Keep scrolling down the page for our blog/program guide.
Pics, bios, reviews, album art and links to where you can purchase the music featured on the show!
Beggars Will Ride- Larry and his Flask- “All That We Know”
A Long Ride Home- Georgia’s Horse- “Weather Codes”
Ride In My Car- The Chicago Thieves- “In The Windy City”
Ride With The Tide- Emilie Mover- “Mighty Time”
Let It Roll, Let It Ride- The Notorious Cherry Bombs- “Notorious Cherry Bombs”
Ride Me High- J.J. Cale- “Troubadour”
Riders On The Storm- The Doors- “The Very Best Of The Doors”
Hot New Stuff:
When Spring Comes Around- Paddy Mills- “Race To The Bottom”
I Always Get Lucky With You- Suzy Bogguss- “Lucky”
Eagle In A Whirlpool- Ray Manzarek and Roy Rogers- “Twisted Tales”
Home Is Not A Hotel- Truckstop Honeymoon- “The Madness Of Happiness”
North Beach- Jeffrey Halford and the Healers- “Rainmaker”
Drivin’ Nails- Rhonda Vincent- “Only Me”
Race Track Blues- Lee Rocker- “Racin’ The Devil”
Our Race Is Run- My Darling Clementine- “The Reconciliation?”
Race Track Blues- Johnny B. Moore- “911 Blues”
The Race- The Ragbirds- “Travelin’ Machine”
I’m Her Hoss If I Never Win A Race- Bobby Bare- “The Mercury Years”
The Race Track Song- Tumbledown House- “Fables And Falsehoods”
Racing Waves- Jerry Cole and his Spacemen- “Power Surf”
** Keep scrolling down the page for our informative blog/program guide. Follow along as you listen! **
Beggars Will Ride- Larry and his Flask
Larry and His Flask are a high energy, five-piece carnival of a band that incorporate rock, folk, bluegrass, soul, brass band, punk and alt-country into their own unique sound. Some people call what they do “folk-punk”, others call it “a bluegrass traveling circus” and everyone who’s seen them live rightfully call Larry and His Flask “down right WILD”. But no matter what you call it, this is a band that has to be seen to be believed.
The Flask hails from central Oregon, smack dab in the middle of the beautiful Pacific Northwest, and is comprised of Jeshua Marshall on contra bass and baritone, Ian Cook on electric guitar and lead vocals, Andrew Carew on banjo, trombone and vocals, Dallin Bulkley on acoustic guitar and vocals, and Jamin Marshall on drums and vocals. Since brothers Jeshua and Jamin Marshall founded the band in 2003 the band has gone through several lineup changes and fundamental changes to their sound, but they have always held true to their reputation for an foot-stomping, mind-blowingly great time.
Larry & His Flask from the ultra hippie nouveau town of Bend, OR have been making the rounds on the live circuit for years now, leaving legions of disciples and gallons of sweat behind at every stop. Putting out as much energy as any band has in the history of ever, and a lineup that necessitates shoving multiple tables together at every restaurant the tour van stops at, LAHF’s live show is impressionable to say the least.
But if you’re going to make you mark in music, you have to put out albums as well, and not just fleeting EP’s or split 7″‘s. At the same time, it is important to understand that LAHF is a live band first. To attempt to translate the energy of their live show to the recorded format, as well as the personality and brotherhood that make LAHF such a unique project, would be a massively-intimidating task for any band, producer, studio, or label. That is why I’m glad they waited a bit before putting out this album, and yes, it was worth the wait.
-Trigger, July 21, 2011, savingcountrymusic.com
Photo by: Lisa Johnson
A Long Ride Home- Georgia’s Horse
As any casual surveyor of the musical landscape will know, there has been a recent revival in folk music. Teresa Maldonado, a.k.a. Georgia’s Horse, adds to this concoction, slipping under the radar to offer handcrafted songs like woven blankets. In her latest release, Weather Codes, gentle breezes of melodies sweep through the record behind Maldonado’s airy voice––perfect for lounging in the country.
At first, the album seems like a mixed bag. The opening, “Apple,” features twangy strings and harmonica with bluesy group vocals. If Adele was Delta-fied, this would be her new single.
-Ian Chandler, June 27, 2013, survivingthegoldenage.com
Ride In My Car- The Chicago Thieves
The Chicago Thieves formed during early 2003 from the remaining members of the successful blues rock band, Unkle Munkle.
Craig Giles and Dave Searle were originally part of a blues band called The Gutbuckets, that formed in the late 1980’s. After several years gigging, the band members went their separate ways due to pending solo projects on the local circuit. Out of this development came the new band Unkle Munkle…
Unkle Munkle was a highly energetic and acclaimed outfit formed by Craig Giles, Dave Searle and former drummer Keith Hummerston (who was also in The Gutbuckets) during 1997. The band was then joined by James Batchelar on Keyboards and Danny Giles on guitars. After an intense period of time rehearsing up a new set of blues rock covers and original material, the band started playing at venues throughout the South East of England with great success.
