Robbie Basho "Live at Network Coffeehouse - 1979"
Grass-Tops Recording, 1979/2016
It is not often I get to write about my favorites from long ago, but thankfully there is a renaissance of sorts for Robbie Basho these days with an overdue reissuing campaign for his formal releases along with a host of attic discoveries and live performances. Not bad for someone who died over 30 years ago and probably sold less records than the Velvet Underground. The recording here is raw and simple but succeeds in showcasubg the guitar sound and the finesse of Basho’s playing, much better than I was expecting. At first, there were several instrumentals, which although nice, it was even nicer to eventually hear some cuts with his distinctive vocal work. Also, the instrumental work was quite varied with classical takes from Germany and Vaughn Williams, along with his western Americana songs, and even some of his Indian interpretations. It is classic Basho and another fine release for the fans, both old and new. But for us old timers, this features the only live versions of ‘Blue Crystal Fire’ and ‘El Cid’ known to exist, which is reason enough to buy it. But I have one more reason… this has the only recording of ‘Girl from Marizod’, which is one of the more enchanting songs in his entire repertoire.
© David Hintz
Aldous Harding "Aldous Harding"
Indigo, 2016
This is what I wait for every time I open a batch of compact discs to review for FolkWorld: a record that takes me back to the great folk revival period in the sixties and seventies, yet sounds fresh and fully alive today. Aldous Harding has a lovely voice taking off from the likes of classic British voices Mandy Morton and Anne Briggs. Yet, there are Americana touches present in some of the songs although it has a delicacy that maintains the ethereal nature present in the music from the isles. The acoustic guitar is delicate with lovely finger plucked melodies, while there are just enough other instrumental choices to keep you on your toes. A theremin? Why not, especially since the overall chilling depths of classic folk music is present throughout. This is one beautiful record.
© David Hintz
L.A. Salami "Dancing with Bad Grammar"
Sunday Best/[PIAS]/Rough Trade, 2016
I am getting a lot of interesting folk based albums lately with this just coming in late this month. This work is not from some kooky Los Angeles psyche-folk slacker band, but actually the work of UK based Lookman Adekunle Salami. He has a strong vocal presence that catches you as he pulls a bit back from the accompanying sounds and then cuts into the heart with strong phrasing and focused tone. His flexibility is present, but is surprisingly razor sharp and downright chilling at times. And the music is vibrant and exciting throughout, with a wide variety of arrangements, acoustic and electric, and full of fine little instrumental asides that help color the proceedings, without dominating. If anything, more diversity could be employed as it get fairly straight folk toward the end. Otherwise, this does not fit comfortably into any category as there are rap and Americana moves that make occasional appearances among this diverse potpourri. I generally like the more stark folk songs with acoustic guitar and voice, but a few shock elements added in were quite welcome. L.A. Salami is an artist for those who seek out the smarter music in life. But even if you turn your brain off, there is plenty of ear catching melodies to flow into your body.
© David Hintz
Skalar "Miracle Cure"
Lollipop Shop; 2016
This trio is new on the scene in Germany and now has a six song EP to showcase what they are all about. They have a modern folk sound with a light rock vibe, andAmericana roots—but not as dominating like all too many bands. I think this more universal slightly European vibe merging with Americana is what really works here. That, and the fact that they write fine songs with lovely vocals and varied sonic arrangements. The future looks bright based on this, and the present is just right if you get a chance to see this band take the chance to hear this record.
© David Hintz
The Paul Deslauriers Band "Relentless"
Big Toe Productions; 2016
PDB dishes out the blues-rock. PD handles the searing electric guitar and throaty vocals with a B composed of drums and bass. Nothing new in the format, obviously, but they do a fine job of creating something accessible that has just enough to create interest to those of us that have been here long before. And for those of us that have been a part of blues-rock for a long time, I am not sure we have ever heard a Theremin on a record like this. This Canadian band is one to catch when you can, as you are in for a hard rocking feast of an evening. This record proves that.
