the glasses. I liked them.
Highlights – “Give Me Your Love,” “Run To Mexico,” “Every Time I Think of You,” “Stick To Your Guns,” “Crystal Ball,” “Isn’t It Time,” “Lookin’ For Love,” (nice drum solo by Tony Brock), “Money (That’s What I Want)” & “Loaded.”
Musicians – John Waite (vocals/harmonica), Wally Stocker (guitar), Ricky Phillips (bass), Jonathan Cain (keyboards) & Tony Brock (drums).
Color image courtesy of Omnivore Recordings. CD @ Amazon + https://omnivorerecordings.com/shop/live-at-the-bottom-line-1979/ & https://www.thebabysofficial.com/
Wendy Webb – Silver Lining
A couple of late arrivals came in & they’re worth a listen. Let’s start with this Iowa-born young lady who is in the easy-listening vocalist realm. She’s quite capable too as a lounge singer & middle-of-the-road. Some younger singers enjoy this genre, but they miss the point. The lyrics & the phrasing are paramount – it’s what made singers like Billie Holiday, Ella Fitzgerald, Frank Sinatra & later Lena Horne, Tony Bennett & Peggy Lee such masters of many songbooks. Wendy has this magic.
On the opener “This Is Love,” Ms. Webb exudes confidence & warmth & has the intonation to impress anyone who enjoys a good piano bar vocalist. A singer who knows how to negotiate the musical arrangement. She does it again in “Old Blue Panama,” with a Broadway vocalese filled with musical personality & an arresting blend of samba & saloon performances. Quite good. Convincingly sung.
This set of 11-appetizing nuggets is wrapped up in the production that is Silver Lining (Released Nov. 15, 2023-Spooky Moon Records/Hemifran/43:00). Produced by Danny Morgan (bongos/acoustic guitar/percussion) & John McLane (horns/strings/drums/bass/organ/accordion/electric & nylon string guitars) the songs all have ambitious arrangements.
“Gonna Treat You Right,” is a jewel. There’s an ambiance & presence to the recordings. Even on some of the more popular oldies like “I’ve Grown Accustom To Your Face,” it goes from being remembered as a somewhat novelty tune to a serious ballad in Ms. Webb’s hands. She just embraces each lyric with a far more serious tendency than others. She has a restrained Barbra Streisand tonality at times, but she never bows to the bombastic pomposity of many tunes that were designed for that opportunity. Wendy Webb comes instead, with class & creativity to the older tunes — seldom applied.
More in a pop-oriented vein with a catchy soulful approach is “Jasmine Nights” & “I’ve Never Been To Argentina.” More commercial appeal & it shows diversity. Her voice & how she pronounces her words is a little different here. More rugged & more aggressive & she holds her notes longer. It’s looser & crazier – with lots of stimulating tones. An engaging session. Wendy Webb possesses lots of liberation in her approach to her material. She saturates her performances with shimmering notes.
The showcase is well-balanced, her voice has what it needs through lo-fi jazz, elaborate phrasing & tone approach in the exquisite “Rhythm of Your Love.” It has a touch of Van Morrison phrasing & with the addition of the sax even more so. Wendy can be marvelous.
Wendy continues with a Van Morrison nourishing application with “Blue Skies On the Way.” Since her voice is feminine the Morrison scent is tantalizing. The concluding tune “Silver Lining” is the only horn-thick rocker. Wendy delivers without the chips shifting in the bag. Not all MOR singers are effective in the rock genre. Sinatra did it with “That’s Life,” Dean Martin did it with “Since I Met You Baby,” & Jack Jones did it with “I’m Indestructible.” This song cruises nicely & will tickle the listener’s ears to want more.
Highlights – “This Is Love,” “Old Blue Panama,” “Gonna Treat You Right,” “I’ve Grown Accustom To Your Face,” “Jasmine Nights.” “Timeless Love,” “I’ve Never Been To Argentina,” “Rhythm of Your Love,” “Blue Skies On the Way” & “Silver Lining.”
Musicians – Wendy (piano/vocals) & Cowboy Eddie Long (dobro).
CD cover photo courtesy of Mark Hauser. B&W image courtesy of Audrey Snow. CD @ https://www.wendywebbmusic.com/ & https://www.hemifran.com/artist/Wendy%20Webb/
Benjamin Jayne – Broken
While I’m not a big fan of folk-oriented music laced with electronics (it’s like ordering fillet mignon seasoned to perfection & then slapping catsup on it). This CD has all the folky musical elements with near-falsetto voicings of Vermont’s Benjamin Jayne (Benjamin Wright) but — it’s not all bad, just different. It’s not Depeche Mode but it may be closer to Orchestral Maneuvers in the Dark when they were near-folky with songs like “Southern.”
