Allie Colleen

Stones

Self-Released, 2022

8/10

Listen to Stones

A rising artist with a penchant for classic country sounds, Allie Colleen’s powerful and pretty pipes guide the 11 very thought out songs on this debut album.

The title track opens the listen with Colleen’s strong and flowing pipes guiding the busy and melodic country rocker, and “Playin’ House” follows with a much calmer approach of warm, dreamy instrumentation alongside the poetic singing.

In the middle, the bluesy swagger of “Wildflower” adds much to the cautious landscape, while “Only Oklahoma” enters ballad territory amid the eloquent and gorgeous delivery. “Good As It Gets”, the album’s best, then recruits moody pedal steel and some pop friendly melodies.

Deeper still, “Make Me A Man” is so well executed, its emotive chorus and striking melody could make Colleen a household name, and “Pink Lemonade” exits the listen with her vocals front and center on the genuine and playful finish.

A listen that’s indebted to country, soul, folk and blues, Colleen’s easily relatable wordplay and universally embraceable song craft make Stones an excellent starting point.

Travels well with: Natalie Gelman- Moth To The Flame; Cindy Alexander- While The Angels Sigh

Sarah Borges

Together Alone

Blue Corn, 2022

9/10

Listen to Together Alone

An aptly titled record for the pandemic, Sarah Borges collaborated with Eric Ambel (Joan Jett & The Blackhearts, Steve Earle & The Dukes) for this country tinted version of rock that thematically surrounds loss, love and isolation, and is handled with much care.

“Wasting My Time” gets the listen off to a bluesy start, where Borges’ powerful and poetic singing is met with agile drumming from Ryan Rogers and spirited guitar from Eric Ambel that makes an impression, and “Lucky Day” follows with a playful energy of thumping drums and much melody that invites a sing-along.

In the middle, the frisky “Rock And Roll Hour” welcomes organ and clavinet from Rob Arthur for the firm yet tuneful rock’n’roll, while “She’s A Trucker” showcases the dynamic rhythm section of Keith Christopher (bass) and Phil Cimino (drums) for the soulful and rugged delivery.

“Pretty Christine” lands near the end and emits a warm roots rock flavor, and “Together, Alone” finishes the listen with Borges’ acoustic guitar and expressive vocals guiding the intimacy that’s heartfelt and quite stirring.

Borges released her first record in 2005, and has amassed a loyal fanbase with her down to earth song craft that resonates with much heart and soul. Whether you’ve been following all along or this is your first time, Together, Alone truly touches on the human experience in Borges’ humble and timeless fashion.

Travels well with: Jim Lauderdale- Hope; Lilly Hiatt- Walking Proof

Lunar Noon

Symbolic Creature

Self-Released, 2022

10/10

Listen to Symbolic Creature

The recording moniker of Michelle Zheng, as Lunar Noon the eclectic artist employs electronica, harp and guitars, among others, for a very unclassifiable listen in the area of chamber, jazz, classical and pop.

“Rabbits” opens the listen with calm keys and Zheng’s soft, dreamy vocals guiding a very hazy climate of well timed strings amid a soothing backdrop, and “Ginkgo” follows with a fuller approach of playful percussion and soulful backing voices amid a very creative chamber appeal.

The middle tracks are some of the best, including the elegant keys of the tense yet pretty “Anywhere”, while “Provenance” hovers around a surreal climate of brushed percussion, sophisticated piano and Zheng’s impressive range. “Suspension”, another excellent track, then twinkles under a buzzing ambience that’s cinematic in its unique texturing.

Gliding towards the end, “Yellow House” lets the classically influenced piano accent the expressive, gorgeous singing, and “Gold” exits the listen in a busy, surreal display of chamber-pop that’s addicting in its unique delivery.

A very complicated affair that’s not short on melodies, harmonies and, of course, exploration, Symbolic Creature can be traced back to a trip to Japan in 2019 that yielded much self-examination for Zheng, and the resulting body of work is highly artistic and profoundly introspective.

