Matt McGinn "Livin’"
Own label; 2012
It is nice to hear some Northern Ireland folk music that puts a smile on your face. I am not sure I have ever been able to say that too often, although surely there is more than this. McGinn performs some songs with light instrumentation, and others have a full rock band sound. The songs are breezy and head in the direction of Blitzen Trapper or even something a bit lighter still. The only criticism I would have is that nothing stands out as anything that I will remember shortly after hearing it. Likable, but just not quite memorable.
© David Hintz
Joel Fafard "Cluck Old Hen"
Outside; 2012
Yet another take on the blues is what we have with the 17 songs on this album. Resonator guitar is pictured and is the star of the show, along with the vocal work. It is not terribly new (as 15 of these songs are traditional), but the band, particularly with the fiddle work, does emit a nice dark smoky rural setting. The songs with a little pace fare best, as well as the standards that I have not heard too often elsewhere. Fafard’s version of Richard Thompson’s “1952 Vincent Black Lightning” certainly won’t outdo a Thompson version, but it is really good and you will be happy he has it in his arsenal.
© David Hintz
Gren Bartley "Songs to Scythe Back the Overgrown"
Fellside, 2012
It is nice to Paul and Linda Adams’ Fellside Records still in business since their 1976 start. It is even nicer to see that they are still able to find a classic folk sound like they do in Gren Bartley. This could be from 1976 and many other eras at it has that timeless folk quality that many of us continually hunt for. “My Time is Nearly Over” sounds like a classic spiritual, yet is one of the 12 originals on the album (with a Joni Mitchell cover—“The Last Time I Saw Richard”). “Kings and Queens” has a snappy finger style acoustic guitar with a great folk melody. Paul Adams and Gren Bartley co-produce and between the old master and the modern practitioner, all schools of folk are well represented here. This one makes you glad to be a folk music fan.
© David Hintz
Aidan Bartley "Silhouettes"
Kitchen Recs; 2010
Breathy vocals carry the tunes on this singer songwriter material that covers the blues, as well as folk. It works at times such as on the sharp little rhythm shifts in “Funny Games”. It is all quite listenable, but I am not as absorbed into the music as I would hope for. That is, until the lovely closing number “When I first…” especially with it’s ‘off the cliff’ ending. More numbers like those two, and I could become a fan of Adian Bartley. So, like you should always do, stay with this one until the end.
© David Hintz
The 44s "Americana"
Rip Cat Records; 2012
I thought this was too obvious a title to be true, and with a couple cover songs by Howlin’ Wolf and Willie Dixon, I bet most any music lover would expect this album to be called ‘Blues’. And that is pretty much all this four-piece band dishes out. It’s electric guitar, stand-up and electric bass, drums, harmonica, and vocals. These guys are from LA and are working with Kid Ramos (Fabulous Thunderbirds) who co-produces and plays guitar on several cuts. These guys are just hot enough to push their way through the crowded stack of blues CDs I have. In fact, they have such a good vibrant sound, that they surpass even some of the bigger names of the modern-day scene. They vary the pace a bit and there are some subtle shifts in the songs, while still staying true to blues style and techniques. And at times it is not so subtle, as when the horns come in on “You’ll Be Mine” among others. This is a fine record and clearly a band to see live.
© David Hintz
Scotty Alan "Wreck and the Mess"
Spinout Records; 2012
This one starts with a whining violin and female vocals that are pure country. Although the song is not doing much for me, there is a toe tapping infectious quality to it. The next number, “Your Hero?” continues the beat and ratchets up the music into more of a heartland rocker. The rest of the album moves comfortably between these styles. It is all natural enough, even if Mr. Alan has more experience in a punk band called the Muldoons. Still, it sounds too much like a lot of music available out there. Lyrically and at the heart of it all, it just sounds like rather basic music dressed up nicely in the studio. There is nothing at all wrong with that, but honestly, other records will be making it on my replay pile before this one.
