FolkWorld #58 11/2015

CD & DVD Reviews

Leonard Las Vegas "Jagmoor Cynewulf"
Blackjack Illuminist; 2015

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1980s English pop music is not something I am expert in, but neither are too many of our readers here, so it matters little what I say. This seems pretty decent for the most part, but like cotton candy, seems a pleasure that will dissipate right after taste. I think this music could have a fairly strong base, but I would not have advised this band name as it does not seem to have anything to do with anything here.
© David Hintz


The Whiskey Daredevils "Nashville Surprise"
Drink’n’Drive; 2015

www.whiskeydaredevils.com

In a post-Gun Club world, there is a comfortable marriage between hard rock and roll, dirty blues, crazed roots, punk attitude, and whatever else keeps it wild and fun. Well, this band as the name implies has plenty of this attitude. The singer sounds about half Dave Vanian and half Glenn Danzig, so the punk attitude is there. But I am really making this more complicated than it is. This is modern revved up rockabilly fronted by an Elvis Presley type voice that is not quite subtle enough to conjure up an image of ‘the King’ in your head while you listen. It’s good driving music, if you are in the mood hit the road.
© David Hintz


Doran, Stucky, Studer, Tacuma "Call Me Helium"
Double Moon, 2015

www.erikastucky.ch

This is subtitled ‘Plays the Music of Hendrix’ pretty much because that is exactly what this is… at least in song selection. I have heard this before from the homage stylings of Frank Marino and Mahogany Rush to the tribute band (before there was such a term) approach of Randy Hansen. This quartet has a fine approach with a Hendrix sounding guitar working over some unique arrangements. The sultry female vocals offer a strong twist, while the song selections allow some interesting psychedelic jamming. This was a great way to start the day, but I am sure it will work well at any hour.
© David Hintz


Sea + Air "Europi"
Glitterhouse, 2015

www.seaandair.net

Their facebook page describes their genre as ‘ghost pop’. Thankfully, their music is as creative as their description. I have heard good things about this duo and while not terribly folky at the outset, a careful listen will find lots of great singer songwriter moves in this ethereal blend of pop hooks and dreamy instrumentation. And then there are those gorgeous male/female harmonies, going almost the whole way through this album. I can see why there is a strong fan base for this band as they have both the quality and enough originality to access a lot of music lovers from all walks of life. This is certainly worth a listen if you love music.
© David Hintz


Emily Barker "The Toerag Sessions"
Everyone Sang; 2015

www.emily-barker.com

All right, enough of the quasi-folk or non-folk reviews, Emily Barker is the real deal. This is her voice, her guitar, and a bit of harmonica. That’s it. The simplest way to describe this is timeless folk. It could come out of my record collection from the sixties, seventies, eighties, just as easily as it has popped up in 2015. Her voice is light but with strength and enough dynamics to carry the song forward. Her guitar work is intricate finger style, not overly showy, but delicate and moving. It sounds like there is some flat-picking as well and a quite jarring but brilliant electric guitar at times. Fine, fine album from this Australian songstress.
© David Hintz


Keston Cobblers Club "Wildfire"
Indigo; 2015

www.kestoncobblers.club

Remember when the Decemberists were really, really good? Remember the Decemberists at all? If so, you may want to check out this band as they draw from that same heartland sound, elevated to something rocking and special. The roots show at all times, but there is a brisk pace and reaching style that keeps this above the many average bands in this field. This band is hard to place by the sound of them and they come from Keston, a little place east of Croydon (and Wizz Jones) in England. They achieve great results here with much thought clearly placed in these arrangements, which brighten the way for their fine songs. The writing is not quite as audacious as the Decemberists, but the playing is and the fan base is quite similar.
© David Hintz


The Sexican "Conscription"
Pyp; 2014

www.thesexican.net

With a band name like this, you start from behind right at the start. Thankfully this band advanced a little, but not enough to get me as excited as many gypsy punk folk outfits are capable of. Musically it is brisk and energetic with some decent playing and tone. But the lead vocals are all raspy guttural lines that make a death metal singer sound like opera. But, if you like this style, the music may well worth a punt.
© David Hintz


Saor Patrol "XV – Total Reworx Vol. 1"
ARC Music, 2015

www.saorpatrol.com

If you don’t find bagpipes overly annoying, especially over a whole album, and if you want to see how well they ‘rock out’, then this band is for you. These guys are always at their best when the guitarist and piper are battling it out with the rhythm section smiling behind them. These Scotsmen still deliver energetic music as seen on this celebration of fifteen years as a band. Enjoy!
© David Hintz