The Chicago Thieves band is comprised of Lead Vocalist/Lyricist/Blues Harpist Craig Giles, Guitarist/Vocalist Dan Giles, Keyboardist James Batchelar, Bassist Dave Searle, Drummer Tony Still.
“Feels like a hurricane blowin’, feels like the wind’s gonna blow. Heard the thunder and lightnin’, Even heard the rooster crow”.
This line from The Chicago Thieves’ “Don’t Leave Me” sums up the band’s core philosophy and electrifying live performances. The five piece Sussex band has enough energy to power a small fleet of motor vehicles. It’s a fuel that burns full-throttle, ignited by the heat of soulful vocals, soaring guitar riffs and a grooving rhythm section that sets the house rockin’ with power and passion.
Formed in 2003, in Sussex, England, The Chicago Thieves have entertained audiences all over Southern England, and have released 2 independent CDs of their red-hot and bluesy compositions.
Ride With The Tide- Emilie Mover
The concept of time is one that fascinates Emilie Mover, from the microcosmic musical elements of rhythm and tempo to the history of the human experience and beyond. It’s one she explores in detail on her latest full-length Mighty Time – lyrically, thematically, and also musically through sounds borrowed from various decades, never getting lost in her travels.
The follow-up to 2011’s Seem So Long, Mighty Time is set for release in Spring 2013 through Nevado Records (Bahamas, Library Voices, Yukon Blonde) and showcases a far more eclectic side of this silky-voiced twenty-something, stemming from her recent focus on the latter half of her singer/songwriter title.
Bouncing between her adopted hometowns of Toronto and New York (she’s a native Montrealer), Mover spent much of her time between her latest LPs writing music for a myriad of projects and artists – from a children’s album to a full-length tribute to jazz innovator Peggy Lee.
“I saw any opportunity to write songs as a new challenge,” she shares.
Montreal-born, Toronto/New York-based and 20th-century trained Emilie Mover’s latest record travels piecemeal through the last century of contemporary music, grabbing bits and pieces of its most popular genres and dropping them 10 at a time into songs held together by some of the most addictive chord progressions I have ever heard. Mover’s lyrics reek of adulthood; the whimsical pseudo-twee of Feist or She & Him is nowhere to be found, replaced with songs of amicable breakups and befuddled heartache.
Mover’s lyrics stand up to close scrutiny, but the real wonder of her songs is the way her voice intertwines with her piano, the way her melodies build tension within the chords, the way her songs differentiate themselves from one another. Mighty Time contains coy jazz-pop, astute psychedelic bossa nova, laid-back lounge music, bouncy folk-pop, serene Icelandic chord stretches and plenty of fragments that I can’t even name.
-beatrouteab, June 13, 2013, beatroute.ca
Let It Roll, Let It Ride- The Notorious Cherry Bombs
A Nashville supergroup led by singers/songwriters Vince Gill and Rodney Crowell, the Notorious Cherry Bombs trace their origins to Emmylou Harris’ fabled backing unit the Hot Band. According to legend, upon signing to Warner Bros. in late 1974 Harris was instructed by label execs to assemble “a hot band,” and the singer immediately set about bringing together the finest session musicians in contemporary country. The first incarnation of the Hot Band — guitarists Crowell and James Burton, steel guitarist Hank DeVito, pianist Glen D. Hardin, bassist Emory Gordy, Jr., and drummer John Ware — made its debut behind Harris during a three-night stint at San Francisco’s Boarding House in the spring of 1975; when Burton fell ill the following year, guitarist Albert Lee was named as his replacement, cementing the group’s longest-lived and most acclaimed incarnation.
-Jason Ankeny, AllMusic.com
The Notorious Cherry Bombs are the country music equivalent of a supergroup. Most of the members of this band — Rodney Crowell, Vince Gill, Tony Brown, and Hank DeVito — all met while playing together in Emmylou Harris’ Hot Band. The original Cherry Bombs were Crowell’s recording and touring band after he left Harris’ group. Guitarist Richard Bennett stepped into the Cherry Bombs when Albert Lee left to tour with Eric Clapton. The late drummer Larrie London was also a member of that band, as was Emory Gordy. While London makes an appearance by the magic of tape, Gordy had no interest in the reunion. Also present on this set are Nashville session hotshots Eddie Bayers, John Hobbs, and Michael Rhodes. Jenny Gill, Vince’s daughter, sings backup on one track as well. Sonically, the music is loose good-time country-rock, and the gorgeous harmonies between Gill and Crowell are a high point.