© David Hintz
Seas of Mirth "Hark! The Headland Approacheth"
I’m Not from London; 2016
This one takes me back to the 1970s with progressive music and in particular progressive folk rock. There are keyboards, rolling rhythms and exotic instrumental flourishes. There is a nautical story throughout and this reminds me of Fairport Convention with a touch of Spirogyra, among a few other bands of that era. It is very well done here with songs that flow as the sea and although may not last as long, they will last on my listening list for some time to come. This a very refreshing and strong album—a blast of sea mist right in the face.
© David Hintz
Joshua Burnell "Into the Green"
Misted Valley Records; 2016
This must be my lucky day. Two intriguing progressive folk outings back to back? I feel like I travelled back in time to hear Spirogyra and Spriguns releases. Joshua Burnell has a straightforward folk style as the starting point, but travels through the seas of progressive instrumentation and ends up with a rich musical journey. The folk base is there throughout, but the arrangements get more involved as the album flows forward. This is a fine work that resonates now and sounds quite timeless, ultimately. Here’s another disc that will played many, many more times in my household.
© David Hintz
Nancy Kerr "Instar"
Little Dish Records; 2016
Nancy Kerr plays all violins, violas, along with electric and acoustic guitars. The strings are key here and I am most impressed with the subtle tones of her electric guitar, which gives things a deep psychedelic feel on occasion. Yet with her pristine attractive vocals, things are quite folky at the top. She also has the Sweet Visitor Band accompanying her and things move along with a certain Celtic swing to them. This is a fine album that has beauty and bite and I believe will manage to attract a wide audience of folk fans. Based in the UK and having worked with Martin Simpson, you probably have heard her playing. So you definitely want to give this a spin and see where it falls in your listening range. You will hear some intriguing passages.
© David Hintz
Chase Walker Band "Not Quite Legal"
Revved Up Records; 2016
Well if it is on a label called Revved Up Records, you have good clues on the pace and volume, before you hear a note. And if three guys on the cover are holding drumsticks, a Rickenbacker bass, and an odd metallic resonator guitar, you can kind of guess loud blues-rock. And you would be right. The Chase Walker band keeps their music straight up, no chasers (sorry). No real frills detected here, nor is there a particular savvy and intricacy, more of youthful energy with enough skill to warrant a fair listen if you enjoy blues-rock.
© David Hintz
Al Rose "Spin Spin Dizzy"
Monkey Holding Peach; 2016
What a difference the letter ‘x’ makes. Thankfully the ‘x’ is missing from this artist’s first name, so I don’t have to boycott this record. But so long as it Al Rose and not that pompous ass that fills stadiums of sheep, I am happy to listen. And it is a happy little record we have here. I thought it would be serious blues, but it is much more fun based rock’n’roll with plenty of blues and classic rock moves amidst some folk rock songs as well. Quite a mixed bag here and Al Rose will keep you on your toes, but you will likely find more than a few songs that will resonate.
© David Hintz
Jenai Huff "Color Wheel"
Own label; 2016
Jenai Huff’s songs work in a folk singer songwriter manner, but with a lush production that has a rather timeless quality to it all. And in addition to her fine original songs, she has her own special takes on Love’s ‘Old Man’ and Marvin Gaye’s ‘What’s Goin’ On’. These are two excellent choices that she seamlessly weaves into her album. This is a class release and if you have not heard of Jenai Huff before now (like me), it may be high time to take her LP for a spin.
© David Hintz
Shono "Hunters"
Sketis Music, 2016
This worldly delight is subtitled “throat singing from the shores of Bailkal”. And if you cannot imagine what throat singing is, it will become clear very quickly. Bailkal is a Russian lake just north of Mongolia and the music here conjures up visions of that rugged terrain. It is brisk with mysterious components mixed in with spritely fun dance oriented melodies. The singing comes deep from the throat with a low vibration something just north of a didgeridoo sound. They vary it from time to time, with voices in the more expected registers. The music varies as well too, with some nice psychedelic electric guitar in one cut making way for delicate acoustic guitar in the next. This is a lot of fun and a unique album in a world where unique is hard to do (especially when not going crazily experimental).