Archie Fisher "A Silent Song"
Red House, 2015

Artist Video

If you have read this deeply into FolkWorld, you need no introduction to Archie Fisher.[55] He has long been one of my favorites, and I just sold my vinyl copy of ‘Orfeo’ a month ago, one of the brilliant folk albums from my (or anyone’s) collection. He just turned 76 years old, so the main question is how his voice sounds on this, his first album in seven years. Amazingly, there is barely a hint of aging. It resonates as powerfully as ever with that classic gentle touch of his that few people hit as well. His guitar work is still exceptional and there are only a few cuts where there is any musical assistance. Yet even with these fairly stark arrangements, each song is thick and rich with warm sound and room for nuance. Fisher wrote over half these cuts, mixing in some covers and a couple of traditionals. I hope this is not the last album, but if it is, it is a fine way to finish a stellar career.
© David Hintz


Nicki Bluhm & the Gramblers "Loved Wild Lost"
Little Star; 2015

Article: Woman in White, Band in Black

www.nickibluhm.com

After seeing a fine live show in Washington DC, I was interested in getting the latest album from Bluhm and company. There is plenty of the California country rock qualities evident from the live show. As often as is the case, the country elements are a little stronger on the recording, whereas the live show rocks out a bit more with more eclectic moves. Still, the guitar work has some real heft on many of these songs, so the crossover elements work well depending which side of the country rock fence you lean toward. If you like anything along the lines of the classic southern California country rock sound of the Byrds, Linda Ronstadt, and the Flying Burrito Brothers, then give this album a listen.
© David Hintz


Los Lobos "Gates of Gold"
Proper; 2015

www.loslobos.org

Has it really been 5 years since their last studio LP, ‘Tin Can Trust’? Yes, fact checking proves just that. But when you are entering your fourth decade as a band, you can release music at whatever pace you desire, especially when you are this good. Many Los Lobos fans would say they are better than ever and they can really rock hard along with their signature multicultural musical medleys they create. I am always amazed that even when they go into tired jazz stylings and classic blues riffs I’ve heard a thousand times, they somehow manage to make it sound so fresh and unique. I guess that is pretty much skill and vision, a couple of core values they have banked on over their storied history. I loved all of the versatility they show here, and particularly the pure heaviness of ‘Too Small Heart’, which is amazing. Long live Los Lobos!
© David Hintz


Freebo "If Not Now When"
Poppabo; 2015

www.freebomusic.com

Freebo is a famed bassist, playing a lot with Bonnie Raitt for example, and he moves off into solo album from time to time in between his long and interesting career. He shows a lot of varied moves from singer songwriter style to many genre moves. His straighter folk is a little more prosaic than I would like. But there are clever songs like ‘Funk up the Folk’. Although I am not sure I would answer positively that it is time to funk up the folk, he makes a persuasive and danceable case for leaving genre barriers behind. I am all for that, but I am also for more interesting songwriting with less obvious lyrics and more intriguing hooks.
© David Hintz


Valley Maker "When I Was a Child"
Brick Lane; 2015

www.valleymaker.com

This follows a long line of successful roots acts that take a more ethereal approach with their music. I am thinking Fleet Foxes, Decemberists, Bill Callahan, and many more. I do not detect anything terribly new here with the voice and songs of Austin Crane, but there is quite the quality on this record. Crane has some capable musicians helping out, best of all the haunting backing vocals of Amy Godwin. These are used frequently, but carefully to really send the songs to a higher level. And they are pretty good in raw form from what I can tell. But I think the choices made on arrangements make this one of the better albums of this style.
© David Hintz


Huw M "Utica"
I Ka Ching; 2015

Artist Video

www.huwm.net

After I get over my chuckle at the name of the record label, I get around to focusing on the warm and gentle Welsh folk of Huw M (Huw Meredydd Roberts). He has traditional Welsh style with songs in Welsh and some in English. There are even worldlier and nearly spiritual elements in these arrangements, so enjoy the traditional base, but really enjoy the versatility and creativity of Huw and his band. There are modern and ancient approaches smoothly interwoven. Best of all is the female chorus backing his fine lead vocals. This is one fine quality album that will be of interest to those who like the classics, but appreciate a fresh voice and vision.
© David Hintz