Jayne keeps the sound effects to a minimum & wisely uses electronics as fills & atmosphere. Then keep the acoustics & other instruments including children singing (“Shoot Through The Wire”) front & center. But the synthesized drum machine in “Somewhere Far Away,” is not folk, Americana, or roots music. The song itself could be – if the machines were plugged out. The song happens to be a good piece. A soul is trying to get out, but it’s held down by circuitry.
Produced by Benjamin with Drew Skinner, the 10 cuts of Broken (Released Oct. 13, 2023–Whatabout Music/40:00) are performed by multi-instrumentalist Benjamin Jayne & who does on occasion create soundscapes that can be interesting (“The Symbol”). If he wants to combine folk with an electronica element, listen more to NYC producer/musician Richard Termini (“Dangerous Games Redux”) who has successfully welded pop music & catchy lyrics to a folky-melody that is run through devices.
Subject-wise tunes may ride the rim of dark folky branches, but the arrangements do not approach the trunk of the folk music tree or its roots. The tradition isn’t evident, though if the songs were arranged differently, they would indeed find their position in that genre. So, it’s not the songs or voices that are at fault but the instrumentality direction. It gets very Kate Bush strange (“Love”) with male vocals bordering on Tony Carey’s Planet P Project (“Pink World”). That’s not entirely a bad thing.
A better example comes with “(Numb) I Can’t Feel a Thing,” which doesn’t have a folky title but is closer to a folk song in the late Nick Drake or John Martyn tradition. Jayne has depth here, emotion & creates a viable autumn-like musical atmosphere. “A Familiar Face,” with acoustic guitar would’ve been more intense if not for the electronics. The drums are deep-rooted & the vocals are endowed with a feisty delivery. The words flow ominously like Nick Drake. It captures a breath of what Jayne is trying to achieve & I commend him for the risk. He does come closer. This is the best interpretation of the musical exploration Ben toys with. Here, it works with inspiration & thrust. A little less falsetto would be good since Benjamin’s deeper voice is far more captivating.
Alternate CD cover:
Highlights – “Give Up, Don’t Give Up,” “(Numb) I Can’t Feel a Thing” & “A Familiar Face.”
B&W image courtesy of Benjamin’s website. CD @ Apple & https://www.benjaminjayne.com/
Jeremy Wilms – The Fighter
This is studio musician J. Wilms’s (a multi-instrumentalist) 3rd solo LP as a singer-songwriter. It was recorded in Athens, GA & produced with Kyle Spence & Wilms. The set has some gems, but the majority of the songs are mainstream-oriented pop songs. J. Wilms’ vocals aren’t Jim Morrison, Mick Jagger, or John Lennon. But — does possess a good-natured pop vocal with excellent background vocals & accompaniment. He could sing with the English band The Korgis because he has that lilting melodic simple gratifying tonality.
This set since is rooted in many approaches that have been taken before by other pop artists. But Wilms’ effort sparkles. The voice sounds like it’s having a good time singing the tunes, his personality comes through the lyrics. “Born To Die,” has a bit of a graveyard humor with nice backup vocals by Julia Haltigan & it moseys along with good guitar & a steady 1-2 beat. It’s nothing special unless you’re in a pub and some people know the words to the song. There, in that environment, the song will soar.
There are 9 rounds to The Fighter (Released Dec. 8, 2023-Cart/Horse Records/Jeremaru Music) & as mentioned there are gems. One such shiner is “Hey My,” — a catchy melody with excellent guitar work that’s a pastry among so many bland cookies by others. In a perfect world, this song would be in the Top 10. However, with “I’ll Start Tomorrow,” we’re in cliché land. Tons of rhymes in the lyrics. The music itself is good & mindful of a more humorous singer-songwriter in a guy named Sam Leno who had an LP (“Ordinary Man”) filled with tunes similar to this in 1975.
Wilms does hit the target a few times. His tales through creative lyrics work when he doesn’t get cute. The music is consistently pop-sweet & delivered with skill. Instead of getting cavities, you get yearnings for more. “Stopping On a Dime,” has a John Prine angle & it works. “The Fighter,” is an upbeat country-flavored tune that to work would need a country voice like Roger Miller or Buck Owens. It’s a well-written story that has that familiar-sounding melody line that people will say sounds familiar. But it’s more about the chord progression than copping a melody. Wilms sings in a good voice & the musicians play instinctively well. The conclusion “Yes I Know” is the big keeper of the lot.