-Thom Jurek, AllMusic.com
Photo by: John Chiasson
Ride Me High- J.J. Cale
With his laid-back rootsy style, J.J. Cale was best known for writing “After Midnight” and “Cocaine,” songs that Eric Clapton later made into hits. But Cale’s influence wasn’t only through songwriting — his distinctly loping sense of rhythm and shuffling boogie became the blueprint for the adult-oriented roots rock of Clapton and Mark Knopfler, among others.
-Stephen Thomas Erlewine, AllMusic.com
Photo by: Jane Richey
Riders On The Storm- The Doors
The Doors, one of the most influential and controversial rock bands of the 1960s, were formed in Los Angeles in 1965 by UCLA film students Ray Manzarek, keyboards, and Jim Morrison, vocals; with drummer John Densmore and guitarist Robby Krieger. The group never added a bass player, and their sound was dominated by Manzarek’s electric organ work and Morrison’s deep, sonorous voice, with which he sang and intoned his highly poetic lyrics. The group signed to Elektra Records in 1966 and released its first album, The Doors, featuring the hit “Light My Fire,” in 1967.
Like “Light My Fire,” the debut album was a massive hit, and endures as one of the most exciting, groundbreaking recordings of the psychedelic era. Blending blues, classical, Eastern music, and pop into sinister but beguiling melodies, the band sounded like no other. With his rich, chilling vocals and somber poetic visions, Morrison explored the depths of the darkest and most thrilling aspects of the psychedelic experience.
-Richie Unterberger, AllMusic.com
When Spring Comes Around- Paddy Mills
Paddy Mills is an award winning folk singer/songwriter whose songs are as salty as the Maine coast he calls home. Like Greg Brown on helium, Mills can spin a yarn; “projecting those stories as short movies onto the inside of our forehead for us to watch with our minds eye”, -MaineFolkMusic.com. In 2013 Paddy was the Winner of both the Woody Guthrie Folk Festival Songwriting Contest and the Rose Garden Coffeehouse Performing Songwriter Competition, and has started 2014 by winning the South Florida Folk Festival Singer-Songwriter Competition and taking Gold in the Mid Atlantic Song Contest, Folk/Acoustic category.
Paddy’s 2011 solo acoustic album 3 Lefts sounds “as though he were right there in your living room. For some artists, the more raw the recording, the more exposed their shortcomings. But to Mills’ credit, his congenial delivery makes for one smooth listen” –Portland Press Herald. This is true also of his live performances. Whether at a coffee house, Festival, folk club or the corner of a bar, Paddy has a way of making listeners feel like they’re sitting in a living room listening to the telling of old familiar stories about their own family and friends.
As a Folk Singer, Paddy maintains an extensive repertoire of Irish, American, Maritime, Nicaraguan and Labor folk songs. His knowledge of and respect for traditional music is reflected is his own writing.
As a songwriter, Paddy has a knack for the overlooked. He knows that common sense is not so common, and simple truths are not so simple. Mainefolkmusic.com describes his songs as “intimate, heartfelt, finely crafted, and masterfully performed” Most importantly, though, Paddy’s music can leave you grinning like you’ve just been let in on a secret — one that you might just have known all along.
Photo by: Rick Perry
I Always Get Lucky With You- Suzy Bogguss
One of the most acclaimed female country singers of the late ’80s and ’90s, Suzy Bogguss was able to balance country tradition with a contemporary mainstream sensibility, thereby satisfying both audiences and critics. Bogguss was born in Aledo, IL, in 1956, and began singing in her church choir at age five. Encouraged by her parents, she learned piano and drums as a child, and took up guitar as a teenager. While studying art at Illinois State University, she performed in local coffee houses and clubs, and after graduating in 1980, she hit the road, playing wherever she could find a gig around the Midwest, Northeast, and even parts of Canada. She moved to Nashville in 1985 and worked as a demo singer while playing in clubs by night; she later took a job singing at the Dollywood theme park and sold tapes of her own music, one of which got her signed to Liberty/Capitol when a label executive heard it. Bogguss released her first singles in 1987, and her debut album, Somewhere Between, appeared the following year.
-Steve Huey, AllMusic.com
Suzy Bogguss didn’t set out to craft a Merle Haggard tribute record. Some might call that serendipity; she just calls it Lucky.
“Merle Haggard is a hell of a storyteller,” says Suzy. “When I hear his songs, I feel like I’m listening in on someone’s life.” On her new album, Lucky, a collection of songs all written by Haggard, Suzy does more than just listen—the CMA, ACM and Grammy Award-winning singer makes the country rebel’s compositions her own, reinterpreting classics like “The Bottle Let Me Down,” “Silver Wings” and “Today I Started Loving You Again” from a female point of view.
