…In addition to a new remaster of the original album, this edition includes 13 previously unissued bonus tracks including demos, alternate takes, and outtakes from the album sessions.
After The Beau Brummels dissolved in 1968 following their swan song, Bradley’s Barn, it was doubtful that we’d ever hear from the band again, despite their individual and collective brilliance. The group did somehow reunite in 1975, however, for this fine and somewhat understated album. The band’s weaving of folk, country, and pop stylings hadn’t really changed that much from their prime in the mid- to late ’60s.
Ron Elliot has several superb songs on here, notably “Tennessee Walker” and the excellent album closer, “Today by Day,” which is sung by…
Category: folk
Heretics & Heritage is the fourth album from Leeds-based Lewis Pugh, combining both bluegrass and traditional folk/roots influences. Pugh himself plays banjo, guitar, snare drum and double bass, in addition to lead vocals, and all but two songs are self-penned.
The album lineup includes two members of north-east bluegrass band The Often Herd, in Evan Davies on mandolin, and Niles Krieger on fiddle. The opening track, ‘Big Stone Lifter’, is an up-tempo bluegrass number, with pedal steel courtesy of Stephen Hicken Jr., an addition to the usual bluegrass lineup including the aforesaid mandolin, fiddle and banjo. Indeed, the pedal steel is a very effective addition to the sonic mix, providing a unifying thread through much of the album.
Ramshackle Swedish folk, medieval jam sessions, home-spun hymns recorded straight to tape, and albums named after revolutionary communist bands: The world of Gustaf Dicksson’s musical project Blod may seem unbearably esoteric. But a little context helps; Dicksson is a spiritual descendant of Swedish Progg movement of the 1960s and ’70s — not to be confused with prog rock, it was a left-wing, anti-commercial music movement that encompassed a wide range of styles, from psych-rock bands to nationally beloved singer-songwriters. Blod is indebted to the mossier, more experimental ends of the movement, including bands like Träd, Gräs & Stenar. This is the anti-capitalist, DIY heritage which Discreet Music — the record store and label…
Sunflower is the debut album of German/British artist Paul Holland. It features a number of very enjoyable characteristics, from West Coast soft rock to out-and-out folk, via some quite interesting world music. Above all, it has a very relaxed and personal feel to it, making it the perfect sound for relaxing in the sunshine.
It opens with a rocky number, ‘Clouds of Haze’, which jogs along very nicely indeed, with a live feel about it. The track explores the on/off nature of some relationships and certainly encourages the listener to explore the rest of the album, which tends to mellow out as it goes along.
It’s followed by a slower, jazzier track, ‘Feels Right’, which undoubtedly highlights his ability as an astute, talented songwriter.
Brent Cobb is pulling the curtain back on the songwriting that has defined his career on his new acoustic album Live a Song, Write a Memory, Vol. 1.
Recorded at Capricorn Studios, the self-produced album captures every performance live and in a single take, and spans songs from across his catalog, including selections from the Grammy-nominated Shine on Rainy Day, fan favorites from Providence Canyon and No Place Left to Leave, and cuts made famous by other artists. Songs like “Come Home Soon” and “Country Bound” revisit defining moments in Cobb’s journey, while outside cuts like “Tailgate Blues” recorded by Luke Bryan and “Bar, Guitar and a Honky Tonk Crowd” by Whiskey Myers are brought back to the writer’s chair where they began.