Selina Martin "I’ve Been Picking Caruso’s Brain, etc."
Own label; 2015

www.selinamartin.com

This has nothing to do with folk music, unless you want to take the broadest definition of folk being music for the people and if people are youngsters going to the dance clubs for late night shows. In this case, it’s not rave or techno per se, although this would fit in well there as this hard edged electro pop is brisk and raucous (more like technopunk). And despite the heavy beat, there still are hearty songs in here. So this is actually quite good for what it is and I really enjoyed it. And I think you have to be quite good to get even the slightest notice in the vibrant Toronto music scene.
© David Hintz


Steve Ashley "This Little Game"
Market Square; 2015

Artist Video

www.steveashley.co.uk

This is a pleasant surprise. Just short of 70 years on the planet and nearly 8 years after his most recent album, the well-respected Steve Ashley is back with another solo venture. This is truly solo, as it is just voice and acoustic guitar. Ashley lamented the passing of the great arranger Robert Kirby, who he worked with previously, so he decided to keep it stark and simple. But the man who gave us the great album ‘Stroll On’ in 1974 still has much to offer. He looks healthy and sounds younger than his years. The guitar playing is deft and intricate enough to offer a fine variety of moods to his music. I would like to say this is grandfatherly, although that has a rather unfair negative connotation to it. So it is world-wise music for folk lovers of all ages. Try that… and this.
© David Hintz


Magna Carta "The Fields of Eden"
Talking Elephant, 2015

Artist Video

www.magnac.com

Well, while I am going deep back into my album collection, let’s also reexamine Magna Carta as they are back with a new album as well! Unlike the Steve Ashley album, this is a full band production and then some. That fits rather well with Magna Carta’s extensive history as they too have taken folk music to progressive places. It is pretty much founder Chris Simpson along with a few former members and plenty of newer players on this album. They almost remind me of Dulcimer with the folk songs and narration done at times in the excellent song suite comprising the ‘title cut’. This is well worth listening to if you are fan of those olden days of English pastoral folk of the late sixties and early seventies. As for the rest of the album, it is a little bit of a hodgepodge of styles with the folkier cuts faring best. This was a fun throwback.
© David Hintz


Filthy Nelly "Tranquilize This!"
Own label; 2015

www.filthynelly.com

There are post Pogues gypsy punk bands and post Pogues bands. This is the latter as it is straight up folk rock with punk energy ramping it up a notch or two, not as high as Dropkick Murphys, but high enough. In addition to the core rock instrumentation, it is an accordion and violin that add that extra dazzle to the music. The guitarist occasionally employs Dengue Fever like snaky riffs that add a bit of psyche-mystery to the proceedings. Other times, they keep it simpler still without much riffage into more world folk realms. It is produced well and is an interesting listen, even for those of us who aren’t sure there is a need for so many bands in this field (until we realize we can say that about almost any genre and sub-genre).
© David Hintz


Ryan Davidson "A Wick Burning High"
Own label; 2015

www.ryandavidsonmusic.com

Roots folk music for the most part comprises this singer songwriter album. This works best when his deep resonant voice channels that of Mick Softley. However, when the songs are more prosaic and less interesting, there is that country style that leaves me a little cold. If this northern Californian continues to find the best songs he can conceive, he could develop into something quite likable to a broad audience.
© David Hintz


Happy Traum "Just for the Love of It"
Lark’s Nest; 2015

www.happytraum.com

This is Happy’s first album in ten years, which is welcome first and foremost that anyone 77 years old that can still play high quality songs is something well worth hearing. There was a bit more blues than folk to my surprise, but it all rather blends together and should not be too much surprising since he learned some of his guitar skills way back when from Brownie McGhee. This is all a mix of traditional songs along with many by the masters, Dylan, Leadbelly, Guthrie, etc. His band is loaded with masters as well with names like Martin Simpson and John Sebastian being but two of this stellar group. Basically, this is a legendary guitarist; playing and singing many of his favorite songs he has heard in the past 50+ years. And it sounds fresh without more than a pinch of nostalgia present.
© David Hintz


David Roth "So Far, So Good"
Wind River; 2015

German CD Review

www.davidrothmusic.com

Since this is the first David Roth record I have reviewed, I am tempted to remind everyone that this is not the David Roth with a Lee in the middle.[29] OK, so that is done, now let us proceed to a spritely folk album by a true singer songwriter with a capital SONG. There a series of ballads and stories with a few co-written with various aides. And yes, ‘Does Joni Mitchell Ever Mow the Lawn” is a funny song that asks about just how professional a musician can get. Roth’s voice is warm and makes it easy listening to stay with over these fourteen songs. The guitar is bright and bouncy in and around the smoother lyrics. Well done.
© David Hintz