Travels well with: Emily Wells- Mama; Amy LaVere- Painting Blue

Jeannie Seely & Jack Greene

Together Again

Country Rewind, 2022

8/10

Listen to Together Again

The County Rewind label brings us rare versions of songs made for radio broadcast from Jeannie Seely and Jack Greene, where their classic country ways are explored with incredible singing from the pair.

“Mr. Record Man” starts the listen with soothing and breezy classic country, as Seely’s gorgeous pipes are met by warm twang, and “There Goes My Everything” welcomes Greene’s smooth voice to the dreamy, soulful climate.

Further into the listen, “Love Takes Care Of Me” has the pair harmonizing with a gospel slant, while “Welcome Home To Nothing” showcases Seely’s diverse skill amid crisp drumming and playful guitar. “Please Be My New Love” then brings a rich and beautifully textured album highlight with plenty of emotion.

Moving towards the end, the rural melodies of “Help Me Make It Through The Night” are complemented by some very high notes from Seely, and “Sidewalks Of Chicago” exits the listen with a strong vocal presence and plenty of timeless, nostalgic country musicianship.

The work of Willie Nelson, Hank Cochran, Kris Kristofferson and many more are present here, as is a Seely original, and in Seely and Greene’s very capable hands it makes for an exceptional listen for fans of retro and modern country.

Travels well with: Jeannie Seely- An American Classic; Jeannie C. Riley- The Music City Sessions

Adams, Dunn & Haas

Future Moons

Ansible, 2022

8/10

Listen to Future Moons

The trio of Kieran Adams (sampler, drum machine, drums), Matthew ‘Doc’ Dunn (keyboards, electronics) and Andy Haas (reeds and electronica), on Future Moons the artists paint a very abstract portrait of spiritual jazz ideas that can occasionally get quite abrasive.

“Tulips For Cygnus” starts the listen with plenty of ambience, where playful sax noises are met with light drumming and curious keys, and “The Eye Listens, The Ear Sees” follows with a haunting cinematic quality that buzzes with a daring electronic spirit.

“Soft Nebula” occupies the middle spot and squeals with an avant-garde delivery that might remind you of a video game, while the glowing “Temple Of Time” drones with lively drumming behind the sci-fi friendly electronica.

“Future Moons” and “Dynastics” exit the listen, where the former pairs animated sax with low keys and the latter fnishes bare and strategic, with ebbs of intimacy amid the iconoclastic song craft.

All 3 players are members of The Cosmic Range, and have impressive resumes, and this very exploratory endeavor certainly will intrigue those with an ear for free and improve based jazz.

Travels well with: High Alpine Hut Network- 727/16; The Brodie West Quintet- Meadows Of Dream

The Brodie West Quintet

Meadow Of Dreams

Ansible, 2022

9/10

Listen to Meadow Of Dreams

An all acoustic outing where Evan Cartwright handles guitar, vibraphone and drums, Josh Cole plays bass, Nick Fraser sits behind the drum kit, Tania Gill contributes piano and Brodie West brings his alto sax, the 8 tracks here are quite adventurous in a free jazz sort of way.

“Entrainment” opens the listen with playful drumming, soulful brass and atypical guitar as the modern jazz setting glides with a peculiar charm, and “Fortress” follows with a calm, elegant spirit of cautious melody and warm gestures.

“Grotto” arrives at the halfway point and emits a cozy ambience of gliding keys and soothing sax, while “Inhabit II” is a more firm delivery of dense keys and bass acrobatics that’s quite fascinating.

At the end, “Haunt” arrives with a meticulous manipulation of space, where bowed strings meet rowdy drumming and a curious sax tone that you can’t help but admire, and the title track exits the listen with a radiance and elegance that’s indebted to classic jazz, but tweaked in their own inimitable vision.

West has a diverse resume that includes playing with the Dutch punks the Ex, and the minimalistic versus acutely textured moments here make for a feral jazz listen that you’re not going to hear anywhere else.