© David Hintz
The Fair Rain "Behind the Glass"
Transition Records; 2016
This band effort has that modern style that understands the 1960s and 1970s UK scene and wants to build on that with a fresh sound to this approach. The New St. George and Show of Hands have done this fairly well already, and there are many more. I think this is a fine professional effort, but it does not quite hit the right buttons to resonate into an exciting listening experience. It should find an audience and may be better in the clubs, but I can’t really find anything to cling on to here.
© David Hintz
Tony McLoughlin + Marion Klein "Where is Jack"
Fuego; 2016
These two guys play a roots oriented bluesy folk blend of seemingly easygoing music that has layers of emotional depths. They play guitar and drums respectively, but are aided by a bassist and a couple of other musicians to thicken the sound nicely. It is not designed to jump out at you like many a blues LP I hear rocking out these days, but instead crafts an environment that pulls you in like a good short story. There are some startling beats and electric guitar moments that will shake you up a bit and that makes the quieter moments all the more resonant. Give this a thorough listen and you may just get hooked like I did.
© David Hintz
Annie Keating "Trick Star"
Own label; 2016
This is full band country folk rock approach that focuses on varied combinations of those three styles. There is a countrified roots end to this all, but it never gets too corny. The vocals are smooth and tell their story with a nice touch. The band can rev it up to honky-tonk now and then, but mostly keep it steady with plenty of musical highlights to accompany the lyrical melody. It is a fine effort, not always my cup of tea, but occasionally moves me.
© David Hintz
King of the Tramps "Cumplir con el Diablo"
Old School Records; 2016
Pick a point somewhere in between dirty blues and outlaw country and you have an idea of the organized din cooked up by the King of Tramps. This doesn’t have the chaotic edge of some dirty blues acts, but has an intense and pointed vocal style and a super tough sound. It is in your face, but is not too intense for the average blues fan. I enjoyed the cutting lyrics, especially the attack on the Nashville music industry in ‘Nashville Line’. They even pull back to near gentle moments in some songs, which helps give some variety to the album. It is a fine collection of songs as these guys prove tough and thoughtful in both music and lyric. They are well worth spending some time with, just not late in the evening at the bar.
© David Hintz
Robert Rex Waller, Jr. "Fancy Free"
Western Seeds Records; 2016
This is an album of other people’s songs. Robert Rex Waller, Jr. provides a powerful voice and guitar, but it is voice, which reminds me of a deeper Willie Nelson that will captivate you. And he has a fine band who works well with the varied song choices. The country numbers are clean with vocal clarity on top, while the Neil Young song ‘Albuquerque’ rocks with gusto. There are cuts by Dylan, Ray Davies, and Willie Nelson among others, so he makes some excellent choices. But he really grabbed me with a cover of one of my favorite Doors’ songs, ‘The Crystal Ship’. It may be covers, but it is well done and highly personal, so it stands as an original album in my book.
© David Hintz
John Pinamonti "The Usual"
Own label; 2015
Although this is a nice album, it does not quite rise to the level of something that stands out from the pack. Nothing wrong with Pinamonti’s voice and music, it is more a matter of songwriting that follows well established country/folk/singer songwriter patterns that do not break out of what I have heard so many times before. As I often say about music that is lightly likable, I think it would be a pleasure in a live setting.
© David Hintz
The Grahams "Glory Bound"
Own label; 2015
The Grahams are a guitar-slinging couple featuring lead female vocals coupled with a full band behind them. This is a hefty Americana rock sound. The songs vary nicely from honky-tonk to folk to neo-gospel and various points in between style, tempo, and volume. It is a rich fulfilling album with enough going on that you will feel like you have been through their world by the time of its close. Well done.
© David Hintz
Kent Nielsen "Shotgun Seat DJ"
Viking Wreckchords, 2016
Kent Nielsen recently performed a set of ukulele folk punk on the ‘almost acoustic stage’ of the Rebellion Festival in Blackpool, England. Although my brother flew over for the event, he stayed glued to the electric stages with a feast of nearly every UK punk band in existence along with many powerful American acts. Kent Nielsen likely did well based on this outing as he has a smooth voice and a way with a tune. Fortunately for people who don’t like things too sparse, he has loads of guitar, piano and rhythm section help here and can be quite electric at times. So this is far more folk rock than punk rock, although the themes are somewhat similar. But of course they always have been. Good record, no matter what your preference.