Reverend Freakchild "Hillbilly Zen-Punk Blues"
Treated and Released; 2015

www.www-reverendfreakchild.org

I was hoping that based on the title, this would extend the blues format into some interesting directions. At first, I was not sure that was happening, but ultimately the payoff was there for those looking for more. Reverend Freakchild does not travel the crazed path of Reverend Horton Heat, but shows off some good moves along his path. His instrumental pieces are really excellent, showing off great dexterity and emotional guitar work. The more ‘normal’ songs feature some rocked up blues at times with plenty of stinging traditional moves throughout. Blues fans who want more will get it here.
© David Hintz


Liam Merriman & Eoin O’Meachair "The Birds Never Cease"
Three Rivers Records; 2015

Artist Video

www.liamandeoin.com

When I hear of an Irish duo, I think first of Tir Na Nog. And when I hear this album, I still think of Tir Na Nog, as these two have some of the same delicate and mysterious folk stylings of the legendary band. They also move into poppier territory without sacrifice the roots of it all. There isn’t that overdone blarney style, more of a fuller UK presence in these songs. And anyone who does any sort of reasonable effort with Thompson and Swarbick’s ‘Crazy Man Michael’ is ok with me. There is even a Donovan tune on here for good measure. Instrumentally, the mandolin sometimes dominates a bit much, but there still is plenty of room for acoustic guitar and banjo as well along with some backing rhythm section sounds. This is a fine and balanced album.
© David Hintz


Kate Doubleday "Flutter"
Copper Records; 2014

Artist Video

www.katedoubleday.com

This record starts off with a bang, at least a ‘folk bang’, which differs greatly from what you would expect in rock. But when you hear delicate guitars, a wistful flute, and ethereal female vocals, you have perked up the ears of most folk fans, certainly this one. Doubleday retains the delicate approach throughout the album and reminds me a bit of Kay McCarthy or Heather Jones. She also has strength in her singing, so she is not just a fey waif. The album plays well and has a timeless quality to it, which makes for many warm and pleasant listening sessions. If there is a fault, it is that only a few of the songs stand out whereas it is the vocals and the musical arrangements that are the stars here.
© David Hintz


Lila Blue "Lucille"
Own label; 2015

www.lilabluemusic.com

This is not so much folk as a singer songwriter outing thoroughly steeped in modern arrangements. There is a mix of live instruments, in particular the lively drums, along with electronic and synthesized jolts. Normally, I am not a huge fan of this style, but Lila Blue’s vocals and the careful yet exciting musical bursts are quite gripping. Blue and the band slide back into relaxed songs that sound lounge, but again thoroughly modern and up to date. This record will touch a few buttons of a widely based listening audience and hopefully will connect with enough listeners.
© David Hintz


Fate the Juggler "Live"
Own label; 2015

Artist Video

www.fatethejuggler.com

This live album comes in CD and DVD (Europe) formats. The DVD has a couple of extra tracks, so there is a lot of great live music here. And Fate the Juggler is a great band with the songs and exquisite folk rock style that transcends the form into something worldly and special. They remind me so much of the Walkabouts, and I believe I have said that before, but it is always a key point to me as the Walkabouts is a band that Europe totally ‘got’, while they toiled to get even a nod of recognition in Americana. Fate the Juggler is also getting big in Europe, although being from Kent, England, that is understandable. I hope they continue to grow their audience, as it certainly exists for music this good. And if they can cross the Atlantic some time, I am there.
© David Hintz


Trailhead "Leave Me to Learn"
Timezone; 2014

Article: Road Side Folk Songs

www.trailheadmusic.com

Stark folk music is the game plan for this album. Male voice and acoustic guitar (ukulele once) mostly, although a piano also takes the lead on a few songs (and there is an acoustic guitar version one of these songs here as well). The voice is reminiscent of Jackson Browne, and the songs are not too far off of that style either, especially those on piano. There is a brief bit of harmonica, but mostly it is one instrument and one voice. The songs are decent, but Bob Dylan’s solo outings were a long time ago, and it is hard to carry this style all of the way through 15 songs. Still, it was not hard to sit back and enjoy the music. So if you want straight up folk with no filler, give this German musician singing in English a listen.
© David Hintz