“Merle is one of the most masculine songwriters I’ve ever heard, and I’ve been watching boys cover his music for years. I just thought, ‘Why couldn’t a girl do this?’” Suzy says.
Turns out, a woman can—especially if that woman is Suzy Bogguss, one of country music’s most pristine and evocative vocalists.
Eagle In A Whirlpool- Ray Manzarek and Roy Rogers
Eight years ago, slide guitar virtuoso Roy Rogers began an amazing musical collaboration and momentous friendship with The Doors legendary keyboardist Ray Manzarek. After Manzarek’s untimely death in May of 2013, Rogers felt awkward at first about releasing Twisted Tales their final studio album together. Rogers stated …
“I just decided to release it, music is made to be heard, there’s no agenda, it’s good music, fun music, and a great testament to our collaboration.”
Twisted Tales was released on June 18th 2013 and dedicated to the memory of Ray Manzarek. The unlikely musical duo of Manzarek and Rogers substantiated the concept “opposites attract,” and in this case… beget innovative, eclectic, and obscure musical magic. Although Rogers is perceived for slide guitar and delta blues, Twisted Tales is a completely new adventure.
-Ray Shasto, August 22, 2013, examiner.com
“Roy Rogers means the modern master in the art of slide guitar…His versatility with the technique is nothing short of astonishing.” ~ All Music Guide
Roy Rogers is considered one of the world’s premier slide guitarists performing today. With 8 Grammy nominations as producer and performer, he is also an internationally acclaimed producer, having produced recordings for John Lee Hooker (4 Grammy Nominations and 2 Grammy Awards) and Ramblin’ Jack Elliott (2 Grammy Nominations). He has received numerous accolades for his songwriting (Grammy Nomination for ‘Song for Jessica’, Grammy nomination for Bonnie Raitt for Best Rock Female Vocal on ‘Gnawin’ On It which he co-wrote), as well as his work on movie soundtracks and television.
One of the most influential keyboard players in the history of rock music, Doors member Ray Manzarek was born on February 12, 1939. Born to Polish immigrants in Chicago, Illinois, he grew up admiring the boogie-woogie piano players that became popular in the ’50s. After dropping out of UCLA’s law program, he reconsidered going to graduate school, eventually going back under their prestigious film program. It was in this environment that Manzarek helped form the Doors. Being one of the most influential rock bands in America, they would go on to release several albums before the untimely death of lead singer Jim Morrison in July of 1971. Devastating the band, they attempted two albums without Morrison featuring Manzarek on vocals, but fan support was low and the band slowly fell apart.
In 1973, he released his first solo album, The Golden Scarab, and began to tour again. 1974’s The Whole Thing Started With Rock & Roll Now It’s out of Control came next, but Manzarek was itching to work with a band again and eventually started Ray Manzarek’s Nite City. They released an eponymous album in 1976 and Golden Days Diamond Nights in 1977, but they failed to capitalize on the success of the original Doors and fell apart again. It was soon after that that the punk movement became a driving force in Los Angeles, and the band X contacted Manzarek about working with them in a production capacity. The end result was Los Angeles, one of the all-time most important punk albums.
-Bradley Torreano, AllMusic.com
Home Is Not A Hotel- Truckstop Honeymoon
“ONE OF THE MOST INTEGRATED, ENJOYABLE, COUNTERCULTURE ACTS AROUND”
Dirty Linen Magazine, USA
“BLUEGRASS, PUNK-ROCK AND A PALPABLE DOSE OF SOUL
The Pitch, Kansas City MO
Hollering with all their hearts over a five string banjo and a doghouse bass, Truckstop Honeymoon live the life they sing about. Touring across three continents with four kids and a truck load of songs, Katie and Mike West tell stories about the strangeness of everyday life. Their music combines elements of bluegrass, music hall jazz and straight up rock’n’roll. Vaudevillian wit and showmanship spike their energetic live shows, while the fearless honesty of their songs touches the hearts of listeners around the world.
In eleven years Truckstop Honeymoon have released eight CDs and a full length documentary film on Baton Rouge label, Squirrel Records. They perform at International folk festivals, rock clubs, neighborhood bars, house concerts and hay barns from Nebraska to Tasmania.
“TALES OF CHEATING SPOUSES, BAD ATTITUDES, SHORT-CHANGE ROMANCES, ENDLESS ASPHALT AND DODGY DINERS, ALL TOLD WITH A “PSYCHOBILLY” SENSE OF PLAYFULNESS, RINGING BANJO AND A BASS AS CERTAIN AS A HIGHWAY CENTERLINE”
The Herald, Newcastle, Australia.
