Grooves & Cuts – July 2025 – Part 2
There has been an overwhelming number of releases these past few months. Some were received late, some slipped between the cracks, but they are worth featuring—apologies for the lateness.
This is an essay written for the Michael J. Media Newsletter that many artists, agents & managers should consider. An important part of becoming a successful artist.
An essay on the Lack of Contact Information by Mike Farley / Michael J. Media / Rounder/ Concord Records Tour Press
I want to talk about contact information. Specifically, no contact information.
Let me explain. I’m using a band or record label as an example because that’s the lane I am familiar with and talking about here. There are times when I hear a band online or am referred to them, or when a band or their manager reaches out asking me to represent them. I go to Spotify or whatever link they give me to hear or watch videos. I like what I hear and go to their website looking for a contact page. There is none. I look at the top, bottom, and middle and either see no tabs for tour dates, videos, photos, bio; or see them, but do not see a “contact” tab.
Many acts just put those icons for social media instead, but this can be immensely frustrating if you are not on one or more of those apps like Facebook or Instagram or TikTok. But you should list contacts for management, booking agent, publicist, social media coordinator; or any of the above if you don’t have your team filled out yet. But you should also include an email address for the band itself, in particular if you have no management.
If you are an independent and/or mid-level touring act, you should want not only fans to be able to reach you and interact with you; you should want potential managers, record label execs, and media outlets to find you. It’s one thing to not want to list a phone number, but to not list an email address is downright counterproductive to building a following and working toward a successful career.
The bottom line is you don’t want to frustrate the people you are trying to reach with your music. It leaves a bad taste in their mouths, looks unprofessional, and puts a damper on your marketing efforts. It also keeps media types like journalists, radio programmers, and podcasters from finding you. I have had numerous media figures reach out to me over the years asking if I know how to reach a particular band, and they always tell me how frustrating it is to have to track down an act they want to, or, critically, are assigned to cover.
I could go on a rant about the lack of biographies on band websites, but that’s for another time. Meanwhile, take a look at your own websites, and make sure you have an easy path for folks to communicate with you. It really cannot be that difficult, right?
MJF
Spilled Mercury:
Lennie Gallant – Shelter From the Storms
This is invigorating stuff from “Counting On Angels,” & going rockier with “Shelter From the Storms.” Lennie (acoustic guitars/harmonica) has a good, distinguished voice & a well-developed style. He’s a troubadour, a singer-songwriter, but has an instrumental application that stamps his songs with imagination.
There are more than 21 players who contribute to Shelter From the Storms (Dropped June 6/Gallant Effort/54:14), so I can’t list all. Produced by Lennie along with Davy Gallant (acoustic & electric guitars/mandolin/bgv) & Colin Buchanan (electric guitars/keys/percussion/bass), the 14 tracks were recorded in Quebec, Canada.
Lennie’s voice is the attraction. Good folky tunes, easy-listening ballads & rockers. There’s a subtle religious undertone in a vivid song like “God’s Reply” that’s absorbing. There’s little in the way of repetition & Lennie keeps it all well-paced.
“Ready To Dance” has a light piano (Julien Robichaud) that helps guide the near-whispery poignant vocals of Lennie with Patricia Richard (Bodhran/Cajon/foot percussion). Lovely music. There’s hardly a misstep with these well-written original songs. There’s humor with “On the Minnehaha,” a British folk-like melody that radiates creatively. Some remind me of the dynamically melodic Welsh singer-songwriter Martyn Joseph (“Please Sir”). On “What Love Is,” Lennie’s tonality is similar in spirit to the late Australian singer Gary Shearston (“I Get a Kick Out of You,” “Dingo”).
Older fans will enjoy the sentimentality of “Old Friends,” with its John Prine crossed with early Paul Simon approach. A mellow trombone (Edouard Touchette) is a nice touch. Lennie’s never short of ideas despite 16 albums deep in his career.
These strong sets have a level of performance that’s admirable. The LP itself has a textured production quality. Its acoustics have clarity; the vocals have presence & the musicians are all stellar.
Highlights: “Counting On Angels,” “Shelter From the Storms,” “Happiness,” “God’s Reply,” “Ready To Dance,” “On the Minnehaha,” “Sable Island Horses,” “She’s Gonna Drive You Crazy,” “What Love Is,” “It Takes a Lot of Liquor To Bury a Horse” & “Old Friends.”
CD image courtesy of Fred Stillman. CD @ Apple + https://lenniegallant.com/
Stephen Fearing – The Empathist
My first Fearing album was 1991’s “Blue Line” because, to be honest, it was produced by the wonderful Clive Gregson & featured some dependable vocals from Christine Collister. If they had a hand in Fearing’s early LP, he must have been promising. He was. A troubadour, a balladeer, singer-songwriter – all those things & with this new showcase of Vancouver’s Stephen Fearing continues to solidify his stylistic music.
“Bring This Song” is pleasantly introduced. A charming piece with expressive lyrics. Fearing’s enthusiastic Tom Paxton-type delivery occupies a spot alongside artists like Paxton, Buzz Clifford, David Ackles & even Harry Chapin. He writes concisely, creatively & does choose musical paths & themes that average songwriters all but ignore. There’s storytelling & pensive pathways in the episodes he creates.
With the rockier “Far From the Middle,” Fearing’s muscular melody, lead guitar & somewhat “Peter Gunn,” themed hook horn attack is suggested effectively. At times, he displays the warmth & sincerity of Chapin through songs like “Marie.”
Some notable guests contribute to The Empathist (Dropped March 14/Ging Records/39:56), produced by Ken Coomer (drums/percussion) & Stephen (acoustic guitar/dobro/hammertone). There are guitars by Colin Linden (“May You Get To Heaven”) & Sue Foley (“Far From the Middle”). Recorded primarily in East Nashville, TN, with some remote tracks added.