© David Hintz
Paul Brady "Dancer in the Fire –
A Paul Brady Anthology"
Proper; 2012
I am a big Paul Brady fan. I am not much of a Paul Brady fan. I guess that goes for a lot of artists when you examine their many decades worth of music. My particular Paul Brady favorites are within the group effort of the Johnstons’ catalog. They had a great late sixties style folk rock that was of their time and produced many memorable songs for me. Of course, that style does not last forever, so Brady was certainly right to branch out into solo works that were more mainstream or his effective collaboration with fellow Irishman, Andy Irvine. And that duo does offer my favorite song in this two CD (hand picked by artist) compilation, “Paddy’s Green Shamrock Shore”. The rest of the material veers too much toward the contemporary rock of the 80s and 90s to really pull me in. I am struck by how good Paul Brady’s voice remains over many decades. And even when the arrangements do not interest me, he does show some extraordinary songwriting skill. There are some fine songs here, but it is a simple question as to whether you like nice safe arrangements of this fine singing and songwriting.
© David Hintz
Changing Horses "The Nashville Sessions"
Frairgate Records; 2012
This is creative British folk duo with a burgeoning reputation for highly interesting and eclectic folk. “I Don’t Need It” reminds me of the early Marc Bolan in his Tyrannosaurus Rex days, although it is a snappier rock song. There are only six songs here on their debut, so it is just a tantalizing taste for now. I did wish for one major change. Next time, I hope it is the Austin sessions, or Los Angeles, or Brooklyn, or anywhere in England. Yes, there are some fine musicians in Nashville that do more than country, but there are elements of the Nashville sound here that seem to keep these two active musicians more rooted than they should be. I am going to burn this band name into memory because the potential is here and there are some merits, but I would rather see the live set and see what they can next time in the studio.
© David Hintz
Dave McGraw & Mandy Fer "Seed of a Pine"
Own Label; 2012
Although, I always appreciate a folk act showing the roots of their particular country or region, it is even better when they are able to transcend to a more universal plateau. I hear a nice western USA feel from this duo, but their songs quickly establish a place in the universal catalog of excellent folk music. Their two voices, acoustic guitars, and occasional musical assistant players take command of the melodies, but in a relaxing, inviting manner. They alternate the songwriting duties here in an ‘every other song’ manner similar to what Husker Du used to do, among others. They have sympathetic styles that flow together well enough, so that it all comes across unified as a duo. The strings are interesting and a bit of electric guitar and drums thicken out some of the songs for a nice contrast. This is a gem for folk fans that enjoy music from all eras.
© David Hintz
Don Nino "In the Backyard of Your Mind"
Prohibited Records; 2012
This record screams contemporary psychedelic folk. Actually, it decisively speaks that language at a comfortable volume and manner. The vocal work is about the only thing that is steady on these songs. He sings in a relaxed manner and pace and allows different combinations of instruments and sounds in every song. At times, it sounds like the Incredible String Band being covered by Thurston Moore and Ben Chasny. Other songs have me thinking of dozens of bands on the indie circuit that add some psychedelia to their guitar work, loops, and electronics. The danger can be if an artist loses their focus, but Don Nino keeps song structures together nicely, all the while cooking up intriguing flavor combinations among the chosen instrumentation. You are not sure what is around the next corner, but it is a fun journey, so you just keep travelling. I needed a little more vocal variance at times, although he shifted into a more nasal Prydwyn sounding voice toward the end that helped. Trad fans beware… 21st Century mind/space continuum travelers… have a nice trip.
© David Hintz
Merry Hell "Blink… and You Miss it"
Mrs Casey Records; 2011
From the ashes of the Tansads, comes this new conglomerate of musical talent and spirit creating a similar brand of folk-rock with the emphasis on rock. It’s all pretty rousing and fun, although some of the songs do not quite stand out enough for me beyond the basic expectations. That said, when there is a standout track like the title song, this gets pretty exciting. They also bring it down a notch now and then, which is helpful on any album with fourteen songs. There are some nice thick arrangements with strings and synthesizers that interest me enough to want to give this additional listens to where the songs may dig in a little more deeply. There is a lot to like here in general and Tansad fans will be first in line, but plenty of rocking folkers will also be there as well.