“THEY SPIT ON ENOUGH CONVENTIONS TO KEEP THINGS INTERESTING”
The Onion, Madison WI
Truckstop Honeymoon’s story begins in New Orleans, where Katie played wash-tub bass and blues piano in the streets of the French Quarter. There she met Mike, who slung a banjo and sold his CDs to tourists as a curative for hangovers and small mindedness. After a court house wedding, they hit the road together. They spent their wedding night in a truck stop somewhere between Lafayette and the Atchafalaya Swamp. There Truckstop Honeymoon was born.
Truckstop Honeymoon don’t want to be just “one more thing on your list of chores,” but picking up their latest album, The Madness of Happiness, should definitely get penciled into your to-do list somewhere between “pay rent” and “buy groceries.” The aforementioned opening track “List of Chores” captures the urgency of The White Stripes at the height of their powers, something seemingly only possible with a two-piece band configuration. The biggest difference with the music of Truckstop Honeymoon is that they fully embrace their country influences, kept in balance with an equal measure of straight-up rockabilly swagger for good measure.
The Madness of Happiness is a portrait of a simpler time, when life’s most pressing concerns included picking up after one’s own messes, juggling multiple pregnancies, and finding time for love. There’s not an auto-tuned vocal or synthesizer to be found in sight, and that’s exactly how Truckstop Honeymoon like it.
-Leks Maltby, March 24, 2014, asidebeside.blogspot.ca
Photo by: Pete Romano
North Beach- Jeffrey Halford and the Healers
San Francisco singer/songwriter/guitarist Jeffrey Whitmore Halford was born in Dallas, Texas, and grew up in the early 1960s listening to Roger Miller on a $2 transistor radio. In 1963, the year JFK was shot, his parents, Colin and Effie Lou, headed west with their two young sons to Los Angeles in their ’59 El Dorado.
By the time Halford turned 18, he had moved 10 times between LA and San Francisco, his dad in search of that proverbial better job and better life. He criss-crossed the state, living in, among others, Torrance, Berkeley, West L.A., Westchester, and San Mateo and weaned on the musical maelstrom of LA radio in the ’60s and ’70s. Flat broke at times and battling the bottle, Halford’s parents had low points-”evictions, Christmas trees crafted from fishing poles, hangers, and telephone books, and car crashes, with his mom demonstrating a propensity for totaling his dad’s favorite cars”and better times, when the family listened to music and read. Surrounded by the albums of Ray Charles, Dave Brubeck, Johnny Cash, Joni Mitchell, Elvis, and Buffalo Springfield, Halford soaked up the best of American music. His mom’s favorites were Dylan Thomas and Walt Whitman, while Halford’s were Raymond Carver and Pablo Neruda. Books and music were the family’s salvation.
“Halford’s songs can serve as sagas of America that can stand for all time.”
John N. Lomax
“Halford is probably one of the finest slabs of roots rock and country fried blues and soul you’ll hear in this or any other year. Halford is the total package: an engaging singer with razor-sharp guitar chops who writes catchy songs loaded with storied lyrics-it’s almost frightening how good this guy is.”
Salt Lake City Weekly
“This is great rootsy rock music. Halford’s slide playing is raucous, raw, and foreboding. His poetry transcends the run-of-the-mill lyrics.”
No Depression Magazine
“I am here to place Jeffrey Halford up on the pedestal with such figures as John Fogerty, Randy Newman, Alejandro Escovedo, John Prine and Bob Dylan in the pantheon of great American singer-songwriters.”
OC Weekly/ Los Angeles
Drivin’ Nails- Rhonda Vincent
Bluegrass vocalist and fiddler Rhonda Vincent began her professional music career at the age of five, playing drums with her family’s band, the Sally Mountain Show. She picked up the mandolin at eight and the fiddle at ten, performing with the family band at festivals on weekends. After appearing on TNN’s nationally televised You Can Be a Star program in her mid-twenties, Vincent struck out on her own, singing with the Grand Ole Opry’s Jim Ed Brown, eventually leading to a deal with Rebel Records. Her work with Brown and her Rebel recordings caught the attention of Giant Nashville’s president, James Stroud, who signed Vincent to record two contemporary country albums. After her time at Giant, she moved to Rounder Records, and demonstrated her passion for the traditional music she grew up with, on Back Home Again.
A car accident in December 1999 kept her from a planned trip to Nashville for auditions, so she hired her band (unusually named the Rage) through the Internet. Rhonda Vincent & the Rage have gained popularity at bluegrass festivals since their formation, playing hard-driving, high-energy contemporary bluegrass music.
-Zac Johnson, AllMusic.com
Rhonda Vincent knows her way around a song, whether it’s a slow country shuffle drenched in steel guitars or a skittering bluegrass tune propelled by fiddles. A singer’s singer, her voice is the gold standard in bluegrass and country music, and on this new double album, Vincent not only demonstrates her vocal depth and breadth but also honors the music that has inspired her over the years. With one disc devoted to six bluegrass tunes and the other devoted to six country songs, she illustrates that the lines between bluegrass and country music are permeable; it’s her voice that lends these songs their beauty, character, and power.