The musicians on these 10 tracks are exceptional. They add personalities to the fine work. Jim Hoke’s haunting pedal steel & harmonica on some. Stephen Fearing also founded the roots-rock band Blackie & the Rodeo Kings with Colin & the incredible Canadian singer Tom Wilson. It’s worth checking.
Highlights: “Bring This Song,” “Far From the Middle,” “The Empathist,” “Marie,” & “May You Get To Heaven.”
Color image courtesy of Stephen’s website. CD @ Bandcamp & https://www.stephenfearing.ca/
Ward Hayden & The Outliers – Little By Little
This mix is filled with Bruce Springsteen songs as interpreted by Ward Hayden & The Outliers – Little By Little (Dropped March 7/Faster Horses Records/33:15). The project was produced by Ward with Greg Hall (upright & electric bass/guitar/bgv) & recorded in Rockland, MA.
What’s interesting — Ward (vocals/acoustic guitar/harmonica) hasn’t chosen the obvious Springsteen “hits.” Instead, he focuses on deeper cuts. Oh, there are a few familiar ones to the casual Springsteen fan, but not all. Makes it interesting. Ward doesn’t have a rugged Springsteen vocal but does have a strong, authentic delivery with character. I’ll even suggest his cover is more genuine than Bruce’s dramatic original of “Promised Land.”
I say that because the addition of fiddles on this is exceptionally mixed with chiming guitars & harmonica. The recipe has been improved with more countrified authority. I still like Bruce’s original, but this was something special.
Ward’s voice is more folky & country-sweeter than Bruce’s. Bruce may have lived in these songs for so long that he’s not as committed. Ward sings these as if they’re newly discovered. “Country Fair, “Youngstown,” & “Used Cars” are arranged & performed well. Lots of rural-ese & poignancy.
The band is excellent. Comprised of Samuel Crawford (electric & lap steel guitars), Tyler Marshall (electric guitar/bgv), Patrick Brown & Joshua Kiggans (percussion), Cody Nilsen (guitar & pedal steel), Jim Gambino (piano/Hammond B3/Wurlitzer), & Jason Anick (fiddle & mandolin).
What Ward doesn’t have (not always) is a Bruce-like rock voice for a “Dancing In the Dark.” A good try. It’s a bit awkwardly a wedding band presentation. Ward will redeem it when Eric Ambel whips out the rock guitar sparks for “Cadillac Ranch.” Here, Ward finds a sustainable rock voice. Nice, aggressive — lots of fuel. Maybe he’ll cover Dylan, John Prine, Tom Waits, Tim Hardin, or Cohen next time.
Color image courtesy of Austin Hatch. CD @ Bandcamp & https://www.wardhaydenandtheoutliers.com/
Adam Chaffins – Trailer Trash EP
If Cat Stevens (Yusuf) were a country singer, he might sound like Adam Chaffins. With his good-natured, easily accessible “Living Till My Dying Day.” Chaffins serves up a country-purist, identifiable persona. It’s an innovative modern-day country tone that rubs up against the retro tradition of consummate earlier era performers.
The only drawback is the flying too low to the ground attempt at “Trailer Trash” with lush sound. Gets sticky with novelty dampness. Adam acquits himself quickly with “Dive Bar Moses,” a far more entertaining tune, upbeat but heavy on lyrical cliches. Fortunately, rendered wisely with an Irish-drinking melodic charm. It should have been called “Let My People Drink” since more barroom glass-tippers could relate to that. A good time tune to blow foam off a draft beer.
The 5 Trailer Trash (Dropped May 16/Spirit Music/Fluid) songs (that didn’t sound right, did it?) were produced by Frank Rogers, Derek Wells, Mike Fiorentino & Adam. Coming out heavier is the solid “Kentucky Girl.” Catchy & it has an excellent, tasty guitar riff. It’s traditional Country with tenderly etched melodic lines. George Jones could’ve done this, John Denver, too.
Adam’s voice is ideal for this Country. A practitioner of tradition, but on his terms. There’s a quality that elevates him above the twangy & the sweet country pop progenitors. Adam is closer to the roots & trunk of the original tree than the leaves that blow on the higher branches pretending to be a tree. “Little Bit At a Time” is fairly average commercial country, but towards the end, Adam adds this musical coda that’s like whiskey in milk. Cool Runnings.
Highlights – “Living Till My Dying Day,” “Dive Bar Moses,” “Kentucky Girl,” & “Little Bit At a Time.”
CD image courtesy of Natia Cinco. CD @ Apple & Amazon + https://www.adamchaffins.com/
Jack Grace Band – All The Above
This new album by the prolific Jack Grace was captured in his studio, Lonesome Entertainer & opens with catchy pieces immediately. “Ban Jo” is cute, but the title track is exceptional. The harmonica-driven & seasoned voice of Jack Grace is decorative on these tunes. If Buddy Miller, J.J. Cale, Tim Hardin, John Prine, Chuck E. Weiss, Jon Dee Graham, are to your totems, then there’s a spot in your ears for Jack.
There are 12 well-defined numbers that take up room on All The Above (Dropped April 4/Independent). Grace is a 28-year veteran of the road that never ends & has played in places in the U.S., Canada & Europe. If Jack’s voice were a bit quirkier, “Don’t Go To Memphis (Without Me)” would be ideal in a Leon Redbone voice. If Leon were still alive, this would’ve been something he should’ve covered.
Jack pulls the heartstrings on “Some Things Are Gone Too Soon.” An excellent ballad in a Mickey Newbury, Tim Hardin, Randy Newman & John Prine tradition. This showcase has more fingerpicking, harmonies & upbeat songs than his older albums. Not everything is innovative, but many are entertaining. “What’s Your Problem” teeters close to novelty & camp, but because Jack keeps it in lane properly, it has a Roger Miller humorous quality to it. Thumbs up.
