FolkWorld #58 11/2015

CD & DVD Reviews

Finn Olafsson "Video of the Month 2014" [CD/DVDs]
Own label; 2014

Artist Video

www.finnolafsson.com

Finger style guitar fans AND players take note—You get a full package of great instrumental music here on one CD and two DVDs. First for the music, there are twelve original songs from this excellent Danish guitarist. Olafsson has all the skills you would want, coupled with a fine melodic touch as well as great tone. There is enough creativity in the songwriting to keep even casual fans interested. And then there is even more fun here as you get the same album with close-ups of Olafsson’s live playing (both hands)—fun for guitarists or for those that just want to marvel at the fingerwork. The other DVD has music video versions of the songs and an interview in Danish, with English subtitles available. Quite a package, but fitting for quite the guitarist.
© David Hintz


Iain Morrison "Eas"
Peat Fire Smoke; 2015

Artist Video

www.iainmorrisonmusic.com

Iain Morrison’s father was a famed piper, so that was his first instrument growing up in the outer Hebrides. But by now, he’s added guitars, piano, banjo, and whistle at least on this album in addition to his vocals and intriguing songwriting. He gets some instrumental help and has a fine rhythm section to work off of. Most importantly are the songs—deep contemplative not unlike those of David Eugene Edwards of Woven Hand, but infused with more of an Archie Fisher and Dick Gaughan sense of place. The arrangements are clever and this is a deep, thorough listening experience and one I definitely will be having again and again.
© David Hintz


Modou Toure & Ramon Goose "The West African Blues Project"
ARC Music, 2015

Artist Video

This collaboration marries European guitar to Senegalese vocals as the two principals and other players find that common ground through the blues and the general magic of music. There is an expansive sound to it and it is a well-produced record featuring fine players. The songs are easy to dive into, but have an originality that extends just far enough beyond the basics. This is what collaboration is all about.
© David Hintz


Mitch Mann "Blackwater Creek"
Crazy Chester; 2014

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This blues workout is acoustic through and through, ergo there is more of a folk element. The horns will remind you a bit of New Orleans and that gumbo mix of blues, folk, jazz, and a multitude of worldly ethnic influences. The vocals are hearty, but warmer than tough. There are some lovely pure folk cuts here as well and the variety is welcome as this album is a pleasure as it breezes by. A few cuts are a bit safe for me, but much of this was a pleasure.
© David Hintz


Faris "Mississippi to Sahara"
Wrasse, 2015

Artist Video

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This is a strong album. Concept-wise, linking specific classic Delta Blues song to the West African style sounds pretty powerful on paper. Fortunately Faris has the guitar abilities and the interpretative skill to meet these lofty expectations. He also keeps the mysterious sounds deep and contemplative with his effective vocal work. He is joined by Leo Welch on a couple of bonus tracks, so it is a very straightforward guitar and voice sound guiding you on this journey. Yet the mysterious moods conjured up my come from somewhere else entirely.
© David Hintz


Anthony Gomes "Field Holler"
Up 2 Zero; 2015

www.anthonygomes.com

This Toronto singer guitarist takes the blues and electrifies it heavily in that 1970s hard rock fashion. The vocals are similar to that era as well. Yes, I have heard this all before, but it is not too badly executed, but just leaves me feeling like I have said so many times before: I would rather see and hear this in a club. In this case, it would be tough with all the clichés. But if your Moxy records are worn out…
© David Hintz


Whitehorse "Leave No Bridge Unburned"
Six Shooter, 2015

www.whitehorsemusic.ca

This Canadian male/female duo reminds me quite a bit of the Kennedys. But they take that band’s folk/early rock music with exquisite harmonies and ramp it up, rather rock it up a couple notches. Of course, having a rhythm section assist on the record certainly thickens the sound, but they also employ some of the stinging electric rock flashes you may hear on Sadies records. This is rather stirring when it really clicks, which is often enough to make me want to experience this band further.
© David Hintz


Gilmore & Roberts "Conflict Tourism"
GRI Records; 2015

Artist Video

www.gilmoreroberts.co.uk

Male/Female duos abound and for good reason, as these harmonies sound as if they come quite naturally. The hope is always for the other needed components, good songs, good arrangements and playing of course. For the most part, the songs are decent and are easy to access with room to think and dream. The playing is good and the arrangements are varied, which also helps to hold attention to every passage. This is not hardcore folk, but worldwide rootsy singer songwriter material that pulls back to a stark arrangement and then moves to a rock outing, all within this UK group’s comfort range.
© David Hintz


