Phil Swill Odgers has been one half of the legendary joint vocal strike force of The Men They Couldn t Hang. Audiences around the world from Cairo to Reykjavik, Brisbane to Vancouver and Berlin to London have submitted to his effervescent and heartfelt vocal style in stadium, theatre, hall and after hours lock in.. Now, leading a cast as varied as in any vintage caper movie, he steps out from under the spiky shell of TMTCH and emerges with a classic slice of folk country pop The Godforsaken Voyage. Initially conceived as an EP of favourite covers, Phil s re-union with producer Mick Glossop (Waterboys, Zappa, Van Morrison etc) rapidly produced the fast selling Amazon release Sunday Morning Coming Down . It was the fan and online reaction to this reading of the Kristofferson classic that persuaded these two to assemble a full crew and begin to plan The Godforsaken Voyage… First a call from Mick Thomas leader of infamous Aussie band Weddings, Parties, Anything produced an invitation to contribute to a project on the colonisation of Australia. The album s title track was quickly written a tale of riot and transportation… Next up, a call to old school pal and fellow TMTCH songwriter Paul Simmonds: Dusty Fields and The Master s Whip soon followed…Many other faces also made the night trek over to the tiny Shepherds Bush basement studio where the music bubbled for over a year. Nick Reynolds (Alabama 3), Johnny Bridgewood (Morrisey), Slim (Urban Voodoo Machine), Tom Spencer and Jon Odgers (The Men They Couldn t Hang) all added their expertise and character to the rumbling plot… John Jones from the Oyster Band perhaps remembering that TMTCH had once helped rescue his passport and squeezebox from the corner of a Danish field brought his voice and melodeon in to keep the pot stirring.. Last but not least, the first dame of folk Eliza Carthy arrived in a flurry of drama to deliver her stunning vocal and trademark fiddle on Gene Clark s Through the Morning, Through the Night a magical duet which is at the heart of this deeply accomplished album by the UK s most underrated singer.
It can be argued that David Francey has had more impact than any old-school Canadian folk songsmith since the late great Stan Rogers. A late bloomer, he has now released ten albums that have deservedly won acclaim here (three Juno Awards) and beyond. So Say We All is one of his very best; it finds him digging deep, mining themes of depression, grief and unrequited love with genuine empathy. “These songs encompass what proved [to be] a very difficult year,” he writes in the liner notes, though those tracks collected here range as far back as 1995. Some of the metaphors and locales (cheap motels, life as a road) are well worn, but it’s a testimony to Francey’s skill and always convincing vocal style that he can breathe new life into them. There is astute social commentary in “American Blues” (“and we run in the shadow of the power and the might”) and “Bitterroot,” but it’s the songs forged from the soul that hit hardest. The vocal-only “Blue Yonder” (featuring Tannis Slimmon) and equally sparse closing title cut are amongst the highlights. As ever, the best players surround Francey, including string wizard Chris Coole, while the recording and mixing of Ken Friesen keep the sound clean, but never slick. This is another winner.
mp3 320 kbps | 99 MB | UL
Oklahoma-by-way-of-Texas singer, songwriter, guitarist, and bandleader Jason Boland, with his backup group the Stragglers, has been considered a neo-traditionalist country artist and outlaw revivalist on a series of albums that have gradually begun to make an impression on the national charts. His 2010 concert collection High in the Rockies: A Live Album may have marked the culmination of the first phase of his career, however, since its studio follow-up, Rancho Alto, finds him leaning in an even more traditional and folk direction, while revealing a populist strain in his musical persona. Boland places an emphasis on old-timey string instruments here, including fiddle and mandolin (courtesy of Noah Jeffries) and banjo and hammer dulcimer (played by session man Lloyd Maines), with Stragglers member Roger Ray handling pedal steel guitar. The country waltzes and honky tonk ballads show a taste for rural values and tradition that Boland sees as under attack in the modern world. In his sonorous low tenor, he sings about the ground being lost by farmers and country people to tourists and casinos. Whether in “False Accuser’s Lament,” a sort of sequel to “Long Black Veil” (which is referenced in the lyric), or Greg Jacobs’ “Farmer’s Luck,” simple people are at the mercy of powerful forces that sweep them away. Given this viewpoint, it’s not surprising that Boland pauses to pay tribute to a fellow Oklahoman who made some of the same observations in a warm performance of Bob Childers’ “Woody’s Road.” Of course, given his politics, Woody Guthrie was and would still be an anathema to the Nashville music machine, but that’s OK with Jason Boland, who embraces the folkie godfather’s country progressivism and sets it to some danceable rhythms on Rancho Alto.
Thunder Chicken was an ole-time brand of extra strong wine that played a role in bandleader Malcolm “Papa Mali” Welbourne’s formative years in north Louisiana – – fortified by a gris-gris bag of tribal rhythms, true New Orleans-style funk & peppered with judicious touches of slide guitar, Papa Mali delivers his vocals with a soulful […]
District Line, Mould’s seventh solo album.”District Line” combines the fire of his earliest work in Husker Du, the accessibility of his alternative rock, genre-defining trio Sugar, and the introspection found in his solo releases. He describes it as “stories of my simple life in a complicated town”, that being his adopted city of Washington, DC. […]