-Henry L. Carrigan Jr., February 3, 2014, engine145.com
Race Track Blues- Lee Rocker
Lee Rocker made his mark singing, playing, standing on, spinning and rocking his giant upright bass in the legendary music group The Stray Cats. Grammy-nominated, The Stray Cats have sold nearly 10 million albums and garnered an astounding 23 gold and platinum certified records worldwide. Founded by Rocker, Brian Setzer, and Slim Jim Phantom, The Stray Cats remain a radio staple, were music video pioneers at the infancy of MTV, and repeatedly brought rockabilly music to the top of the charts.
This powerhouse new disc has twelve songs, nine of which are originals that Lee Rocker wrote. His originals display a strength that is throughout the disc. They reflect his roots, his first love of Rockabilly, and are shot with a generous dose of the classic blues of early Muddy Waters. Think good greased back hair and ducktails of the late ’40s and early 50s and the classic sound of someone like Eddie Cochrane or Carl Perkins, with the effervescence and unpredictability of Jerry Lee Lewis. On this disc he has a tight and solid supporting band: Jimmy Sage on drums and both Brophy Dale and Buzz Campbell on guitars and backing vocals. They have that tightness that only comes from the long road of touring.
This is perhaps the best disc that Rocker has done, including his work with the Stray Cats.
-A review written for the Folk & Acoustic Music Exchange
by Bob Gottlieb, acousticmusic.com
Our Race Is Run- My Darling Clementine
One of the many definitions of harmony is.. agreement; accord; harmonious relations, so it is a sweet irony that in Country Music, the joining of two voices should so often be used to sing about disharmony. Songs of betrayal, regret, anger, guilt, revenge and hurt.
But it is that contradiction which draws us to this music. 2 people, singing to each other, about each other, while staring directly into each others eyes. As listeners we become voyeurs to something so personal. Like eavesdropping neighbours tuning into a domestic. We are at once curious, sad, compelled but yet unable to turn away.
The classic country duets were undoubtedly at their peak in the late 60s and 1970s, the likes of George Jones & Tammy Wynette, Dolly Parton and Porter Waggoner, Johnny & June and many more. Fast forward 40 years and those timeless themes are alive and well in the hands , and voices of……..My Darling Clementine (aka Michael Weston King and Lou Dalgleish)
Michael Weston King, the seasoned troubadour, and the former leader of U.K. Alt Country pioneers The Good Sons (who MOJO dubbed “England’s very own Uncle Tupelo…”,) is widely seen as one of Britain’s finest singer songwriters. He has made 10 solo albums and 4 with The Good Sons. Always on the road, both solo and touring with the likes of Nick Cave, John Cale, Guy Clark, Steve Earle, Roger McGuinn. His collaborations with Chris Hillman, Ron Sexsmith, Jackie Leven and the legendary Townes Van Zandt (who cut his own version of Michael’s song Riding The Range), have only enhanced his considerable musical reputation.
Lou DalgleishLou Dalgleish is quite simply one of, if not THE finest female singers in the UK. She has been praised by, and worked with the likes of Elvis Costello, Bryan Ferry, The Brodsky Quartet, and many more. From 1993 – 2000 she released 4 albums (including the acclaimed Live at Ronnie Scotts) that showed off her unique songwriting, her stunning vocals and unique interpretation of other works. A long time Costello fan she can also be seen appearing in the show, “They Call Her Natasha” a stage show based on his life and music.
“More terrific countrified thrills – On this form, it’s a winning formula that looks set to run and run”
Uncut, ******** 8/10
“A phenomenal piece of work”
Country Music People, ***** 5/5 – Album of the month
“An instant classic”
Maverick, ***** 5/5
“A brand new vintage classic. Exceptional”
Classic Rock presents Country, ********* 9/10
“The Reconciliation? is a 12 song 51 minute duet extravaganza. Without hesitation this album must be added to your ‘to get’ list.”
Three Chords and the Truth
“MDC have not made the best British country record ever, they have made the best two!”
Country Music People, ***** 5/5 – Album of the month
“File under ‘country album of the year.’”
The Beat / Netrythms – Album of the month
“Tammy and George can now rest easy in the knowledge that the country music duet is far from dead but in good hands.”
Americana-UK, ******** 8/10
“Dalgleish has one of the most perfect voices you’ll ever hear”
“A blueprint of how the golden age of the country duet can be revitalized and refreshed in the second decade of the twenty-first century.”
Three Chords and the Truth
“Songs that sounds like country classics even on first hearing.”
“This pairing is a match made in heaven. The Reconciliation? is a truly great album.”
American Roots UK
“Listening to this album one could almost be sitting in a flea-bit bar with a great jukebox belting out each of the songs here and quietly shedding a tear in one’s beer. Magnificent.”