© David Hintz
Ian Hunter & the Rant Band "Fingers Crossed"
Proper, 2016
Ian Hunter is still delivering new music and it is always welcome in this house. He starts off slow and steady with an opening number where he sounds like an old bluesman with a gruff weathered voice. While he has every right to do so in 2016, it is even more welcome thereafter with more varied cuts that hearken back to the Mott the Hoople days and his stellar early solo career. ‘Dandy’ is an excellent David Bowie tribute with that musical touch of glam that Mott and Bowie connected on so well for ‘All the Young Dudes’. And that is the key to why it is still worth hearing Ian Hunter. He just has that style and panache that make solid rock songs into something more fun and attractive. His Rant Band is well recruited to provide the flourish to these ten songs. Long may Mr. Hunter rock.
© David Hintz
Seth Lakeman "Ballads of the Broken Few"
Cooking Vinyl, 2016
This is another aptly named record as Lakemen has a strong songwriting style where he captures the power in the smaller stories. His Americana based folk has a depth and authenticity far superior to many similar acts. On this eighth album, he is fine form yet again and has the able assistance of a female trio called Wildwood Kin. The haunting violin is particularly effective along with the backing vocals in creating a vivid atmosphere for Seth Lakeman to carry these powerful songs forward.
© David Hintz
Iron Bridge Band "Against the Grain"
Messej Media; 2016
The rich sound of a guitar band with a big production greets you before the sound even has the chance to echo. They certainly are not the first band from New Jersey to sound this big and bold, as it kind of goes with the territory there, along with a gritty tough, blue collar type base. That is here as well, although this sounds a bit more mainstream with the vocals, as opposed to the dark late night bar feeling. They vary the tempo and song style but nothing is particularly folky (aside from the nice ‘Light in August’), just more rock variations. And although this is way too mainstream for me, I would be lying if I didn’t admit to tapping my foot and remembering some of my early 1970s rock favorites on the radio.
© David Hintz
Rachael Sage "Choreographic (Acoustic)"
MPress Records, 2016
Apparently these are the acoustic mixes, but I do not know if there is anything electric to compare to, so it will just be these eleven songs as they are. The first thing of note is that although acoustic, it is a full and rich sound with the strings added to the piano and vocals. There are some songs that have an acoustic guitar leading the way, but it is the strings that are ever present and offer the interesting textures for the songs. The vocals are quiet, but with an intensity when needed. The songs remind me of a more up to date Blackmore’s Night, but not quite that big. It is a fulfilling listen, here.
© David Hintz
Ivor Game "A New Start"
Own label; 2016
London’s Ivor Game is back with another album and that is always welcome in this household. His breezy style is always a pleasure, exemplified by his nimble vocal work atop his active acoustic guitar foundation. The songs are short, snappy, to the point, and there are just nine here, so it’s more of a long EP of sorts. The important thing is that these songs are interesting and so self contained, that they command a presence in spite of their light breezy nature. I am sure Ivor Game can hold your attention on stage and he does so on this fine record.
© David Hintz
Ravi Shankar "In Hollywood 1971"
Northern Spy Records, 1971/2016
What more can you say about Ravi Shankar? He is simply the master sitarist, at least the most famous sitarist of all time thanks to the Beatles and the many more artists who discovered the instrument and marveled at his playing. Invited to most of the festivals, Shankar gave Indian music great exposure in the west, where it still resonates off those droning companion strings today. Although his daughter keeps the Shankar name relevant today with her outstanding music, we still get the benefit of further releases from her father. The title states exactly what this is and specifically it is four long drones with one clocking in at 53 minutes!