The playful clop, clop & chiming strings of “I Love You More Every Day” could also be campy, but it’s not. This is charming. Pristine guitar with a haunting arcade-type sentimental melody that’s mindful of the instrumental tune at the finale of The Band’s “Last Waltz” film. Beautifully done.
Highlights – “Ban Jo,” All The Above,” “Don’t Go To Memphis (Without Me),” “Some Things Are Gone Too Soon,” “What’s Your Problem,” & “I Love You More Every Day.”
Color image courtesy of Jack’s Bandcamp site & website. CD @ Bandcamp & https://www.jackgrace.com/
Song Premiere: https://americanahighways.org/?s=Jack+Grace+Band+%E2%80%93+All+The+Above+
Kid Ramos – Strange Things Happening
California’s Kid Ramos’s fine electric guitar (playing since 1980) renders these blues pieces coherently in a vintage retro style. Brian Templeton’s opening lead vocal on “Strange Things Happening Everyday” is ‘50s in tradition with swabs of heavy bass & organ swishes. Kid Ramos lays out the chill-pickin’ on each of these 12 tracks from his Strange Things Happening (Dropped March 2025/Nola Blue/62:04) recorded in San Clemente, CA.
The vocals have power & Templeton, with his blues invested in deep soulful intonation, gives “How I Got Over” a more bluesy piano with decisive horns. All the tunes are dipped in a hot sauce of blues crossed with soul & gospel urgency. A nice mix. One tune even ventures into Tex-Mex territory. “Satan’s Jeweled Crown” is surprisingly good.
There are only 2 original Templeton tunes on tap, with the balance covers written by others like Sister Rosetta Thorpe, Clara Ward, Alvin Pleasant Carter & Bob Dylan. There’s plenty of rousing music with enthusiastic vocals & 3 lead vocalists spread throughout. The LP sounds almost as if it were recorded in splendid analog – there’s a pleasant, warm sound that dominates the songs.
Johnny Ramos provides lead vocals on 4 songs. The incendiary “Oh What a Meeting” is good with his penetrating presence, in contrast to Brian Templeton’s powerhouse singing. Kid Ramos sings on 1 cut & Brian with his full-throat takes care of the rest. A fairly balanced, entertaining album with “An Answer For Isaac” being a good plodding rocker.
Highlights: “Strange Things Happening Everyday,” “How I Got Over,” “Satan’s Jeweled Crown,” “Oh What a Meeting,” “An Answer For Isaac,” “God Walks the Dark Hills,” & “Every Grain of Sand.”
B&W image of Kid Ramos courtesy of his Bandcamp site. CD @ Amazon + https://kidramos.bandcamp.com/album/strange-things-happening + http://www.briantempleton.com/ & https://www.johnnyramos.net/
Sons of the Carter Family featuring Pam Linton
15 Carter Family classics grace this set, recorded in North Carolina. The big voice of Minnesota’s Pam Linton is the highlight. Pam’s a seasoned singer of traditional country, folk, Gospel & rockabilly. The LP is made up of songs that the 11-member Carter Family (1927-1956) out of Virginia recorded & performed that contributed to their enduring influence on a multitude of artists.
Produced by Aaron Meier, Sons of the Carter Family featuring Pam Linton (Dropped March 14/New Folk Records/) also spotlights Darin & Brooke Aldridge (vocals/guitar/mandolin/bgv), David Johnson (guitar/dobro/mandolin), Jeremy Stephens (guitar/autoharp/string bass/banjo), & Corrina Stephens (fiddle).
Where many old-time songs are often sung traditionally with retro characteristics, Pam successfully manages to sing in a brighter, stronger, & friendlier demeanor. She preserves Americana & opens with the classic “Keep On The Sunny Side,” (1899) & “Can The Circle Be Unbroken,” (1907). Linton not only puts on a new twist on an otherwise pastel type of oldie, but she also embellishes it with renewed vocal life. Some tunes are less known but rollicking.
“Foggy Mountain Top” (1929) is cool with a tight-fitting arrangement pinned to a pleasing, sweet vocal. Pam’s voice is like a more countrified expression of Susan Osborn — a similar wonderous vocal tone (“Lay Down Your Burden” from the Paul Winter Consort LP “Common Ground”).
“I’m Thinking Tonight of My Blue Eyes” (1929) is blue-ribbon stuff. A sparkling melody sung with spirit. This is the Carter Family music legacy that shows how old songs never age.
Highlights – “Keep On The Sunny Side,” “Can The Circle Be Unbroken,” “Foggy Mountain Top,” “I’m Thinking Tonight of My Blue Eyes,” “Jealous Hearted Me,” “I Ain’t Gonna Work Tomorrow,” & “Give Me The Roses While I Live.”
CD cover photo courtesy of April Onstad. CD @ Amazon & https://pamlinton.com/
Allison August – August Moon
The West Coast-based Allison August unlocks a bristling set of blues. Her music is stirred generously into impulsive, soulful performances. A mix that includes influence from classic rhythm & blues singers like Ray Charles, Etta James, Billie Holiday & Aretha Franklin. It has dependable production values for the majority.
12 prestigious soul/blues numbers shine on August Moon (Dropped March 21/MoMojo Records) as produced by Grammy-winner Tony Braunagel (drums/percussion). It features a few all-star musicians to sweeten the showcase, co-produced by David J. Carpenter (bass) & Ms. Allison (vocals).