From the start of her career, Jackie De Shannon was a great singer, with a strong instrument and a fine sense of how to invest her performances with emotion and nuance. However, DeShannon has said more than once that Liberty, the label that she was signed to through the 1960s, was more interested in her as a songwriter than a performer (she’d already penned a hit for Brenda Lee, “Alone With You”). So it was a real paradox that when she recorded her first LP in 1963, Liberty insisted that she record a set of covers rather than her own material. (The album included three tracks by Bob Dylan, only months after the release of The Freewheelin’ Bob Dylan, though the label turned down her suggestion to cut a full album of his work.) DeShannon’s debut was…
Bella White blends rustic country melodies with thoughtful introspection on her hypnotic third album, 2026’s A Sign in the Weather. Recorded in the Canadian-born singer’s adopted home of New Orleans, the album finds White backed by her producer/guitarist/percussionist Ross Farbe with a core rhythm section of drummer Sam Gelband and bassist Gina Leslie. Also contributing at various times are fiddle player Patrick M’Gonigle, pedal steel guitarist Nicholai Shveitser, pianist Duncan Troast, guitarist Nick Corson, and singer Maddy Kirgo. Perhaps even more than on 2023’s Among Other Things, here White captures an intimate and homespun vibe. While that might be a nice side effect of having recorded the album at a friend’s historic shotgun-style house,…
Originally from Northern California, singer and songwriter Haylie Davis dropped out of college and moved to Los Angeles in 2019 to focus on music. Her affection for lyricists like Gram Parsons and Joni Mitchell as well as the soft, warm sounds of ’70s singer/songwriters and the Laurel Canyon movement soon resulted in collaborations with acts like Drugdealer, Sylvie, and Sam Burton under the solo moniker Lady Apple Tree. She eventually left that persona behind and used her own name to record her solo debut album with associates including Burton. The resulting Wandering Star was tracked partly at Los Angeles’ famed Valentine Recording Studios (Bing Crosby, the Beach Boys, Lana Del Rey) and partly at Love Magnet, the Highland Park garage studio of…
Words from Holy Gardens was already a very emotionally wrought record, featuring as it does Chip Taylor’s home recordings of his responses to aging and in particular to the death of his wife Joan, after more than sixty years of marriage. That already heavy atmosphere surrounding these new songs has become even more laden with emotional impact with the passing of Chip Taylor himself. It’s a combination of events that makes a traditional critical response to the music presented something of an irrelevance. This is a final statement of love, and a final musical statement as well. The recordings couldn’t be more intimate, as Taylor explained the process: “While I was taking care of her (and she was caring for me), I was often sitting at home with my guitar. I play…
Leeroy Stagger, born and raised in rural Vancouver Island before moving to southern Alberta, is a prolific artist. Pilgrimage is his thirteenth studio album, having started with Beautiful South in 2005. It is a departure from his previous work, which could be broadly described as electric guitar-based pop, although, of course, this doesn’t fully do it justice. Many of his earlier songs feature Beatles-style melodies, but slide and steel guitar are also heard at times, and there is enough of a twang to firmly place it in the americana camp. However, Stagger’s first bands played punk, with him citing The Clash as an influence, and you also hear rough-edged rock’n’roll on some tracks.
2024’s 3 AM Revelations reminds you strongly of Wilco’s Yankee Hotel Foxtrot, and Stagger…
Featuring Dolly Parton, Vince Gill, Sam Bush, Jerry Douglas, Sierra Hull, Sarah Jarosz, Aoife O’Donovan, and more The Fiddle and the Drum brings together 5x Grammy winning soprano Renée Fleming and 19x Grammy-winning banjo virtuoso Béla Fleck for a celebration of Appalachian folk music.
Produced by Béla Fleck, the album mines a rich vein of America’s musical heritage, weaving the expressive depth of Fleming’s voice with the brilliance of Fleck’s banjo, backed by an all-star bluegrass line up and special guests including Dolly Parton, Vince Gill, Mike Bub, Sam Bush, Jerry Douglas, Stuart Duncan, Sierra Hull, Sarah Jarosz, Aoife O’Donovan and Bryan Sutton.
Through mountain songs, haunting ballads, and folk hymns, The Fiddle and the Drum…
Dervish is a celebrated Irish traditional folk band from County Sligo, formed in 1989. Fronted by charismatic singer and multi-instrumentalist Cathy Jordan, the ensemble also includes accomplished players on flute, fiddle, guitar, accordion, and mandola, drawing deeply on the rich musical heritage of northwest Ireland. For more than three decades, they’ve become one of the most respected names in Irish music, known for their dynamic live performances and a repertoire that weaves traditional Irish music with songs by contemporary Irish songwriters. The BBC, which presented the band with a lifetime achievement award in 2019, has described Dervish as “an icon of Irish music,” and the group has represented Ireland on stages from Glastonbury to Rock in Rio.
Country boy-in-the-Big Apple, Arthur Russell does folk fusion with his own, peerless verve on a remastered edition of his evergreen 2008 retrospective.
One of the most fascinating, multifaceted, greatest artists of the late C.20th, Arthur Russell is variously known as a disco auteur, virtuoso avant-pop cellist-composer, and bard of the highest order, but maybe less so as a country crooner. Compiled and issued in 2008, Love Is Overtaking Me most ideally framed this lesser-covered aspect of his work with 21 songs recorded under his own name and as part of The Flying Hearts (with Peter Zummo, Rhys Chatham, Jon Gibson, a.o.), plus in duo with Steven Hall as Turbo Sporty, The Flying Hearts, and Bright & Early.