© David Hintz
Loamlands "Sweet High Rise"
Trekky Records; 2016
Loamlands has sort of an Americana base to their folk rock, but it is slightly more universal and a bit more rocking in the majority of the songs. Still, the female vocals have that searching quality that is found many a fine folk singer with just enough strength to stand up to the more electric moments. They are from Durham, North Carolina, which is somewhat of a crossroads between the Deep South, the intellectual world, and the heartland. That seems to show up in this release as there is a lot to chew on, no matter which way you lean, rock or folk wise.
© David Hintz
Colin Newman "A-Z, Provisionally entitled the Singing Fish, Not To"
Sentient Sonics; 2016
I am stretching the boundaries of folk once again, but when you have the first three LPs of Wire’s Colin Newman supplemented with demos, B sides, and other rarities in a package release of 95 songs over 6 CDs, well, stretching is what you do. After the initial split of Wire, Newman and drummer Robert Grey moved on to continue Wire’s pursuit of experimental pop music, while Gilbert and Lewis explored ambient territory that made Eno’s ambient music look like Bach. These albums were released annually immediately after Wire folded following three magnificent LPs. Newman nearly matches that level in ‘A-Z’ with sharp edged experimental pop music. ‘Provisionally…’ is a bit more experimental and includes some loner folk moments, or at least songs that you may mistake for that. The third LP ‘Not To’ works similar territory to the first. The real bonus is the extra material here, which includes alt versions along with many quality songs that somehow did not make it on to the LP (well there was only so much room, then). This is a set I will be heading back to for a long time. FolkWorld readers that like deeper folk moves in more of a droning rock pattern with pop hooks should give this a try.
© David Hintz
Jon Boden "Painted Lady"
Navigator Records, 2006/2016
The first few musical phrases were enough to yank me into this fine creative folk album from the lead singer of Bellowhead. This is actually a rerelease of a 10-year old LP and I thank Navigator for making it available for those of us that missed it the first time. Boden was born in rough and tumble Chicago, but quickly made it over to the UK and both influences are shown here. While there is a strong folk/singer songwriter base present, there are several journeys into experimental rock as if Tortoise tried to go folk. Unsurprisingly, Boden has composed music for film and theater as you can hear exotic emotions present in these songs. The range is vast and yet the music cuts right into you. Fans of Tim Buckley will detect some of the vocal qualities and some of the audacious composition skills here, which makes for something special.
© David Hintz
Hoots & Hellmouth "In the Trees"
Own label; 2016
This is strong Americana album, but it does not stay deeply within the genre. Instead, there is a classic pop rock sensibility to it. The Americana portion has more of an urban smartness to it rather than a deep in the Appalachians feeling. It is almost as if Morrisey were to take a shot at Americana. And most importantly, this is a successful outing. The songs are quite powerful whether quietly arranged or with big bold sounds building the strong framework. This album should be able to attract a wide variety of music fans, just as most skilled mulit-genre (or beyond genre) albums do.
© David Hintz
Adrian + Meredith "More than a Little"
Own label; 2016
Adrian and Meredith Krygowski were a part of the DC scene, but now have moved on to Nashville. Although the Nashville sound is there, they have a nice edge to the twang in voice and guitar. They also have a host of musicians adding heft to their fine Americana based country music. The swinging rock moves on the title cut and ‘Southern Call’ are quite welcome to these ears as the band can cook up a nice ruckus with the vocal work shaping out a well developed song. If the songs are hearty and delivered with a bit of an edge and some pace, then this sort of Americana works well for me. Fortunately, Adrian and Meredith deliver the goods on these eleven songs. And there is enough variety in pace and tone, to make this an album to come back and explore some more.
© David Hintz
ESP Ohio "Starting Point of the Royal Cyclopean"
Rockathon, 2016
While not folk in the truest sense of the genre, Guided by Voices’ Robert Pollard writes so many songs, that more than a few can work their way into the singer songwriter style. And a song like ‘Tom Tom Small and Wonderful” may show some fuzzy electric guitar, but at heart is a balance pop rock song with folky vocals and melody. The real key on this album is with fellow collaborator Doug Gillard, who is a much-underrated part of GBV’s history, as well as his own solo projects. Gillard is the type of guitarist and songwriter that can pretty much join any band and make it better. Folk purists look elsewhere, but for those in search of a hook with a guitar edge, look no further. I will always seek out the Pollard-Gillard collaboration whenever they choose to work together.