This collection can be edgy. Songs have a cool retro horn blast; female backup singer gusto & Allison’s confident soulful vocal. She doesn’t yet have the mature vocal endowment as brandished by the late Candy Givens (Zephyr), authority of Genya Ravan (Ten Wheel Drive), Karen Lawrence (1994 & Blue By Nature), or the blues warmth of Melissa Forbes. But Allison’s distinguished thrust aha — is capably evident, with good potency, & it’s applied with dominance.
Allison’s not a screamer; she’s competent & understands the genre. Not much showboating, or over-emoting, she’s primarily expressive, & with some dynamics. She even looks a little like the late Eva Cassidy & possesses that level of blues instinct.
“Dashboard Madonna” & “Desiree” are both good. Sugaray Rayford lends vocals to Allison’s “I Won’t Say No.” A galvanizing performance. They play well together like Tina Turner & Mick Jagger. The final notes by Allison are a little ragged, but she’ll master them.
A few tunes are average, having been stylistically previously explored. “What Would Mama Say” has a Chaka Khan groove. Soulful & steamy Sam Meek lead guitar. The “putting on a sweater” lyric is pedestrian for a song rooted in a supposedly street-smart style. However, “Blue Eyed Boy,” – now that’s excellent.
Especially noteworthy also — are “I Ain’t Lyin’,” & the imaginative “Born Yesterday,” with its superior blues grooves, premium lead guitar licks dipped in smooth horns. Allison sounds bluesy in a Stevie Nicks soulfulness if that’s possible. It’s pristine & the backup singers — splendid.
I’ve criticized cover art before. This music is soulful/bluesey, yes? But it’s not accurately represented by this art. This art is more applicable to Enya or Sarah McLachlan. Not blues or soul music. Allison isn’t yet a recognizable name like Janis Joplin or Bonnie Raitt. Accuracy counts in marketing. Even on the cover art.
Highlights – “Afraid of Love,” “Dashboard Madonna,” “I Won’t Say No,” “What Would Mama Say,” “Blue Eyed Boy,” “Desiree,” “I Ain’t Lyin,’” & “Born Yesterday.”
B&W image courtesy of Allison’s Facebook. CD @ Bandcamp & Amazon + https://www.allisonaugust.com/
Clarence Tilton – Queen of the Brawl
The music here is disciplined & the singing, while not distinctive, does provide well-seasoned tunes with accessible vocals. They have songs that are easy listening but never lose their rootsy flavor. There’s nothing innovative, but the band plays loose & confidently. The musicians are exceptional.
Some of the 11 pieces have a snap (“Ray’s Stockyard Stomp”), which sets up the rest. I thought the album title suggested something aggressive, reckless & tough. But that never happens. There’s no brawl in Queen of the Brawl (Dropped April 14/38:27), produced in part by the band Clarence Tilton (not a musician, but the band name) & Sam Parker.
Recorded in Omaha, Nebraska & Nashville, TN, the group has hints of indeterminable music between Poco & The Band. It maintains that quality at an arm’s length. Fortunately, the collection never overreaches. The songs have an attractive strand that runs through each. “Float” is well-conceived with a Poco-flavor (circa “Crazy Eyes”) & I prefer Paul Novak’s vocal to anything by The Eagles.
Novak (acoustic guitar/piano) tosses some dazzle (“Bongos”) that catches the ear with its upbeat flavor, cutting guitar, rollicking piano & handclaps. It has driving Country energy, but what it needs is a little gray exhaust to draw attention. “Friant” is a far less exciting performance, but…but…this song has the alchemy of exhaust. This flaunts everything concise about the group as a unit. The majority of tunes are loaded with Miracle Grow for guaranteed growth — but no flowery scent. It needs a little manure & sometimes the band, with some help from singer Presley Tucker (“Flyway Café”) on this duet, stirs up significance. The song’s expressive & gratifying. Vocally, the band is impressive. On “Sorrow & Salt,” Paul lays down a plaintive & savvy vocal surrounded by the guitar clarity of Corey & Christopher Weber.
Finally, “St. Joseph’s” approaches the gutsy vocals of Rick Danko of the Band. Another devilishly good number – new listeners should start here.
Highlights – “Ray’s Stockyard Stomp,” “Float,” “Bongos,” “Friant,” “Flyway Café,” “Sorrow & Salt,” & “St. Joseph’s.”
Color image courtesy of the band’s Bandcamp. CD @ Bandcamp & Apple + https://www.clarencetilton.com/
David Massey – Man In the Mirror
This artist has a Steve Forbert-type voice & his songs are quite different, so he’s not tapping into Forbert completely. On the opener “Till the Evening Comes,” the music is arranged & recorded in a bit of laid-back manner to sound a bit retro. It’s a nice comforting sound with bustling piano notes, pristine backup singers & a bit of whistling. A good saloon song & could be a great sing-along one too.
There are 8 reflections on Man In the Mirror (Dropped March 4/Independent/34:32) produced by Jim Robeson (bass/bgv/ & David Massey (vocals/rhythm guitar/guitar). There are Spanish-flavored tunes mixed with Euro-type melodies. Sculptured quite well because Massey has a natural multi-seasoned voice – somewhat like the late Australian singer Gary Shearston, who could sing Australian folk songs (“Dingo”) & then slide into a Cole Porter (“I Get a Kick Out of You.).
These were recorded in Maryland. Some songs are poignant & meaningful. “Fighter’s Lament,” & the lovely “Marianne” are similar to songs written & sung by Paul Hyde & Paul Brady, with even a nod to the late folky John Stewart. Impressive stuff with acoustic guitar picking (Jay Byrd) & vibrant cello (Kristen Jones).
The CD is a handsome 8-panel laminated package with lyrics.
Highlights – “Till the Evening Comes,” “Fighter’s Lament,” & “Marianne.”