Good Lovelies "Burn the Plan"
Six Shooter, 2015

www.goodlovelies.com

Lovely is good when three female voices harmonize like this. They also play acoustic guitars and have a variety of interesting percussion moves as well as lots of other instrumentalists filling out the spaces in these songs. Yet, there is a breezy atmosphere and plenty of space, even as a lot is happening. They manage to sound full, but keep a light atmosphere—no easy feat. This is more contemporary than not, but the group brings in plenty of roots and some traditional moves to balance it out and expand its scope, making it a fulfilling album.
© David Hintz


The Spooky Men’s Chorale "The Spooky Man History"
Spooky; 2013

www.spookymen.com

What do you get when you combine Gregorian chants, barbershop quartet pieces, Philip Glass vocal arrangements, Brian Wilson, and the Monty Python songs with the Men’s singing group they worked with? I imagine it is something like this, although even that does not fully explain it. This is a large men’s’ singing group in spite of them having a song called ‘We Are Not a Men’s Group’. But it is all vocals and is of no time and place, or perhaps of all time and places. It is always a pleasure to have a bolt of lightning come through the piles of good music to review, knowing you have never heard something before and will again. This is one of those times. And if you need one more unimaginable teaser, try to picture the sound of a men’s singing group performing a 13th Century Sufi devotional anthem to the melody of ‘Staying Alive’. I hope these Australians make it out my way some time, as the performance would be a one of a kind event, for certain.
© David Hintz


Cris Cuddy "Dear Elvis"
Vanishing Castle; 2015

www.criscuddy.com

This is awfully clichéd blues-rock, here. That is ok with me at times, but there are too many clichéd lyrics and mannerisms for me to get too enthused about. I am not sure if he got a reply from Elvis, but the King would probably compliment him on how far the rock sound has advanced, although the songs remain pretty much the same. I would like to write more, but I can’t get spoonerisms out of my head like ‘Kiss is cruddy, so here’s Cris Cuddy!’
© David Hintz


Byron Fry "Explosive"
Own label; 2013

www.byronfry.com

Folk fans, even electric folk-rock fans, head for the exits as Byron Fry is unleashing a hard rock, progressive-metal instrumental album featuring guitar pyrotechnics. This won’t make your forget Opeth, but may make you remember Yngwie Malmsteen, but it is not quite there either. But for prog heads, this guy can play.
© David Hintz


Billy Vincent "Stand On Me"
Deepdive Records; 2015

www.billyvincent.co.uk

This has kind of that earnest roots rock appeal post-Springsteen and Petty. In fact, it is best to compare this band to two songwriters as Billy is Billy Barratt and Vincent in David Vincent, both guitarist/vocalists and co-writers of all the songs here. It is gutsy with soul and room to sway to the beat. They are based in the UK, which is probably better as there has been a whole lot of this in the USA since that Jersey guy named Bruce came around. Not a bad effort here.
© David Hintz


The Jancee Pornick Casino "Planet Girls"
Gagarinbeat; 2015

www.janceewarnick.com

With a cover looking like one of those hilariously cheesy 1950s or 1960s exploitation drive-in movies, I figure this will not be an intricately plotted singer songwriter outing. Sure enough, it is mostly fun rock’n’roll; fast and furious delivered with that precise tremolo of early 60’s surf music. This is a mix of speeds and heaviness, but whether crazy or controlled, it is fun. This would absolutely be a kick in the pants live, but the record captures enough of that spirit to make it a blast and a way to wait until next this Koln band invades your town.
© David Hintz


Georgie Jessup "Philosopher Dogs"
Own label; 2015

www.georgiejessup.com

This is quite the likable album. There is that homespun warmth with plenty of Americana roots on display at all times. The vocals are attractive and the songs catchy right from the start. I do not detect quite enough flair to excite me as much as the best material I receive, but neither do I want to knock good efforts like this as well. But I still cannot recommend one more rather tepid version of ‘Ring of Fire’.
© David Hintz


Grand Old Grizzly "Cosmonada"
Own label; 2014

www.grandoldgrizzly.com

This could easily fall into easy going blues rock clichés and maybe it does at times. But this band, led by Will Thomas’ fine lead vocal work, really nails a warm and evocative formula with fine songs and deft playing. You may swear you have heard it before, but it is always worth hearing again, when it is played this well. Even as these melodies follow well-traveled paths, there are little guitar moves and sonic shifts that elevate this into something just original enough to sound fresh.
© David Hintz


The Coffis Brothers & the Mountain Men
"Wrong Side of the Road"
Own label; 2015

www.coffisbrothers.com

Breezy countrified rock’n’roll with a bit of roots folk moves, I suppose is the best way to describe this. I like it best when they slow it down, as it gets a little too ‘same old’ when they go for good time music or heavier rock. Still, it is just all a bit too down the middle of the road, which is better than the ‘wrong side of the road’ at least.
© David Hintz