Paul Kerr, Blabber ‘n’ Smoke (A Glasgow view of Americana)
Race Track Blues- Johnny B. Moore
Very few young Chicago bluesmen bring the depth and knowledge of tradition to the table that Johnny B. Moore does. His sound is a slightly contemporized version of what’s been going down on the West side for decades, emblazoned with Moore’s sparkling rhythmic lead guitar lines and growling vocals.
Moore first met the legendary Jimmy Reed in Clarksdale, when he was only eight years old. By the time he was 13 or so, Moore was sharing a bandstand or two with Reed up in Chicago. Letha Jones, widow of piano great Johnny Jones, took an interest in Moore’s musical development, spinning stacks of blues wax for the budding guitarist.
Moore joined Koko Taylor’s Blues Machine in 1975, touring and recording with the Chicago blues queen (on her 1978 LP for Alligator, The Earthshaker). He went out on his own around the turn of the ’80s, waxing a fine 1987 album for B.L.U.E.S. R&B, Hard Times, that impressively spotlighted his versatility.
-Bill Dahl, AllMusic.com
The Race- The Ragbirds
Like a mix tape made by a well-traveled friend, The Ragbirds music is diverse and foreign, yet somehow familiar. The voice at the front of The Ragbirds carries the freshness of the journey itself, and the lyrics point out the scenery like a friendly tour guide.
With a brand new album in 2012, this up-and-coming Michigan band has been traveling the country with their “infectious global groove” gathering a passionate grassroots fan base of all ages.
The 2012 release of The Ragbirds fourth studio effort Travelin’ Machine is a new milestone for the band. It’s the soundtrack of the observant road-warrior, with layers of world grooves that stir the listener to move. The songs strike a balance between home and adventure, drawing upon elements of Pop, Gypsy, Afro-Cuban, Celtic, Middle Eastern and African sounds, with a little Cajun spice.
The energy of multi-instrumentalist Erin Zindle demands attention. She is the songwriter and front woman of the band, skillfully switching between violin, mandolin, accordion, banjo and percussion, all while dancing. Zindle wears an infectious smile and a positive message, always spun through a poetic loom.
“It’s folk-rock music at the heart of it”, says Zindle, who started the band with her husband, percussionist Randall Moore, “but I’m influenced and moved by sounds from all over the world”. This interest in world music came first from her own roots. With two Irish grandmothers, the young violinist struck ancestral gold when she discovered Celtic fiddling as a teenager. At this same time the music of artists like Paul Simon, Rusted Root, and Peter Gabriel stirred up a deeper longing, bringing distant ethnic sounds into her small suburban Buffalo, NY bedroom. She began seeking out the source of these sounds and her love for travel and world music became a life-long passion.
Zindle and Moore began their relationship busking on the streets of Ann Arbor with Celtic and gypsy fiddling over tricky beats of tambourine, Middle-Eastern doumbek and tabla.
I’m Her Hoss If I Never Win A Race- Bobby Bare
Bobby Bare’s story is nearly as fascinating as his music. Bare’s mother died when he was five. His father couldn’t earn enough money to feed his children, forcing the family to split up. Bare was working on a farm by the time he was 15 years old, later working in factories and selling ice cream to support himself. Building his first guitar, he began playing music in his late teens, performing with a local Ohio band in Springfield.
In the late ’50s, he moved out to Los Angeles. Bare’s first appearance on record was in 1958, as he recorded his own talking blues “The All American Boy,” which was credited to Bill Parsons. A number of labels refused the record before the Ohio-based Fraternity Records bought it for 50 dollars; the fee also included the publishing rights. “The All American Boy” was released in 1959 and it surprisingly became the second-biggest single in the U.S. that December, crossing over to the pop charts and peaking at number three. The single was also a big hit in the U.K., reaching number 22.
Before Bare could capitalize on his success, he was drafted into the armed forces. While he was on duty, Fraternity hired another singer to become Bill Parsons and sent him out on tour. After Bare left the army, he became roommates with Willie Nelson. During this time, he decided to become a pop singer. Soon, he was touring with pop/rock stars like Roy Orbison and Bobby Darin, recording records for a number of California labels. Meanwhile, his songs were being recorded by a number of artists; three of his tunes were featured in the Chubby Checker movie Teenage Millionaire.
Even though he was having some modest success, Bare decided he wasn’t fulfilled playing pop music. Instead, he turned back to country, developing a distinctive blend of country, folk, and pop. In 1962, Chet Atkins signed him to RCA Records. By the end of the year, he had a hit with “Shame on You,” which was notable for being one of the first records out of Nashville to make concessions to the pop charts by featuring horns. The production worked, as the single broke into the pop charts. The following year, he recorded Mel Tillis and Danny Dill’s “Detroit City,” which became his second straight single to make both the country and pop charts. Bare followed up the single with a traditional folk song, “500 Miles from Home.” It was another big hit for the singer, peaking in the Top Ten on both the country and pop charts. Bare continued to rack up hits in 1964 and 1965, as well as appearing in the Western movie A Distant Trumpet.