Image artwork courtesy of Cathy Massey. CD @ Apple & https://www.davemasseymusic.com/ & https://hemifran.com/news/detail/u/1934/David%20Massey/Man%20In%20The%20Mirror/
Ed Haaker Project – Born To Rock
This project, produced by Keith Lynch & 2 produced by Allan Thomas, is derivative of similar rock bands lost in the back pages of rock music with their heavy boots, dusters & 5 o’clock shadows like The Unforgiven, the Royal Court of China, Omar & the Howlers & The Brandos. But they display cool guitar bursts, aggressive vocals & drive. It all begins with the 6-shooter blast of “Hey Hey, Hey.”
The 10 gutsy tunes of Born To Rock (Dropped March 14/Ed Haaker Records/46:10) are dipped gently in a ‘50s through ‘70s rock aesthetic but nothing too retro. The title song “Born To Rock” has the energy of Bob Seger but not Bruce Springsteen. At times, they’ll whip out a ZZ Top feistiness (“Ain’t Gonna Change”). Good effects, always entertaining. Not as threatening as The Rolling Stones, The Who, The Clash, or as creative as The Kinks – but there’s muscle on their musical bones.
The band doesn’t unleash anything innovative or different. They just cleverly draw upon several genres & add their spice. Soulful in a J. Geils Band frame is “Born With the Blues.” Stylistically old, but the spirit is well-fueled. Excellent B.B. King guitar slinging, harmonica blending over & under the vocals, piano & organ. Hot number.
Keith Lynch (vocals, lead, bass & rhythm guitars), & Jim Kimon West (lead & backing vocals/guitars) join Ed Haaker (rhythm guitar). Hakker seems to have drawn on a lifetime of traveling in the South Pacific to sew together his Jimmy Buffett, Neil Young & Tom Petty-influenced repertoire. There’s excellent soulful backing vocals by Amanda Frazier, James Haaker, Al Franco & Mark Dearth.
Highlights – “Hey Hey Hey,” “Born To Rock,” “Call of the Road,” “Born With the Blues,” “Tomorrow May Never Come,” & “Ain’t Gonna Change.”
CD @ Bandcamp + Apple & https://www.hemifran.com/artist/Ed%20Haaker%20Project/
Ryan Holweger – The Golden Paper Flower
Syracuse, NY-based singer-songwriter & self-professed vagabond Ryan Holweger (vocals/acoustic guitar) has a classic troubadour sound. Good vocals, tight songs lashed together with some charged melodies. There’s a hint of J.J. Cale, but instead of the bluesy guitars, there’s fine acoustic picking & a shade of sophistication many songwriters don’t fully establish in their performance. Ryan sings with a suave, comfortable style & conveys songs with presence. First out is “Bleed All Over,” the second selection that has indelible lap steel Southern Gothic guitar gentleness.
But the real showstopper is “Settle In Easy.” A duet with the haunting voice of Reagan Helen. This song has levitation – it floats in the ears between the 2 voices & with the nylon string acoustic guitar (Aaron Bobis), electric guitar & banjo (Seth Owen Baker). Stylistic. Classy & impressive.
Produced by Casey Ahrens-Cavallo, the 9 sweeping interludes of The Golden Paper Flower (Dropped March 28/Rust Hollow Records/31:25) were recorded in Syracuse, NY & parts in Frankfurt, Germany. This collection is like a fruit salad – what should we eat first, the cherries, strawberries, pineapples, grapes…decisions, decisions. The tunes are all colorful & memorable. Mr. Holweger is a skillful musician.
The music, while not entirely country or folk, has thin branches that reach out in all directions. The song themes impress & enlighten, delight & lubricate the ears that need to know there’s a reason God put music on this earth. The upbeat “Some Lives” is like an old saloon tune with snappy drums, steel guitar wooing & Ryan’s confident, optimistic burlap-hewed voice. An excellent inventory of music. One of the year’s best.
Additional Musicians – Blake Probst (upright & bowed bass), Katie Anderson (vocals), Mike Fishman (drums) & Frank Alexander (piano/melodica/bgv).
Highlights – “Bleed All Over,” “Settle In Easy,” “Dehydration,” “Some Lives,” “Bird,” “The Country Route,” “Wasted Gods,” & ”Hope You Don’t Forget.”
Image courtesy of Ryan’s website gallery. CD @ https://www.ryanholweger.com/ & https://www.hemifran.com/news/detail/p/1937/Ryan%20Holweger/The%20Golden%20Paper%20Flower/ + Bandcamp
Dave Desmelik – Among Friends
This North Carolina-based musician does something many independent artists seldom try. He’s recorded 10 songs written by other songwriter friends. Covers he endorses & at the same time, shines spotlights on these not-so-household name artists & encourages listeners to dive deep & return to the originals. Some artists I’m familiar with. Bow Thayer was good enough on one album to lasso the drum work of The Band’s late Levon Helm. So, some artists have respectable affiliations.
Dave provides all instrumentation & vocals on this 19th album Among Friends (Dropped March 20/Music Connects Us/40:59). Recorded in North Carolina the set opens with a few spacey synth notes (similar to the tones used in “The Night of the Living Dead” at the end of the film) but cruises into a folky melody with confident vocals. Dave uses the synth effectively with his blending of acoustic guitar. Bow Thayer’s “Harpoon Song” is rendered faithfully & warmly. Good contrast. A fine example of using special effects to accentuate a folkier side.
Jimmy Davidson’s “New York Times” starts fairly regular, but a strong vocal & fuzz guitar effect makes it a sensitive performance. It has a touch of edge that never interferes with the story. Excellent finale with ragged fuzz over lovely piano. Some artists have imagination.