Erik Sitbon and the Ghost Band
"Erik Sitbon and the Ghost Band"
Own label; 2015

www.eriksitbon.com

There is something slightly more authentic about this record than many of the more average Americana roots records I have been reviewing. It is hard to pin down and it may not be more authentic, but Sitbon and the Ghost Band have that extra verve that is wrapped around the notes they play and the lines they sing. The record does not overwhelm me, but has me sitting back in admiration of the skill and the heart of this music. Nice job.
© David Hintz


Wally Warning "Groove Maker"
Cunucu Records; 2015

www.wallywarning.com

I am not sure I was ever much of a fan of groove making, but it is certainly not what I engage in at my ever advancing age. But Wally Warning has offered a nice reminder that adding this to the listening day can be a real pleasure. He takes a reggae starting point and works with electronica and other R&B moves and comes up with a potent little combination that offers as much subtlety as it does richness. With ties to Aruba and two continents, he has a lot to draw from in the name of culture and music and it all comes to good use here. This is a simple pleasure that may just surprise you as much as it did me.
© David Hintz


Mäkkelä "Last of a Dying Breed"
9pm Records; 2015

www.maekkelae.com

There is quite the stew here on this album, folk, jazz, world moves, and topical/timeless folk songs. All in all, this works rather well due to Mäkkelä’s spirited intensity underneath all of these songs. He seems quite committed to his concepts and execution and with good imagination, the variety of arrangements works as well.
© David Hintz


Joel Rafael "Baladista"
Inside Recordings; 2015

www.joelrafael.com

If you are looking for a good straightforward folk record with old-fashioned style but with modern topicality and a gentle touch, look no further. Joel Rafael has the warm voice, nice acoustic guitar moves, and good songs. He even adds some piano and harmonica, whilst employing some tasty electric guitar and bass players to fill out the ranks. It is all so very easy to listen to and absorb like Harvey Andrews or perhaps Leon Rosselson.
© David Hintz


Zervas and Pepper "Abstract Heart"
Zerodeo; 2015

www.zervasandpepper.com

Normally I like albums that take me back to the late sixties and early seventies, but this album really has me scratching my head. I hear modern versions of CSNY, Carole King, Loggins and Messina, and so many more singer songwriters from that era who were between a folk rock and classic songwriter style. This is quite intriguing as it almost sounds like a lost relic, although it has just enough of a modern production touch to belong to the 21st century. By the end of the ten songs, it is less eerie, but there still is such an interesting timeless quality to this that hangs in the air. It is not for everyone, but this Welsh duo is fascinating for those of us that have a long history of musical eras.
© David Hintz


Millpond Moon "Time to Turn the Tide"
Tikopia Records; 2015

www.millpondmoon.com

More traditional folk here from a Norwegian duo. Even with the rich folk history of Scandinavia, this is more Americana than not, with a traditional cut along with Bob Dylan and Robbie Robertson covers. The other seven songs are original and all the cuts sport the fine male/female vocal harmonies, which really are the star of the show here. The acoustic guitars move along the melody and there are a number of strings in support along with a bass that keep things nimble and interesting. It gets a little too steady by the end of the album, but still a fine approach was taken a decent journey resulted.
© David Hintz


The Expanders "Hustling Culture"
Easy Star Records; 2015

www.theexpanders.net

This is a reggae record. It follows the standard form, so you should pretty much know what to expect. It is on the smooth side, not overly daring, but not overly poppy either. It worked a bit better than most of the smoother varieties I hear as the sonics are nice and the vocals have enough heart in addition to being well sung. This band is from Southern California, so perhaps some of that relaxed sunny climate has worked its way into their music.
© David Hintz


Tod Hughes Project "Changing Gears"
Own label; 2014

www.todhughes.ca

Heartland rock music is on tap for this bar band that is a bit more elevated than the usual bluesy bar band. There is a little more touch in the songwriting and vocal work, coupled with some nice female harmonies. The songs do not exactly dazzle, but they are hearty enough. There are only six of them here, so this is an EP, but it gives a good sample of what these Canadians can do if they make their way to a bar or nightclub near you.
© David Hintz