Travels well with: High Alpine Hut Network- 727/16; Adams, Dunn & Haas- Future Moons

High Alpine Hut Network

727/16

Ansible, 2022

8/10

Listen to 727/16

A project spearheaded by Christopher Shannon (of Bart and Possum) and Benjamin Pullia, the pair have expanded on their idea of cosmic house music into this improvised and sonically adventurous brand of fusion.

“727” leads the listen with futuristic, spacey gestures, as the setting is shrouded in mystery that embraces a prog-friendly buzzing where the synth is joined by crashing drums, wild flashes of brass, screechy guitars and whole lot of exploration.

“16” then carries a similar creativity, and emits playful bass, bright percussion, and highly interesting guitar work for the jazz influenced climate that never sits still.

You might draw parallels to Teo Macero or Lee ‘Scratch’ Perry here, and the band’s vision of electronic, fusion jazz makes for an extremely unusual and captivating 20 minutes.

Travels well with: Adams, Dunn & Haas- Future Moons; The Brodie West Quintet- Meadow Of Dreams

Bob Luman

Honky Tonk Man

Country Rewind, 2022

8/10

Listen to Honky Tonk Man

An album entirely of recordings made exclusively for radio broadcast, though you may be familiar with some of these titles from the late Bob Luman, here they’re versions that were never commercially available until now.

“Still Loving You” gets the album off to a twinkling start, where Luman’s deep pipes guide the romantic opener, and the title track follows with an upbeat energy of indeed honky tonk sounds that will get your body shuffling to the dusty flavor.

Further into the listen, the head bobbin’ and toe tappin’ “Gettin’ Back To Norma” displays spirited guitar work, while “It’s All Over (But The Shouting)” trims the pace back with agile drumming alongside Luman’s smooth singing. “A Woman Without Love”, another excellent track, then showcases graceful piano and sublime singing in the ballad setting.

Close to the end, the lively and rugged “I Don’t Care If The Sun Don’t Shine” gallops with a country spirit, and “Today I Started Loving You Again” exits the listen with a breezy and rich delivery of aching pedal steel, soft drumming and Luman’s unmistakable and inimitable vocals.

Sadly, Luman died at just 41 years old in 1978. He sure did put out a lot of great music in his short life, and this release certainly documents that and even allows his daugther Melissa to provide her singing, which only adds more appeal to his rockabilly, country, doo-wop and western swing formula.

Travels well with: Tex Ritter- The Songs Of The West; Rex Allen- America’s Last Singing Cowboy

Kent Blazy

Me & My Guitar

Self-Released, 2021

8/10

Listen to Me & My Guitar

A veteran songwriter with many hits under his belt, this solo album from Kent Blazy welcomes help from Josh Martin as he pens an album during the pandemic lockdown about his observations on the state of the world.

“When This Is All Over” opens the listen with warm acoustic guitar alongside Blazy’s rugged yet smooth singing in the very topical song about life during Covid, and “Just Another Old Man” follows with poetic singing amid the gentle guitar as folk qualities enter with much beauty.

Elsewhere, the intricate progressions of “Rabbit Hole” and backing vocals make for a calm, rootsy delivery about the ills of social media, while the title track offers an eloquent and romantic album highlight that’s bare but quite impactful.

Further still, “The Future Ain’t What It Used To Be” is a tune most of us will recognize, and here it’s delivered with Blazy’s pipes it’s a cozy and stirring tune, and “The Times They Are A Changing” exits the listen with a charming version of the Bob Dylan classic amid a more country oriented approach.

Even if the name isn’t familiar to you, you’ve heard Blazy’s work via artists like Garth Brooks, Gary Morris, Diamond Rio, Patty Loveless and Chris Young, to name a few. Having seven #1 songs on your resume is no easy feat, and these well thought out tracks certainly only solidify Blazy as one of the best songwriters of this generation.

Travels well with: Riley Downing- Start It Over; Riddy Arman- Riddy Arman

Don Macdonald

Shifting Sands

Self-Released, 2021

8/10

Listen to Shifting Sands

A very unique instrumental album where the Canadian artist Don Macdonald brings his violin to very detailed compositions, the inclusion of guitar, drums, piano, upright bass, and mandolin make for a very inviting listen.