© David Hintz
Philip Bölter "The World Out There"
Own label; 2012
This is a rich sounding folk-rock/indie rock record. Bölter’s vocal work and some of the songs remind me of the excellent Canadian band, Elliott Brood. The songs rock out quite nicely with a heartland feeling throughout most of them. “Feed My Life” has some great backing vocals and horn sections that really give a classic rock production feeling to it. It does sound a bit too much like mainstream radio of the early 1970s at times. But then a song like “Get Me Out” will come along with a funky bassline, killer vocal melody, and thick rock backing. These highlights make this an engaging listen. And there are enough folk moves in a few of the songs that feature some quick finger-style guitar work.
© David Hintz
Lowlands "Gypsy Child"
Own label; 2010
An Englishman working a band in Italy brings the spirited music of Ireland and the USA into this album. But there’s even more. I detect a continental European feel with the accordion and French-Italian vocal mannerisms in “Cheap Little Paintings”. It does not take more than a couple of songs before you wonder if Edward Abbiati and company may not be over-reaching here. But as the album concludes, I think most people would agree that he does a nice job of pulling it all together. This is a solid indie rock album to put it simply. The varying textures come together and it rocks steady.
© David Hintz
Crossing Keys "About Time…"
Own label; 2011
If you liked REO Speedwagon, Rex Smith, and various other rock bands from the 1970s, you will probably like this album. I did not like those types of bands at all.
© David Hintz
Craig Cardiff "Floods & Fires"
Own label; 2012
The opening cut has a rhythmic-rock-folk vibe going strong and steady throughout. It is thoroughly modern in its sound and arrangements. But this is Folkworld and it is nice to report that some of these songs hearken back to classic folk melodies and feeling. Both “Home” and “Gate” could find a comfortable slot on any number of your favorite folk albums. Cardiff has an expressive voice and can create songs that are well worth hearing more than a time or two. Listen to the strings, acoustic guitar, and voice on “Brandon from Ithaca” and you can quickly determine if this music will reach you as quickly as it did me. There is a great balance between the feelings of the old and comfortable along with the newer sounds. Frankly, all fourteen cuts worked for me as his personal style and strength comes through on every song.
© David Hintz
Famara "The Cosmopolitan
N-Gage; 2012
From the album cover artwork, I thought this was going to be some up-tempo party record. The intro was more of a spooky folk opening, which was startlingly effective. From then on, it went into his more predictable reggae/soca sound, but was a little more on the thoughtful side, than the festive. Although this is no dour affair, as there is a positive vibe that you can dance to. Famara has been around a while, playing this music in Switzerland and beyond. I have heard previous efforts and this one seems a bit sharper than what I heard a few years back. He’s got the sound down, so if you want some decent reggae after hitting the slopes, Famara will do the trick.
© David Hintz
Nadine Maria Schmidt & Frühmorgens am Meer
"Blaue Kanten"
lala; 2012
Right from the start of this lovely German record, Nadine Maria Schmidt’s high qualities as a singer and songwriter come through. The first cut translates to “Life is Beautiful” and expresses all of that on mostly a piano and voice combination reminiscent of Sandy Denny. The piano is pivotal, but guitars, backing vocals and other subtle sounds expertly provided a lounge backing for the vocal work. There is a slow pace and control to all of it that enhances the emotional impact of the songs. “Monster Song” has a more playful feel to it, but “Maria” brings back the depth and clarity of Schmidt’s intense lyrics. This is somewhere in the folk world with the simplicity of instrumentation and intensity of the vocal. Yet there is a lounge jazz feel, but is far more direct than what you may expect there. It is a lovely follow-up to Ms. Schmidt’s previous record was one of my favorites in 2010.[43] This one will certainly be up for consideration this year.