The majority of individual songs sound well-conceived & interpreted. One doesn’t necessarily have to be familiar with the writer’s work to appreciate Dave’s efforts. These songs are “lost” on independent artists’ albums & seldom heard by a wide audience. This happened in the ‘70s with a singer-songwriter named Tim Moore. He wrote a wonderful song called “Second Avenue,” but it wasn’t until a solo Art Garfunkel & later Colin Blunstone (The Zombies) recorded it that Moore’s name became familiar to other singers.
David Philips’ tune “Everyday Theatre” is good. Dave’s acoustic guitar is the focus & it’s impressive during this showcase. Mr. Desmelik’s voice is a bit fragile, but that’s the charm. Nolan McKelvey’s “Durango” is a pensive ballad charged with poignant piano & a vibrant stinging guitar like Norman Greenbaum’s “Spirit In the Sky.” Nice contrast.
Dave’s talent is in arrangements. Each song has its crafty balance of instruments laid out with skill. He manages to negotiate the suave & edgy through a stylistic touch. His lone original track, “Tear It Down,” concludes the LP with rural harmonica smoke drifting through a Rick Danko-like performance.
Highlights – “Harpoon Song,” “New York Times,” “Everyday Theatre,” “Durango,” “Liquid Courage,” & “Tear It Down.”
Color image courtesy of Vickie Burick. CD @ Bandcamp & https://davedesmelikmusic.com/ & https://www.hemifran.com/artist/Dave%20Desmelik/
The Christopher Dean Band – Stepping Out Tonight
This is cleverly pieced together party music. It’s the band’s 6th LP Stepping Out Tonight (Dropped April 25/Lost World Music/60:21) with a joyous mix of R&B, & straight blues decorated in a softer rock realm. Yes, lead singer & NJ native & Maryland-based Christopher Dean (lead & rhythm guitars) allows his voice to be slightly treated for ambience, but there’s no compromise. “My Road Is Rough & Rocky” opens the 14-track collection & it’s consistently danceable.
The music has a retro feel, ’60s independent groups (not garage bands), both in the guitar fuzz, piano embellishment & soulful vocals (Curtis Mayfield’s “I’m The One Who Loves You”). Again, on a few tracks, I have to cite a fairly obscure major label blues singer who used this spacious method heavily on his vocal – Mutzie (“The Light of Your Shadow”), though his voice was a bit more rugged.
The majority are covers. Classic blues & R&B pieces. Mr. Dean doesn’t try to emulate the originals but puts his twist on each. The songs have a nice charm – sounding like they could’ve charted in an earlier decade. What Chris does manage is remind people how fine some of these old songs were & continue to be. Songs go back as far as 1927 with Furry Lewis’ “Everybody’s Blues.”
I’m not impressed with the falsetto pieces. Fortunately, there are few. Some songs do push Chris’ voice to the edge of the abyss, but he maintains a cool form. He isn’t T-Bone Walker or John Lee Hooker. But it’s Dean’s pained, expressive vocals that have an effective desperation (“Here With Me”), which is a type of romantic function.
There are warm ballads well delivered. T-Bone Walker’s 1949 composition “That Old Feeling Is Gone” is cocktail lounge cool, easy & seductively smooth. Good performance. Nothing forced. Mindful of a delivery Billie Holiday would’ve provided. A ‘60s balladry groove spills from “If We Can’t Trust Each Other,” & is one of the best melodies on the set. Good brass colorization.
The final bonus cut, “She’s Gone,” is remarkably Chris’s best vocal. This is where he should be. This is bluesy with piano, punctuating sax & horns. This has dynamics. Dean manages to keep the groove tight (“Party Like Back In the Day”) & it’s almost as tight as 1968 hitmakers Archie Bell & the Drells (“Tighten Up”) who had that same thin but sharp guitar winding through their tunes with brass.
Produced by Chris with Jeremy McCready Jr. with musical support by Carl Snyder (piano/organ), Archellus Sykes & Rob Fraser (bass), Joshua Colon (bass/rhythm guitar), Steve Lombardelli (horns/bgv/keys), Dave Hollingsworth (drums) & Dennis Wieand (trumpet).
Criticism: The CD art doesn’t work to their advantage. Can’t read the words. Make them black or ruby red. Inside & back panel too.
Color image courtesy of Chris’s Facebook. CD @ Amazon & https://www.christopherdeanband.com/
Christopher Cross – Christopher Cross Reissue
While never a favorite of mine — Chris’s style was too mainstream, sweet & cliché-rich for me. At times tunes sounded like Steely Dan dipped in thick honey. It wasn’t R&R, or jazz as I was accustomed to. However, my taste aside, I realized Cross was a superb guitar player, had songwriting fortitude because some LP tracks that weren’t commercial — were interesting & could rise above it all. But why risk a successful formula? Ah, there it is. That terrible word. Formula. But that’s what it was.
Even with the saccharine elements of “I Really Don’t Know Anymore” & vocal color from Michael McDonald, the guitar solo on this cut is exciting. Excellent though laid down by Larry Carlton. Cross succeeds in performing in varied styles, but his high voice doesn’t invigorate me. Some songs are well-conceived & not boring. “Swimming” has a touch of the late Chuck Mangione when Chuck Findley adds his flugelhorn. The soulful backup voice of Valerie Carter is cool. But the whole of the material — sugar-coated.
There are 20 enlightening numbers to this reissue of Christopher Cross (Dropped May 2/Seeker/Omnivore Recordings/77:51), a Grammy-winning artist produced originally by Michael Omartian. The compilation was produced by Brad Rosenberger & Cheryl Pawelski. The LP includes 1 bonus & 10 demos along with the original 9 songs. A worthy revisit for sure.
This was the era of Kenny Loggins, Michael Bolton, the Doobie Brothers & California tones ala Michael McDonald, J.D. Souther & cheesy electric pianos. Cross had catchy tunes that caught the ears of mainstream America. That’s OK. But after the big wins, the hits trailed off. My point is that several songs on those subsequent albums indeed had some winning pieces that reflected a more extreme Cross.