The title track opens the listen with warm, fluid piano, as agile drumming and MacDonald’s precise strings enter the eclectic climate, and “Dali’s Hourglass” follows with mesmerizing keys from Dave Restivo alongside playfully plucked upright bass and, of course, the sublime violin prowess.

Halfway through, “Dreams Of Ozymandius” gets a bit haunting amid the classical ideas, while “La Tormenta” is a more upbeat selection that showcases plenty of melody in a jazz focused atmosphere.

Nearing the end, “Atacama” uses upright bass strategically to create a stirring mood of beauty and radiance, and “Homecoming” exits the listen with a frisky pulse of bouncy bass, Mike Rud’s rhythmic guitar and the meticulous violin thanks to Macdonald.

An effort that it isn’t short on grooves and world music nods, Macdonald and company weave in and out of atypical textures on this fusion affair that’s sure to keep the listener enthralled.

Travels well with: Voces8- Infinity; Dave Restivo- Arancina

Dolman/Rossy/Jobin

Are You Here To Help?

Self-Released, 2022

9/10

Listen to Are You Here To Help?

Aaron Dolman, Sarah Rossy and Eugenie Jobin bring their collective strength to this very experimental listen, where emphasis on drums and voice are occasionally complemented by Jobin’s skilled vibraphone.

“Two Boats and the Lighthouse Keeper” opens the listen with a firm drumming presence as Rossy’s pretty pipes guide the avant-garde delivery, and “Giving (With)” follows with soulful singing alongside stragetic vibraphone in the dreamy, bare climate.

“Borrow A Memory” lands in the middle and emits a sparse landscape of gorgeous singing that’s layered sublimely, while “Apart” uses wordless vocals and light drums for an album highlight that manipulates space and tension with much precision. The title track then employs vibraphone superbly to accent the pretty singing from Rossy’s diverse pipes.

Arriving at the end, “When We Get There” is an exercise in minimalism that’s sparing in fascinating ways, and “To Hold Love” exits with the loudest selection, as thumping drums and bright singing meet at a very interesting intersection.

Atypical in a very charming fashion, the 11 tracks here are entirely unpredictable, and genres like folk and jazz are flirted with, though it’s truly an unclassifiable journey, and in the best way possible.

Travels well with: Nick Storring- newfoundout; Ellen Gibling- The Bend In The Light

Instruments Of Happiness

Slow, Quiet Music In Search Of Electric Happiness

Redshift, 2022

8/10

Listen to Slow, Quiet Music In Search Of Electric Happiness

A Montreal guitar ensemble, Instruments Of Happiness presents us with four compositions that are 14 minutes each, synchronized by stopwatches, and allows space for each of the guitars to explore and flow.

Louise Campbell’s “Sideways” opens the listen with much atmosphere, as the precisely plucked guitars emit a fascinating, hypnotic quality that’s shrouded in mystery and awe, and Rose Bolton’s “Nine Kinds Of Joy” follows with a low buzzing that showcases finger picked acrobatics amid a warm haze.

The back half of the listen offers the louder “Traps, taboos, tradition”, by Andrew Noseworthy, where the sonic use of the electric guitar scrapes, whispers and chimes with plenty of playful exploration. The last composition, Andrew Staniland’s “Notre-Dame is burning”, exits with an ambient romanticism that embraces atypical melody and swells of ominous moments to punctuate the eclectic environment.

An electric chamber experience that’s quite exciting and unpredictable, Tim Brady, Jonathan Barriault, Simon Duchesne and Francis Brunet-Turcotte handle their guitars with an unparalleled skill, and the sounds here radiate a rare chemistry and timeless spirit.