As the ’60s progressed, Bare continued to blur the lines between country and folk, as he was influenced by songwriters like Bob Dylan, recording material by Dylan and several of his contemporaries.
-Stephen Thomas Erlewine, AllMusic.com
As the ’60s gave way to the ’70s, Bobby Bare left RCA Records for Mercury, beginning a two-year stint that found him with mixed fortunes, as he scored Top Ten hits without making much headway on the album charts. Despite the uneven commercial fortunes, this was an exceedingly rich time for Bare if judged solely in terms of music. He picked up on the rolling blend of country, folk, and rock & roll that marked his best ’60s singles from “Detroit City” to “(Margie’s At) the Lincoln Park Inn” and followed through on its promise, creating a layered, inventive body of work that stands as one of the peaks of progressive country and points the way toward the outlaw movement of the mid-’70s. Part of the reason that his recordings for Mercury worked so well is that Bare demonstrated exceptional taste in songwriters, covering new writers Tom T. Hall, Kris Kristofferson, and Billy Joe Shaver regularly while relying on such Nashville stalwarts as Harlan Howard and Hank Cochran, as well as dipping into the pop charts on occasional crossover pop hits, such as John Denver’s “Leaving on a Jet Plane,” heard on this, the first of three volumes from Bear Family covering his complete work for Mercury. Bobby Bare always favored stories and character sketches, so these are all sharply written, evocative tunes, sometimes moving, sometimes funny, and they’re given layered, slyly adventurous productions that give his warm, nuanced voice support that hints at rolling folk, roadhouse country, the introspectiveness of singer/songwriters, sweet pop, the spirit of rock & roll, and the professionalism of Nashville, without belonging to any particular style.
-Stephen Thomas Erlewine, AllMusic.com
The Race Track Song- Tumbledown House
Gambling. Murder. Booze. Bicycles.
The music of Tumbledown House has been described as “gritty saloon jazz”, “modern speakeasy music”, and “Tom Waits in a cocktail dress”. Consisting primarily of sultry vocalist Gillian Howe and the eclectic indie-jazz guitar work of Tyler Ryan Miller, Tumbledown House provides the soundtrack for raucous, prohibition-themed parties and has “quickly ascended as one of the new, promising acts of the Rocky Mountain region” (Pop Rocket Press).
Tumbledown House has a brand new release (their second) called “Fables and Falsehoods”. It enlists the talents of ten other musicians (including three horn players from New Orleans’ Dirty Dozen Brass Band) for an upbeat, 1920’s big band romp. The new album explores diverse subject matter (one song is based on the original story of Pinocchio written by Carlo Collodi in 1883, another describes the only consecrated shrine dedicated to unrepentant sinners, which still stands in Tucson, Arizona) and showcases the duo’s talent for creating something vintage and familiar, yet refreshing, distinct, and exciting.
Welcome to the Roaring ’20s, in all its sexy, boozy, violent glory.
Montana’s Tumbledown House are so fresh and exciting because they do old so well. Vocalist Gillian Howe and jazz guitarist Tyler Ryan Miller have surrounded themselves with all sorts of cool cats, including saxophonist Roger Lewis, trumpeter and flugelhornist Efrem (E.T.) Towns, and trumpeter Greg Davis, all of Louisiana’s Dirty Dozen Brass Band. The result is an old style, jazzy, swampy romp, just like they used to do back in N’awlins.
-Al Kaufman, April 13, 2012, atlantamusicguide.com
Photo by Robert Hawkins (beadeer.com)
Racing Waves- Jerry Cole and his Spacemen
Throughout the ’60s and , guitarist/songwriter Jerry Cole worked with some of the most prominent talents in rock’n’roll, including Them, the Beach Boys, the Byrds, and as a session man in Phil Spector’s “Wrecking Crew.” With his own group the Spacemen, Cole released four albums of space-age surf music in just over two years, beginning with 1963’s Outer Limits. As the ’60s progressed, Cole worked on sessions for the Byrds’ “Mr. Tambourine Man”/”I Knew I’d Want You” single and Them’s 1965 self-titled album. He teamed up with Roger McGuinn again in 1972 for McGuinn’s debut solo record, and session work with Roger Miller, Chuck Howard and Susie Allanson sent him in a country-rock direction. Cole’s work with the Spacemen was collected in the 1999 Sundazed compilation Power Surf! The Best of Jerry Cole & His Spacemen.
-Heather Phares, AllMusic.com