Even Steely Dan’s Fagen & Becker took note of Cross’s talent & invited him to play. Chris’s “Poor Shirley” could’ve been even greater had The Beach Boys backed him. This song’s an excellent recording. “Minstrel Gigolo” is ideally Steely Dan in tradition with guitar, drums & horns. An impressive bit. The demo for “Say You’ll Be Mine” is a grittier Cross, while the demo of “Smiles of Angels” is a jewel. Good stuff. Almost forgotten.
The demos will be more of interest to purists. Give a Cross a second listen if you haven’t.
Highlights – “Say You’ll Be Mine,” “I Really Don’t Know Anymore,” “Swimming,” “Never Be the Same,” “Poor Shirley,” “Ride Like the Wind,” “Sailing,” “Minstrel Gigolo,” “Say You’ll Be Mine” (demo), & “Smiles of Angels,” (demo).
Color image courtesy of Thefactorystl.com CD @ Amazon & https://omnivorerecordings.com/shop/christopher-cross/ & https://www.christophercross.com/
Ashley E. Norton – The Red Guitar EP
This California-based artist, Ashely E. Norton presents an all-acoustic extended play set of 4 songs for her inspired showcase The Red Guitar EP (Dropped May 5/Independent/14:38). The recording was produced by Jim Nau & Ashely says it was inspired by Paula Stykel Wiessner who at 5-years old began her youth in The Netherlands when it was Nazi occupied.
The songs were all recorded live in the studio with one acoustic guitar & Ashley E. Norton’s fine vocals. An undertaking such as this may be for selective tastes. However, two intense & well-written pieces come with “Every Woman I Know” & “That Girl,” because even if taken out of context sound like viable ballads that can be performed with vigor & as solo pieces.
The effort is admirable, though not everything was written by Ms. Norton. Lyricist Tim Connelly’s liner notes outline the Red Guitar story & are included in the CD. I felt the EP was more of an introduction than a finished product. It sounded like more should/could come in the same tradition.
Just as I thought the material would run out of steam, the last 2 tracks perked up my ears. The title track “The Red Guitar” is good with dramatic vocals & playing that never gets weighed down or pompous. However, it doesn’t establish the “whole” in an immediate manner. One would have to listen to the 4 songs a few times to appreciate the thread of the story being told or listen to “The Red Guitar” alone intently & read Tim’s copy.
CD @ Apple & https://ashleyenorton.com/ + https://www.hemifran.com/news/detail/u/1950/Ashley%20E%20Norton/The%20Red%20Guitar/
Beebe Gallini – Begged, Borrowed & Stealed
This is a quirky set of some obscure oldies rendered with new energy & enthusiastic vocals. It’s not punk, or new wave, but Minnesota ‘60s garage rock. From the start, the songs have the charm of the originals. They understand this era better than most musicians & for me it’s nostalgia. I bought many of these 45s, as obscure as some were. The opening is the classic Gestures tune on the Soma label “Run, Run, Run.” Well done here by the band Beebe Gallini from their Begged, Borrowed & Stealed (Dropped May 23/Soundflat Records/31:13) collection. It unleashes 11 lead guitar-driven, rusty songs that keep it charmingly authentic, Garage.
The 2nd “Hold Tight” is glorious. Their interpretation of each oldie is respectful of the originals. All tracks were recorded in Minnesota & produced by Travis Ramin (drums). Ramin successfully captured the ambience & sound of the ‘60s effectively. Vocally, the best take comes on “Why” with lead vocals by Miss Georgia Peach (guitar). The showcase is bluesy & garage-scented – it can’t get any better. The performances are energetic. Pure early R&R with all its blemishes & Coca-Cola that are greasy cheeseburgers good. It’s all spilled on the floor by Miss Georgia Peach, Travis Ramin with Amy Larson Pearson (bass/bgv), Keith Patterson (lead guitar), Melanie Vammen (keys) & Russel Quan (lead vocal on “Cry Girl”).
With the chime of dark guitars & nonsensical Euro-lyrics (?) in “Kvar I Min Bil,” it sounds like a dive back into the Velvet Underground without Lou Reed but with plenty of Moe Tucker & Sterling Morrison. It’s also strange how the lyrics are sung. Similar to how Amon Duul performed their “Deutsch Nepal” (“Wolf City” LP), the Jefferson Airplane’s “Never Argue With a German/European Song” (“Bark” LP), or Elton John’s phonetic masterpiece “Solar Prestige A Gammon” (“Caribou”).
This band encapsulates the finest work of some relatively unknown Minnesota ‘60s bands — they spit & polish it with good showmanship. Next time, they should include Soma’s The Castaways “Liar, Liar” & the flipside “Sam.” That would peel the paint off the bedroom walls.
Highlights – “Run, Run, Run,” “Hold Tight,” “Why,” “Cry Girl,” “Beg, Borrow & Steal,” “Hey Honey,” & “Rowed Out.”
Image courtesy of the band’s website. CD @ Bandcamp & https://beebegallini.com/beebe-gallini-releases-begged-borrowed-and-stealed-may-23-2025/
Ernie Palmer – A Teacher, A Preacher, & A Bad Farmer
Some albums are released for entertainment purposes, some as a songwriter’s journal filled with stories, adventures & characters. Then there are albums of songs that are just songs by good singers, musicians & performers. Songs with a vintage touch, with some kind of history blended in between the notes of the instruments & experience in the organic vocals. No embellishments, no singing lessons, just years gone by & embedded in the weathered tone. These are probably the songs that mean more than the ones sung by polished professionals. It may be why Bob Dylan is more revered than Robert Goulet. Why Tom Waits is embraced harder than Burl Ives. That’s where songwriter & Vietnam veteran Ernie Palmer resides.