Brooksie Wells "North East Rising Sun"
Down Home Diva Records; 2015

www.brooksiewells.com

Although this is a nice and steady countrified folk/light rock album, Brooksie Wells has a lot of experience behind her songs. It is hard to imagine something so sweet and sensible sounding coming from someone who sang for Kid Creole and the Coconuts and recorded with John Lennon’s NYC band. Although there is a bit too much Nashville style in this record for my liking, the overall quality grew on me as it unfolded. There are some nice mandolin and violin touches to give a bit of flourish to the arrangements. Nice effort here, especially if you like this style.
© David Hintz


Avery Hill "Dreams & Ghosts: A Family Album"
Own label; 2015

www.averyhilltunes.com

When you think about it, a lot of folk albums could have the same title as this. It covers the gamut of classic songwriting, especially in the folk world. Avery Hill professes to have many varied influences and you can sense that in listening to her songs. They may not stray wildly from a breezy folk style, but they have a lot of deep personality embedded within that makes them sound unique and well composed. Ms. Hill is based in Portland, Oregon now and that will likely only add to more fertile and varied musical experiences allowing even broader explorations. This is a fine album and the future may have less ghosts and more dreams realized.
© David Hintz


Tina Refsnes "No One Knows that You’re Lost"
Vestkyst Records; 2015

Artist Video

www.tinarefsnes.com

This is almost a classic. It is a refreshingly vibrant singer songwriter outing with just the light touch of exotic worldly flavor that may come from an artist born in Oslo, with stays in Liverpool and smaller Norwegian towns. There are some really exciting moves within a few of these songs, but they don’t quite play themselves out as much as possible as the song gets back to a safer path. Still, there is that edge that shows up just enough to make this a highly interesting work.
© David Hintz


Lowell Levinger "Banana Recalls Youngbloods Classics"
Grandpa Raccoon; 2015

www.lowelllevinger.com

It is hard to find fault with an original Youngblood going back to the band’s songs and doing up to date versions with a good band and some great guests. He has got David Grisman, Ry Cooder, and even Youngblood lead singer Jesse Colin Young guesting on a few tracks. Most cuts are solid, but ‘Interlude’ is an exceptional instrumental that shows off Levinger’s mandolin and the band’s overall chops. Cooder is great and of course, ‘Get Together’ is a highlight with an even bigger guest list including Maria Mulduar and Dan Hicks in the chorus. The Youngbloods are probably less remembered than they should be. Hopefully this will put them on a few more people’s tips of tongues.
© David Hintz


Mike McGuire "Southern Attraction"
Own label; 2015

www.mikemcguireky.com

There are just seven songs in roughly 27 minutes here, but that is plenty of time to set and work the tone for this record. McGuire has an easygoing bluesy style with simple story telling songs. There is no shortage of fine musicians in Louisville, Kentucky and he has found a few to help out. I am struck most by the keyboards with great swirling organ runs and some subtle boogie in the rolling piano passages. Nothing overly distinctive here, but it breezes by nicely.
© David Hintz


Anne Haigis "15 Companions"
Westpark, 2015

www.anne-haigis.de

Aside from my inability to figure out the math of the companions, as there are more than 15 guest musicians, less than 15 songs, and clearly more than 15 in the audience for this live recording, I am still left with a great record. Haigis’ main companion is Ina Boo who assists on acoustic guitar to Haigis’ 12-string guitar and powerhouse vocals. She has some of the rasp and power of Joe Cocker and controls it even more. There are some excellent arrangements and song structures as she weaves in gospel, the blues, folk, and some rock moves into these songs. With over thirty years experience, it is not surprising that this well known German singer has got such command over these songs.
© David Hintz


Michael Graefe "Ode to Whiskey"
Relax Records, 2015

www.relaxrecords.de

OK, Irish music fans and finger style guitar aficionados, feed your musical addiction right here with this fine album. German born Graefe has some original songs spaced nicely between 8 O’Carolan tunes he arranged for guitar (reminding me of a European John Fahey). There is a brief whistle, violin, and backing vocal, but it is pretty much striking guitar following familiar Irish melodic lines. It sounds crisp and fresh and you know you will like this LP quickly enough.
© David Hintz


Port Royal "Royal Flush"
Hey!Blau; 2015

German CD Review

www.portroyal-music.de

This is a hard driving rock album with a sensitive vocal style. Musically, this is bouncy and rhythmic with kind of a worldly ska punk thing going on. The female vocals have more warmth, but there is some sass in there as well so she can keep up with the music. There is a sense of fun to it all and it does not fit any one style perfectly, which makes it an even more engaging listen. And these songs are really cool, too, so this Berlin band is on to something here.
© David Hintz