The Hillbenders "Tommy – A Bluegrass Opry"
Compass, 2015

Artist Video

www.hillbenders.com

Parodies, radical reworks, and genre bending covers are tricky business. I am a big fan when you do it as well as Weird Al Yankovich, Beatallica or the Rutles. But you can fall quite flat on your face and look quite silly if you get it wrong. I thought a reworking of the Who’s ‘Tommy’ in Bluegrass would not work too well, not because I find the original so untouchable (I actually like some of the Movie soundtrack versions much better), but that it just did not seem interesting beyond one listen. Wrong! This is a fantastic version of ‘Tommy’. The Hillbenders play the album from front to back with a straightforward approach and respect for the material. The vocals are stellar, which may be the key to why it works, but also the bluegrass form is capable of hitting rock excitement on the more intense songs. So if this is something you think you may want to hear, trust me, you do.
© David Hintz


Gerda Stevenson "Night Touches Day"
Gean Records; 2014

www.gerdastevenson.co.uk

Scotland’s Gerda Stevenson has a classic style that integrates her native tones with a timeless song style that works in the folk world as well as on one of those general variety shows of old. It takes an exquisite voice to work with a large varied audience and Stevenson has all of that. What is more, these are all her songs, so she puts a lot of heart into them and they really come out strong and pure. There is nothing audacious here, just good old-fashioned music, performed well. There is also a decent balance between folkier cuts and thickly stringed arrangements.
© David Hintz


Skinny Lister "Down on Deptford Broadway"
Xtra Mile; 2015

www.skinnylister.com

Lots of football style singing on top of a punk-folk base makes for an energized sound that many can hear in their heads before even popping this record on. The singer even sounds a lot like a softer Shane MacGowan. The music does not quite rise to an inspirational level for me, but my standards may be on the high side.
© David Hintz


From the Deep "From the Deep"
Bellissima; 2015

Artist Video

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This is a duo with a Katharine Blake of the Medieval Baebes[46] and her real world partner Nick Marsh of Flesh for Lulu and produced by Blake. The voices are great and the music is nearly that. It has the same depth of the collaboration between Mark Lanegan and Isobel Campbell a few years back. But that was much darker and drearier than this. There is a spritely, lively nature that has a bit of the Baebes classical leanings, but it is more of a classy nightclub vibe. There is a lot of depth in the songs and it makes for an exciting listening experience. Think of a worldlier Hazelwood/Sinatra outing. I am guessing this one will really grow on me so I recommend giving this three listens at least, even though the first one will be pleasant enough right out of the gate.
© David Hintz


Bobby Long "Ode to Thinking"
Compass Records, 2015

www.musicbobbylong.com

I liked the acoustic guitar work songs (opening and closing) a bit more than the full band Americana styled songs. They are all pretty good, but I think the guitar talent combined with some interesting songs may be the preferred format for me at least. There are odes to classic folk styles, as well as bluesier outings. There are some gems here like ‘Kill Someone’ and some other songs that while good, sound like a lot of what you can easily hear elsewhere. Still, this is someone to keep your eye on or ear to because these gems are worth it.
© David Hintz


Khiyo "Bengali Music with a London Sound"
ARC Music, 2015

www.khiyo.com

I sure like bands that name their album with a description of their sound, as it saves me time or at least gives me a starting point. This is exactly as advertised. There is a crisp breezy professional musical approach to some highly exciting eastern music. It strikes a fine balance of accessibility and is not purely in the ‘World’ corners of your collection. I enjoy Eastern music as a rule and this has enough unique sounds and patterns, that I will be exploring this many times more.
© David Hintz


Reg Meuross "Leaves and Feathers"
Hatsongs; 2013

www.regmeuross.com

Here’s another fine folk album from a couple years back. Meuross[57] has that ‘gentle’ style I seem to hear quite a bit lately, although there is a worldly outlook as he has been around playing in bands and solo for many a year. He focuses on his vocals and acoustic guitar work for most of the melody. Arrangements include quite tasty strings, backing vocals, and more stark presentations. There is some of his native English style here, most vividly portrayed on ‘My Name is London Town’. This all comes together well as a whole album of fine thoughtful folk songs.
© David Hintz


Jack Tempchin "Learning to Dance"
Blue Elan Records; 2015

www.jacktempchin.com

Still not quit the household name, at least one of Jack Tempchin’s songs is known to just about all of us, as he wrote the Eagles classic ‘Peaceful, Easy Feeling’. But he has done so much more for other artists and of course on his own solo albums. [50] His latest has that California folk country style buried deep and sounds even more universal. He has a light folk singer songwriter approach on some cuts with even bolder arrangements like on ‘Love’s First Lesson’. I rather liked the big approach as he managed to still keep it close and down to earth. He is also joined by fine musicians, a guest saxophonist, and even some backing vocals from Kim Richey, a former high school classmate of mine.
© David Hintz



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