On first listen, you can hear the storytelling richness in Palmer’s unpolished timbre, but what’s evident is the truth. It’s obvious on “How Gently,” dominating on “Night Shift,” & delightful on “Bents Creek Road,” slathered in the fiddle’s colorful Appalachian-like sawing. Earl’s voice isn’t hard on the ears, but it sounds more like a talented Uncle who can pick a guitar to sing & fake it after supper.
12 expressive tales drift through A Teacher, A Preacher, & A Bad Farmer (Dropped June 6/Independent/39:03), produced by Jay Rudd (vocals/banjo/mandolin/bass/electric guitar) & Aaron Zimmer (vocals/acoustic & electric guitar/harmonica/percussion).
The real showstopper is the slow & effective balladry of “The Last Night at Tony’s.” It’s sentimental, sad & a song of wonderful reflective storytelling. This would never work as well if the voice were too pristine & perfect. It has to have some dust on it. Raised in Georgia, Palmer is a 76-year-old elementary school teacher who’s collected a trunk full of folky ballads & observations as vast as any vintage blues singer who amassed their standards through the early 1900s.
There’s a Ramblin’ Jack Elliott quality with a rural Woody Guthrie flavor, but little in the way of politics or controversy. The slender-played early tunes go heavier by “Wanderlust” with deep lead guitar notes that resonate bluesier than the earlier songs. This song’s more dramatic. The LP in a word is — cool. Ernie (lead vocals/acoustic guitar) plays along with Vito Gutilla (fiddle) & Taylor Swan (pedal steel guitar).
Highlights – “How Gently,” “Night Shift,” “Bents Creek Road,” “The Last Night At Tony’s,” “Wanderlust,” & “Old Trooper.”
CD image & B&W photo courtesy of Ernie’s website gallery. CD @ Apple & https://erniepalmer.com/home
Song Premiere: https://americanahighways.org/?s=ernie+palmer
Alison Tucker – Where You Used To Be
This is Alison Tucker’s debut, recorded in Austin, TX. I never liked the word queer (that’s just me) because to my ears, it sounded condescending. But this is a beautifully created, powerful statement from a gay woman who lived the songs. She touches upon corporate success, marriage, motherhood, divorce & loss. And now, a second impressive lifestyle chance.
I’ve gone through similar albums by challenged women – Cris Williamson, Cidny Bullens (the former Cindy) & the wonderful Phranc. All great voices. The songs were produced individually by Matt Smith (electric, acoustic & lap steel guitars/dobro/bass/mandolin), & Mandy Rowden (electric guitar/keys/guiro/fiddle/bgv). This collection by an acoustic & electric guitarist/singer-songwriter/poet provides 8 memoirs on Where You Used To Be (Dropped June 6/Independent/31:22) through a deep personal exploration of love, loss, identity & courage.
Sometimes the greatest music comes from a life that has been lived & challenged. Alison has that repertoire. It’s not easy to compete musically with an artist that can write from truth, experience, & despite the losses, gather the strength to use that creativity & address the issue & share it with an audience that more than likely can relate to what is described.
“New Love” is gently rendered. The phrasing & intonation of folk singer Ferron are firmly in tow. While the ballad “When You Close Your Eyes” is well-conceived. Nice guitar swoops through its soulful backup voices. Superbly captured in a Connie Francis, Brenda Lee, Skeeter Davis & Gale Garnett tradition. “Filling Up the Spaces” (…where you used to be) is a great lyric. It was skillfully composed while “Three Quarter Time” in its waltz tempo, whiskey remarks, finger-snapping, accordion-like sound has a quaint down-home spirit.
They all have their charming arrangements with emotional sprinkles pleasantly applied to Alison’s melodies. An outstanding vocal style on many of the tunes. This is a delightfully strong album.
Highlights – “New Love,” “When You Close Your Eyes,” “Filling Up the Spaces,” “Three Quarter Time,” “Let Me Go,” & “Carousel of Colors.”
CD cover photo courtesy of Carla Bonner. CD @ Bandcamp & Apple + https://alisontucker.com/
Henhouse Prowlers – Unravel
This is a 12-track banjo-driven quartet with 4 lead vocalists to lend some color throughout the set. The presentation is quite original as they don’t sound like many past bands with similar lineups. This bluegrass band isn’t made up of new players since they’ve plucked their strings for over 20 years already.
They aren’t mainstream/commercial, but in bluegrass circles, they are top shelf. What makes them interesting is their ability to not rely on bluegrass cliches alone but come up with some sensible lyrics & appetizing arrangements. Ben Wright’s (banjo) lead vocal on “Line the Avenues” is quite radiating. Great melody & lyrics. Wonderful instrumental interplay.
The prog band Genesis’ “Land of Confusion” is a cover that’s a little awkward in this realm, but you have to give the band credit for being daring. The tunes have been well-recorded for Unravel (Dropped April 18/Dark Shadow Recordings/43:42), as produced by Stephen Mougin at Dark Shadow Recording. The band is made up of Ben, Jon Goldfine (vocals/bass), Chris Dollar (vocals/guitar), & Jake Howard (vocals/mandolin).
Highlights – “Line the Avenues,” “Headin’ For a Heartache,” “Too Little, Too late,” “Three Seasons,” “Climb the Mountain,” “Honey Will You be Mine,” & “Land of Confusion.”
P
hotography courtesy of Lily Shea. The CD is available at https://www.henhouseprowlers.com/merchandise/unravel-cd-pre-order
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Grooves & Cuts – July – 2025
CD & Digital Links can be bought at the artists’ respective websites. No photography will appear without a photographer’s credit or the 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 page. Americana Highways Musician Obituaries Spring 2025 pt 2