© David Hintz
Jack Sundrud "Cage" [EP]
Dogpile Records; 2011
This EP features six original Jack Sundrud songs, some co-written. I am thankful I am only reviewing this record and not his entire catalogue, as that would take a month, as he has been an extremely active bass player. He is not quite Danny Thompson, but after many bands, solo records, guest slots, he has frequently worked as Poco’s bass player for the last 25 years. It does not hurt to have that in mind in preparation for these songs. They don’t seem as California casual as Poco, although they would fit into that solid professional heartland light rock sound. Sundrud is from Minnesota, so his voice and songs are a bit more middle America as I hear them (being from Minnesota myself). I liked “Tired of This” which was pretty powerful in voice and instrumentation and had nice dynamics. I like this a bit more than I expected to. Perhaps it was his emotive voice that sounded like an American Nick Saloman of Bevis Frond—words I never thought I would write.
© David Hintz
In Love "Sister Blue"
Gazell Records; 2010
This record is an odd one, but in a very good way. The sound seems familiar enough, but just does not lend itself to easy comparisons (nearly always a good sign). The closest I come up with is Savage Rose, as they share a similar sense of edginess within a beautiful rock structure. In this case, the vocals from Swedish born Lo Kivikas are slightly less edgy than those of Annisette Koppel, but the balance is made up in the music. “Sun’s Gonna Go” is a fine example of what I am trying to say. This is a surprisingly good record that does have some singer songwriter/folk elements within a mostly rock structure. But there is some blues in here, but even in “Whisper my Name” there is an edginess to the vocals and bassline that sound more like a Savage Rose diversion. I am not sure if this is an operative band, or a side project of Lo Kivikas, but I will remember both names going forward as this is some highly engaging music from some talented vocalists and musicians.
© David Hintz
Various Artists "Devil Duck Records Sampler"
Devil Duck, 2012
This nice little sampler is of course a way to draw attention to artists of the Devil Duck Records label. This features two songs each by Adam Arcuragi, Talking to Turtles, Long Voyage, The Dope, Orph, and Scams. They vary from heartland rock to more experimental indie rock with a leaning toward the latter. The Dope was a fascinating band with their interesting twists and turns on ”Mother’s Boy Toyed with an Idea”. They sound like they could deliver a fascinating album and/or live set. I had heard of Adam Arcuragi and he has a folk-rock singer/songwriter approach that is pretty gutsy and just innovative enough to stand out. His two songs fare well and should be of interest to genre fans. In fact, everyone sounds good, so this label clearly has good standards in who they work with. Mission accomplished for this sampler.
© David Hintz
Matt Keating "Wrong Way Home"
Sojourn Records; 2011
This is the latest record from this veteran musician and producer from New York City. Keating quickly establishes a fine studio sound with his songs and arrangements. It’s good American heartland singer/songwriter material with just enough shifts in tempo and emotion to keep one listening throughout the sixteen songs. Although at times, a few songs feel more perfunctory than personal. The title cut has some nice Italian café charm to it (maybe Little Italy may be more appropriate). I also liked the more folk oriented “Go to the Beach”. There is a touch of jazz as well, which again, may stray a bit too off the personal path, but if you enjoy a lot variation, this certainly will cover most of your bases.
© David Hintz
Mark Atherton "To Bring Me to You"
Own label; 2011
After listening to several singer-songwriter heartland blues-folk-rock hybrids, it is nice to hear something like this—folk based rock with a touch of psychedelia recorded raw and straightforward. The opening cut establishes the mood nicely, while “Binding Bliss” adds some great lead guitar in the background in the manner of Fenner, Leland & O’Brien—an obscure lo-fi ‘lost’ psychedelic band. If I were to poll 1,000 people I am sure that other singer songwriter records would get more popular marks than this one, although not by much as this still sounds quite good. But to my ears, and those that have heard thousands upon thousands of artists, Mark Atherton brings a personal touch that stands out above the slicker studio sounds on many an expensive time consuming album. Here, it is Atherton, his producer/instrumentalist, a bit of violin, and careful overdubs. Most importantly, it is personality and a sense of melody. Hopefully this will find an audience of like-minded souls.