Simon Joyner’s 2024 album Coyote Butterfly ranks among the most simultaneously beautiful and devastating documents of its kind, a painfully raw and autobiographical account of the untimely death of Joyner’s son Owen. Since the early ‘90s, Joyner has been one of independent music’s most authentically independent artists, and while his poetic songs have never shied away from difficult emotions, the depths of vulnerability and sorrow he found on Coyote Butterfly were even more searingly real than anything he’d made before. Even though the album focused on collecting the finite feelings of grief, it represented a place to honor these feelings rather than a capstone in Joyner’s life of work. Tough Love, Joyner’s 19th solo effort and his first since Coyote Butterfly…
“He has an energy to him like he’s floating,” Fratti said about Orcutt when she chucked his self-titled 2017 album, his first solo electric studio jaunt, on her Baker’s Dozen list for the Quietus. She’d stumbled over the record via a blog and immediately set about following the breadcrumb trail, picking through his blues deconstructions, free jazz side-quests and his early, formative work with Adris Hoyos as Harry Pussy, one of the USA’s greatest noise duos. What happened next isn’t completely clear, but Fratti and Orcutt began communicating and, at some point, Orcutt shuttled over a pack of improvised guitar solos that lit the touch paper for the next stage. At home in Mexico City, Fratti (alongside her partner and Titanic cohort I. La Católica) retreated…
Last year, Third Man Records released the reissue of Detroit’s unheralded songwriting genius, Ted Lucas’ 1975 cult classic self-titled album Ted Lucas (OM), as part of an ambitious archival campaign intent on spreading the open secret of Lucas’s genius and putting an end to his unfair anonymity.
Third Man Records released Images of Life, a career-spanning, 3xLP retrospective boxset illuminating the staggering breadth and depth of Lucas’ work, out May 22nd. Disc one, Strange Mysterious Sounds (1965-1970), highlights Lucas’ flirtation with psychedelic major label clout via his bands the Spike Drivers, the Misty Wizards and the Horny Toads. Disc two, Rainy Days (1970-1974) contains the solo acoustic warmth and charm most similar to the music found on his self-titled album.
After finding fame with the Hollies and Crosby, Stills, Nash & Young, expatriate Englishman turned West Coast rock icon Graham Nash made an auspicious solo debut on this 1971 disc. It’s an exemplary singer-songwriter effort, striking a vital balance between graceful introspection and political fervor — and while it’s deeply personal, it still carries the harmonies, heart and politics that made CSN(Y) so essential.
With assistance from the likes of David Crosby, Jerry Garcia, and Dave Mason, highlights include the sensitive internal explorations “I Used to Be a King” and “Man in the Mirror” and the impassioned protest anthems “Chicago” and “Military Madness.” If Déjà Vu was a wild canyon party with four competing egos, Songs for Beginners…
…Lemoncello, returning with their second album, still carry the quiet confidence of a duo who have already carved out a distinctive place in contemporary Irish folk. Since their debut, Laura Quirke and Claire Kinsella have continued to refine the intimate, instinctive interplay that first brought them to our attention, the kind of vocal and instrumental chemistry that seems to snap into focus the moment they perform together. Their rise has been steady as they have deservedly earned wider audiences, while their songwriting resonates far beyond the grassroots circuit. That first record, also released on Claddagh, was captured directly to tape under the guidance of analogue devotee Julie McLarnon. It revealed a duo drawn to texture, tactility, and the human…
Paradise Metal is a sleight of hand. The music within has very little to do with metal in the conventional sense, and everything to do with the genre’s outer limits-the kind of undulating drone movements practiced by Earth and SUNN O))). The folks at Heat Crimes and their partner label Elhellel will have you know that this music is created by one Father Dionysios Tabakis, an Orthodox priest who serves at the Church of the Panagitsa in Nafplio, Greece. His instruments include the ney, oud, and lyra, among others. The idea is that Paradise Metal is a kind of ancient trance music that addresses age-old maladies: depression, alienation, and isolation.
Opener “Relaxation Music with Tanbur” recalls choice moments from…
Mountain of Youth – the moniker for Hunter Morris’ latest project – mines a slew of classic influences from ‘90s lo-fi rock to folk and Americana on his debut, making for a mix that manages to sound musically nostalgic but with enough of a contemporary feel that it’s not wasting time wallowing in the past.
That doesn’t necessarily pertain to the characters that populate Nowhere, NW, though. “Atomic Days” opens the album with whistling and a steady 4/4 drum beat, before Morris jumps in with lyrics about an aging couple cycling through thoughts of “what if” looking at where they are in life right now. And while the song could just as easily have been a ballad, Morris’ decision to opt for a mid-tempo rock vibe creates a far more…