Rowan Ross "Second Fiddle"
Own label; 2013

www.rowanross.com

There are many things I have learned in over seven years of reviewing live concerts and record albums. One thing that is pretty consistent with records is that if I get something years after it was released, I generally should not expect much. In this case, this is music that was recorded in 2009-2010, released (at least by booklet date information) in 2013, reviewed late in 2015. There is nothing particularly bad on this record, but precious little that allows me to change my opinion of low expectations on records that fall into this pattern.
© David Hintz


Theodor Bastard "Oikoumene"
Tepemok; 2012

Artist Video

www.theodorbastard.com

This St. Petersburg band has a droning world music that has some snappy rhythms and fine female vocals. There are some bold things going in with the merging of the ancient and the modern. When they lean to the old and don’t overdo the modern, it can work. The songwriting is somewhat secondary as it more about atmosphere and subtle shifts in pattern. This can work, but again more with the ancient sounds. So this is one band with an older record that may be worth checking out, although they have a newer record from 2015 that may be worth checking out.
© David Hintz


The Beat Daddys "Hoodoo that We Do"
Melrose Hill; 2015

www.thebeatdaddys.com

This is a nearly 30-year-old blues band from the deep hills of Kentucky. Larry Grisham handles the vocals and some tasty harmonic licks, used sparingly and thus effectively. Tommy Stillwell lays out the guitar licks with taste and also more restraint than you might expect. And that is the key to their success—a veteran sensibility of where to play and where to pull back and let the song take center stage. There are mostly original songs here and just a few of their favorite covers to add a little diversity. These guys are sharp and have the ability to attract the blues crowd and a far more diverse audience as well, without any compromise needed.
© David Hintz


Lucie Thorne "Everything Sings Tonight"
Little Secret; 2015

Artist Video

www.luciethorne.com

A sense of mystery hangs throughout the songs of this Australian singer/songwriter. Thorne also adds some guitar and has a band that knows how to establish a mood. The songs are intriguing throughout. Her breathy singing could do with some variation that would help energize this record even further. However, what remains is an attractive listening experience.
© David Hintz


Andy Cohen "Road be Kind"
Earwig, 2015

www.andycohenmusic.net

Acoustic blues is on the menu for appetizer, entrée, and dessert. Cohen has been around the block and has seen and played with some of the greats, so the blues run deep in his life. He has got a raspier Willie Nelson style to his vocals, which is true enough, but not for those looking for something more vibrant. The guitar technique is quite good and there are plenty of folk moves here, so this never falls into a musical rut.
© David Hintz


Stolen Hearts "Dirty Southern Soul"
Own label; 2015

www.stolenhearts.rocks

Although Pam Taylor is often the vocalist and guitarist, a certain Robert Johnson, Jr. is here to add bass, guitar, mandolin, and vocals. Let’s just say, he is not exactly his father’s son. Now that the obvious is out of the way, I do have to say that this is rather the usual brand of blues based rock music. It is decent enough, if you have not already heard it a thousand times over. There just is not anything new enough, or anything that truly stands out beyond the decent playing and production. Nothing wrong here, but there is a whole lot of this.
© David Hintz


Les Copeland "To be in Your Company"
Earwig, 2015

www.lescopeland.com

Good slide guitar here, as Mr. Copeland plays the blues. I have been just about up to here (picture me with hand parallel to the ground and raised to my neck level) with blues records lately. Rarely are they bad, but they often lack any reason to play them a second time when you can go to classic originals or at least the absolute top players in this century. But if you want to try a guy who has got his slide chops down, perhaps this is worth a listen. The gritty vocals may be an acquired taste.
© David Hintz


Echo Bloom "Blue"
Songs & Whispers, 2015

German CD Review

www.echobloom.com

This is a decent Americana folk album. It has all the requisite ingredients: guitars, banjos, and violins; earnest male vocals; strong female harmonies; and there is some piano. Yet they ‘go big’ at times with ethereal vocals and rising crescendos with strings such as at the end of ‘Veins’ which is quite nice, actually. There is a lot more here to recommend than not. The core sound is acceptable, if not like many other records I have heard in recent years, but the extra touches they have with careful quiet moments create an extra layer of interest.
© David Hintz



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