Highlights – “All the Roads,” “Born To Die,” “Hey My,” “Props,” (nice melancholy trombone take), “Stopping On a Dime” & “Yes I Know.”
Musicians – Nick Robbins (bass), Bo Bedingfield (drums) with Julia Haltigan (vocals) & David Smith (trombone).
Color image courteous of Di Quon. Music samples are available @ https://jeremywilms.bandcamp.com/album/the-fighter + CD @ https://www.jeremywilms.com/
Annie Gallup – Small Fortune
Ann Arbor, Michigan-born singer-songwriter Annie Gallup has a stylistically sound voice – different than most popular singers. She has an instinctively soft texture, juvenile tonality is always sincere & a timbre that’s a bit smokey. But these are the qualities that are so attractive.
Her new CD includes “The Sky at Night,” which is folky in a Ferron manner, gentle but not breathy. Just a little like a mother’s whisper in your ear at night. It just warms you to listen. Produced by Annie with Peter Gallway & Harvey Jones the 11 treasures to be found on Small Fortune – (Dropped Aug. 21, 2023-Flyaway Hair Records/37:00) are each like items found in an old jewelry box. A photo still in a vintage tarnished locket, a monogrammed handkerchief with initials of someone long gone. “Memory,” doesn’t glide in, slide in, it just drifts like a fog into your recollections. Annie’s voice is the secret – she breathes atmospheric lyrics through her melancholy melodies & always leaves a sweet flavor.
Recorded in Maine, the spare showcase manages to deliver furnished worlds with Annie’s mythical voice that narrates & articulates with a safe-haven tonality. Her sound comes from a familiar place & her phrasing — vibrant. I’ve heard this in rare moments like Cris Williamson (“Last Sweet Hour”) & Susan Osborne with Paul Winter’s Consort (“Lay Down Your Burden”).
Annie Gallup is the furthest singer from showboating I ever heard. Her voice isn’t as satiny as Adele or Bird York but there’s a suede to her delicacy. Her storytelling is fascinating. With “Harvey Moved To Queens,” Annie traverses the style of late-career Joni Mitchell with an immaculately crafted tale with well-chosen words. A superior song.
The gentleness in Annie’s voice was also evident in the late Judee Sill (“Jesus Was a Crossmaker,” “The Kiss”) & Annie Golden of Golden-Carillo (“A Fire In New Town”). Structure-wise Annie follows in the steps of the late-career Dory Previn who had a career as a Broadway songwriter (“The Valley of the Dolls”) for decades. Then Dory went solo. She wrote & performed expressive & controversial tunes (“A Stone for Bessie Smith,” “Lemon-Haired Ladies” & “Mr. Whisper”).
Annie is a special artist who works a side of the road a few walk. But when they do, they see things, sense things, smell things — they never knew before. I would stand on the corner across the street – just waiting to wave to her.
Highlights – “The Sky at Night,” “Memory,” “Harvey Moved To Queens,” “She Lived With Her Mother,” “In the Wing With The Rothkos,” “Magnetic,” “Killing Time” & the beautiful “Like Audrey Hepburn.”
Musicians – Annie (vocals/electric guitar/tenor guitar/keyboards/lap steel), Harvey Jones (synth/other instruments) & Peter Gallway (bass/percussion/keyboards).
Color image courteous of Annie’s website. CD @ https://www.anniegallup.com/news/
Winston Montgomery – Breakfast In Texas (and other excursions)
This is an interesting mix of country liberally sprinkled through a vintage jazz filter. Lots of finesse & it necessitated a pinch of novelty to bring out the charm of the tunes. “Breakfast In Texas,” opens the 12-track CD that may be for selective tastes of the genres but it’s a curious item because it’s so well performed.
Winston sings with a bit of retro-projected kitsch & narrates his lyrics with reliable accompaniment without ever sounding silly. He does perform in a way that shows that he doesn’t take himself seriously. He’s just having a good time the way country singer Roger Miller did early in his career but not quite getting comical the way David Seville did with “Witch Doctor.”
The set that makes up Breakfast In Texas (Dropped Sept 1, 2023-Cool Grey City Records) was recorded in Taos, New Mexico & produced by Peter Oviatt (bass/banjo/bandjola/mandolin/backup vocal) & Winston Montgomery (lead vocals).