© David Hintz
Des Wade "The Book of My Days"
Own label; 2012
The notes to this CD say that this Irish born, Australian resident uses dramatic sweeping orchestration in addition to simpler folk arrangements. But even though I know talented people can come up with amazing things by themselves to self release in these cyber times, I still was not ready for the truly dramatic sweeping orchestration that walloped me on the first couple of songs. The first song covered the Irish story of the Children of Lir, which the band Loudest Whisper covered many years back in a rather strong arrangement of their own. Well this took all of that and combined it with something out of Dead Can Dance to let it soar. The notes say flight underscores the message. Underscore? I’m feeling that RCA ad with the wind tunnel blasting away at me through the speakers. The title cut is an absolute stunner as well. Thankfully, he does bring more folk into the album so I can catch my breath, but he combines both slightly psyche-folk like United Bible Studies with more traditional numbers. There’s even some spacey slide moves sounding a bit in the Americana camp, although Australia has plenty of applicable outback, too. It ends up more of a folk album that the awesome beginning portends, but I am still not sure I have ever heard an album quite like this. As noted, I have heard all the elements and the really good news is that they all come together into a complete and cohesively enjoyable listening experience.
© David Hintz
Robb Johnson & the Irregulars "Happily Ever After"
Irregular Records, 2012
Although Robb Johnson has written songs for Roy Bailey and worked with Leon Rosselson, he presents a hard rocking album in the manner of the Alarm with a touch of UK styled Springsteen. It is easy to hear why he has worked with folkies as he has plenty to protest and offer wry commentary. The intelligence and art is a bit higher than usual in “Hey Abbie” that offers both a chuckle at Abbie Hoffman, along with a respect for some of his antics in 1960s. Thankfully, lyrics are included, although the vocals are sung with great clarity while still keeping the melody. The band rocks plenty with some nice biting guitar solos while the rhythm section keeps a brisk pace. They slow it down a bit for some songs, but the guitars have a strong ringing tone, which makes it more steady rock than folk. But the lyrics and songs themselves would work on an acoustic guitar at an open mic near you.
© David Hintz
Nigel Brown "World on Fire"
Academy Recordings; 2012
From southwestern England to London, Nigel Brown has certainly had the opportunity to be exposed to great folk music. Although Bob Dylan played a key influence with him (and virtually any other songwriter), Brown does bring a certain UK feeling along with a more classical and universal songcraft. It is a nice balance starting with his smooth agreeable vocal style. The arrangements are fairly thick, but they sound natural and not forced. It is a bit like a cross between early Magna Carta and recent Midlake. Give this one a couple of listens. The natural abilities Brown has along with his measured style can really work these quality songs into your conscious.
© David Hintz
Brad Hatfield "Uphill from Anywhere"
Own label; 2012
Eleven songs of straight, mostly electric blues is the approach here. Hatfield sings, plays harmonica, and writes most of the songs. It is all nicely done, but little stands out for me. I have a big pile of Blues CDs that are all adequately done to the point I would enjoy a live set of the artists. Yet, there are always better CDs to play if I want to hear the blues. This CD goes onto that pile. I will say the slower cuts are a bit more moving than the typical sounding midtempo numbers.
© David Hintz
Tom Rodwell "Live Humble"
Fireplace Recordings; 2012
This is another take on the blues and is a more interesting take than most of what I hear these days. It is lo-fi and then some, as it is recorded live in the studio with guitar and vocals courtesy of Tom Rodwell and a percussionist mostly. It is rough, yet quiet blues. They indicate one song is a calypso spiritual, but the sound is not too far off the rest of the bluesy material. If you like outsider artists like somewhere between Daniel Johnston and Michael Hurley, you may want to give this one a listen. Although it does not quite hit classic territory for me, it manages to transcend the blues into something engaging. That is no small feat.