© David Hintz
J. Hardin "The Piasa Bird"
Own label; 2016
Just seven songs here, but they are long enough and varied enough to give me an idea of the singer/songwriter, J. Hardin. He is from Alton, Illinois, so he is living on the classic blues trail and his brand of folk music certainly has some of that blues feeling within. He has a weathered romantic vocal style and a steady band behind him, which can ramp it up a bit when needed. I particularly liked the murderesque ballad, ‘Shot My Baby Down’, as it has a strong arrangement and a biting vocal line. The rest of the album is decent and showcases an artist that knows how to turn a phrase and who is well worth spending some time with.
© David Hintz
Ben Glover "The Emigrant"
Proper, 2016
Ben Glover is Irish born and Nashville based and there is a whole lot of geography, musical and physical, in between. It is fitting that the first cut, ‘The Parting Glass’ sounds like a sea shanty with Glover’s Emigrant crossing the ocean. Thereafter we have nine additional songs covering a variety of issues and often hearkening back to Irish sounds. But the overall result is more universal, which seems to be as planned. It is hard to find anything not to like in these warm songs. And there is ‘The Auld Triangle’ and ‘…Waltzing Matilda’ for you trad buffs.
© David Hintz
Daniel Green "Down & Up Again"
Own label; 2016
This folkish singer songwriting outing definitely takes on a modern flair. It is not overt with any sort of electronica backing, but more in the spirit of the songs and melodies. The vocals are fragile and may be an acquired taste. There are hits and songs less so, but I particularly enjoyed a sparkling cut like ‘Everyday Life?’ as an example of modern folk done well. ‘Dead Machines’ also had some interesting vocal counterpoints and some compositional surprises. Like it or not, it will be an engaging listen.
© David Hintz
Cassie and Maggie MacDonald "The Willow Collection"
Own label; 2016
In the finest tradition of Celtic folk, these sisters offer a collection of songs dealing with willows and so much more. They are from Nova Scotia, a place that offers a magical connection between Celtic roots and the new world. From a classic like ‘Let No Man Steal Your Thyme’ to their original songs, that magic is present here. There is instrumental panache between violin and acoustic guitar in addition to the fine vocal work. This is a fine addition to the rich and fertile folk lands of eastern Canada.
© David Hintz
Chickn "Chickn"
Inner Ear Records; 2016
I have always enjoyed the psychedelic folk music of Greece, from Dionysus Savopoulos to Poll. There is usually a strong progressive rock thread in just about every band. All of that is here and although it is a bit heavy at times, the classic themes come through clearly. The opening number even channels some of the swampy world music of Dr. John, particularly of his ‘Gris-Gris’ period. While voodoo may not be at the heart of Chickn, there is some alchemy at work here.
© David Hintz
Orkesta Mendoza "Vamos a Guarachar!"
Glitterbeat, 2016
This is a breath of fresh air. The band constantly keeps me guessing in terms of geography as well as a timeline. It is wordly in the extreme and has loads of pop elements along with some sixties psychedelia like you would get in the Tropicalia sound of Brazil. Yet somehow this band is from Tucson, Arizona. They add some eastern European gypsy moves as well as some fine lounge vocals. The songs are fresh and invigorating and everything is performed with class and verve. So if you want a bright ray of sunshine in your life with plenty of interesting sounds to contemplate during your pleasure, give this a thorough listen.
© David Hintz
Tribe Royal "Colours of the Sun"
Own label; 2016
We have another Canadian folk-rock band, but this time not from the traditional lands of the east, but from the capitol city of Ottawa. As a result, you hear more of a universal folk rock/singer songwriter approach with roots from various parts of North America. There is a fine range of contemplative songs and more up-tempo fun cuts. They showcase solid songwriting as a base for their fine playing and vocal harmonies. Tribe Royal is smart, with heart, and does well with this album.
© David Hintz