Originally from Westchester County in NY, the development of the love of this music shaped Winston through renovating houses & applying determination & time to his musical endeavors. Over time he developed a Randy Newman cum John Prine through a Roger Miller turnstile. Winston & his band do have skill with the assertive music & skewered hysterical lyrics (“With Apologies To Leonard Cohen,” “Hey Ricky, Hey Lucy” & his hilarious take on electric cars on “Vrroom, Vrroom, Vrroom”) Good turn (no pun intended). Get The Beach Boys on the phone…
There are asides to some of the more serious country tunes (“Moonshine & Bluegrass”) that are well applied. The “Cadillac Coffin” glides through that lazy vocal narration style that Johnny Bond (“Hot Rod Lincoln”) made popular & Commander Cody used years later. Musically, the musicians play with a tight concise enthusiasm.
Winston continues to exude a counterculture patchouli oil scent with candles & where well-filled peasant blouses thrive. But the attitude in the tunes is good entertainment, the music is fun. He’s not trying to be the next Gordon Lightfoot or Townes van Zandt & that makes it worth the listen with a few bottles of Taos Mesa Brew. Especially with the superb Tex-Mex sexy-flavored “Her Little Black Dress,” the best of the bunch.
Highlights – “Breakfast In Texas,” “With Apologies To Leonard Cohen,” “The Taos Song,” “Doghouse Blues,” “Moonshine & Bluegrass,” “Cadillac Coffin,” “Her Little Black Dress” & “Vrroom, Vrroom, Vrroom”).
Musicians – Dave Chmil (electric & acoustic guitars), Kory Krahl (fiddle), Dan Lizdas (keyboards), Tom Pryor (pedal steel/background vocals), Brent Berry (drums) & Audra Rogers (background vocals).
Image courtesy of Winston’s website. CD @ Amazon + https://hemifran.com/news/detail/p/1409/Winston%20Montgomery/Breakfast%20In%20Texas/ & https://www.winstonmontgomery.com/home
Drunken Hearts – Reckless Ways of Living
Another latecomer with some country vocalizing with an instinctive feel for the atmosphere, the soil & the climate. Lead vocalist/guitarist Andrew McConathy has the angst in his voice that is pure lonely-hearts saloon-driven tonality. It has that wonderful Marshall Tucker Band melodic thrust & yet, there’s a George Jones sadness that is enriched by the sincerity in his performance. I like this band, I like Andrew.
The showcase features 10 songs that begin with “Never Say Goodbye,” & segue into “Falling Stars,” which has a tint of Darius Rucker’s soul between the saddle bags, spurs & Dingo boots. This is some serious good balladry that’s both tight & warm. This style was used years ago by some bands that didn’t click entirely despite excellence in their music – Big Back 40 (“Blood”) for example.
Produced by Dave Pahanish Reckless Ways of Living (Dropped June 2023–Hemifran/36:00) this is worth checking out even at this late date. If you want to treat your ears to a more serious, well-crafted set of country music this is the one. “Good Graces,” is a thick-skinned rocker as tight as the head on a snare drum. The Drunken Hearts are an entertaining bunch. They don’t sound like the run-of-the-mill country-entitled band. They sing seriously & have humorous moments & it’s all held together with a traditional pathology to their music. Their subject matter is different from the mainstream output & that alone should assure a listener a better romp. There’s a nostalgic rock feeling to some tunes but nothing here is moldy retro.
The variants are balanced & put into orbit by bands like The Pogues, Dropkick Murphys, The Tossers & Great Big Sea. Drunken Hearts’ musicianship is admirable — a band to keep an eye on.
Highlights – “Never Say Goodbye,” “Falling Stars,” “The Bright,” “Good Graces,” “Forever Highway,” “Dark Times,” the superb “Fall From Grace” & “Eventually.”
Musicians – Tyler Adams (keys/piano/organ), James Dumm (electric guitars), Drew Packard (bass) & Alex Johnson (drums/percussion) & featuring guest performances by Vince Herman, Silas Herman, Neil Jones, Lindsay Lou, Kyle Tuttle, Jason Carter, Adrian Engfer, Dave & Kristin Pahanish.
Color photo courtesy of the band’s website. CD @ Bandcamp + https://www.thedrunkenhearts.com/home & https://hemifran.com/artist/Drunken%20Hearts/
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Grooves & Cuts – 2024 – #1
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Notice: Obituaries have moved to their page. Americana Highways Obituaries – Jan-Feb 2024