© David Hintz
Jim Reynolds "If Only"
Own label; 2012
Jim Reynolds sounds like he has been through the wringer of life, but has never been too far away from recording his music. His eighth album features some strong songwriting, a nice world-weary voice, and a strong American styled folk band. It still retains a UK feel as well—sort of a young John Martyn teaming with Barry Dransfield. The vocal quality reminds me of a singer from long ago called Beau, although the songs are a little more flowing here. And that clean, flowing quality is what keeps me attentive for this set of songs. The lyrics tell their story in a careful manner with plenty of nice musical touches keeping mind and body swaying to the rhythms. This is a solid record that Folkworld readers would easily take to.
© David Hintz
Victor Camozzi "Roadside Paradise"
Volco Records; 2011
Talk about world-weary… Victor Camozzi sounds like he has been through a lot. Fortunately his band continually lifts his spirits enough to keep these songs from going deep into the blues. Camozzi actually does extend his range enough to stay with the band, but there is always that Richard Buckner style depth to his vocal work that keeps his personal interpretation intact. The arrangements are full, but there is room to breathe, as the production by Matt Downs is top notch here. In fact, he plays all the instruments aside from a rhythm guitar on one song, so he is an integral part in delivering these Camozzi songs and vocals. The one flaw is that the songs slide into a comfort zone and tempo that creates a bit of a rut toward the end. This is a solid record, not as magical or diverse as Richard Buckner, but with enough good sounds to warrant a further listening.
© David Hintz
Seth Lakeman "Tales from the Barrel House"
India Records; 2012
Speaking of Barry Dransfield… Seth Lakeman plays a fine fiddle, guitar, and banjo and has a way with lyrical phrasing and arrangements that remind me of the Dransfields and many other classic deeply emotional folk artists from the classic era. The lyrics often discuss classic blue-collar themes, yet in a manner that seems as fresh as if you have not heard Guthrie, Dylan, et al. Lakeman has a good voice and rhythmic sense of weaving in his instruments, all of which he plays on this album. There is a pop sensibility that sneaks in now and then, not overly strong, but the occasional hook will work its way into your system. Good strong professional effort here, and one that should do well with folk lovers and modern roots music fans.
© David Hintz
Roman Wreden "Wayfarers"
Cargo Records, 2012
If you are as big a fan of the Decembrists as I am, you may want to listen to this record. Roman Wreden sounds an awful lot like Colin Meloy and the songs are every bit as dense as the folk-rock outings of the Decembrists. These songs are strong throughout the entirety of the album. I kept waiting for the lull or let-up, but the strength was there in each song whether more acoustic or electric, more contemplative or expressive, with whatever subtle twists Wreden and his cohorts decided on. “Life Grew a Flower” was a particularly powerful sound that I could easily imagine hearing on a late-night TV appearance. The album does not let up at any point and always has an engaging song to present. There is a quite a feast in these thirteen songs.
© David Hintz
Marina Zettl "Thin Ice"
cracked anegg, 2012
This German singer has a number of albums out, but this my first exposure to her interesting music. She has a cute voice with a bit of lounge smokiness within. There are some blues, rock, pop, and jazz here with a sound that although hard to pin down, is quite easy to get into. I tend to like a certain lounge feeling some singers can bring to the music, but in this case it dominates just a fraction too high to put this at the top of my playlist. It’s a subtle distinction, and music lovers who like this style more than I would likely find this a great album, as opposed to the good album I am hearing.
© David Hintz
Heidi Happy "Hiding with the Wolves"
Cargo Records, 2012
Swiss singer/composer, Heidi Happy, presents an intriguing low-key brand of pop music. The word ‘composer’ is not only appropriate due to her 15 original songs, but also due to her handling the full arrangements of rock instruments and strings. It is not Brian Wilson/George Marin thickness, but there is a lot going on with plenty of gaps for instrumental punctuation and plenty of room for her lovely, delicate voice. There is an awful lot to like here, but I particularly enjoyed the highly progressive intro in “Stereo” which sets up a reflective folkeaque song. There are some nice changes from song to song, none as intriguing as a familiar western ‘twang’ sound of an electric guitar that you would expect to hear in “Riders of the Storm” or in a Duane Eddy or Chris Isaak song. This is a high quality release that balances accessibility with artistry as easily as it manages to stake out its own personality.
© David Hintz