Travels well with: Tania Gill Quartet- Disappearing Curiosities; Noah Bierstone- Mountains Move Like Clouds

Catalyst Quartet

Uncovered Vol. 2: Florence B. Price

Azica, 2022

8/10

Listen to Uncovered Vol. 2: Florence B. Price

The Catalyst Quartet align themselves with the pianist Michelle Cann on this 2nd installment of the Uncovered series, and it spans 6 chamber works that are executed with much power, agility and unpredictability.

“Quintet in A minor for Piano and Strings” opens the listen with firm keys and soaring strings aligning with a bit of intensity as well as flowing grace, and “Negro Folksongs in Counterpoint”, a world premiere recording, has the strings and keys interacting with a dynamic and mesmerizing quality that pushes and pulls with beauty and melody.

In the middle, “String Quartet in A Minor”, also a world premiere recording, highlights the moody nature of the strings that dance with a meticulous delivery, while “Five Folksongs in Counterpoint” mesmerizes us with its sublime synergy between the esteemed musicians.

The final pair of tracks- both world premiere recordings- offers the emotive and dreamy “String Quartet in G Major (unfinished)” and the swift, playful “Quintet for Piano and Strings”.

Yet another superb way to highlight under appreciated black composers, the quartet shine a light on Price’s unique cultural identity that includes being organ student at the New England Conservatory and an important contributor to the great Chicago Renaissance between 1935 and 1950 during a time when racism was rampant and she was fleeing an abusive husband.

Travels well with: Catalyst Quartet- Uncovered Vol. 1; The Crossing- Tower And The Garden

Sylvia

Nature Child- A Dreamer’s Journey

Red Pony, 2022

8/10

Listen to Nature Child- A Dreamer’s Journey

A Grammy nominated country star who had a string of hits in the ‘80s, Sylvia delivers a concept album for children and families here, where she inspires and young and old to follow their dreams.

“Avalon” starts the listen with soothing oboe and gorgeous strings, as a flowing, cinematic approach is met with Sylvia’s pretty, expressive singing, and “Imagination” follows with a warm melody amid the calm drumming, violin and electric bass.

Moving along, “If I Only Had Wings” leads with the sounds of children playing and into a soft, folk friendly climate, while “Nature Child” benefits much from gentle acoustic guitar and Sylvia’s vivid storytelling in a bare, sublime landscape. “My Best Friend” is then more percussion focused, as a breezy, dreamy delivery makes for an absorbing album highlight.

“(Hey Hey Hey) It’s A New Day” arrives at the end, and offers an uplifting and wise tune of light musicianship, and “I Love You For Who You Are” exits the listen pretty, romantic and comforting in her sage like presence.

A listen that’s rich in its wordplay and takes help from the multi-instrumentalist John Mock as well as many others on brass, strings, and winds, Sylvia’s version of Americana is the soundtrack to anyone chasing a dream or who basks in the wonder and awe of life.

Travels well with: Ben Tatar And The Tater Tots- Seconds; The Laurie Berkner Band- Let’s Go!

The Twangtown Paramours

Double Down On A Bad Thing

Inside Edge, 2022

8/10

Listen to Double Down On A Bad Thing

An outfit spearheaded by Marybeth Zamer and Mike T. Lewis, as The Twangtown Paramours they bring their unique formula to a more electric, rhythmic and band centered listen that tips it hat to The Beatles and the sounds of Memphis.

The title track opens the listen with Zamer’s soaring pipes alongside bright sax, punching drumming and no lack of rhythm, and “That’s What The Blues Are For” follows with spirited guitar and plenty of emotion amid Dave Keyes B3, and Zamer’s soulful pipes.

Elsewhere, “Comin’ Back” recruits a Wurlitzer for the powerful soul rocker, while “Whoa Nellie” showcases Lewis’ melodic vocals amid the blues rocker. “Love Is A Stranger”, the album’s best, then benefits much from Steve Conn’s piano as Zamer’s stunning voice guides the gospel influences.

Approaching the end, “Sincerely Yours No More” employs Mark Deffenbaugh on lap steel for the rootsy flavored landscape, and “My Gingerbread Man” exits the listen with a playful display of warm keys, varied singing, charming brass and a melody that will get you on the dance floor.

Zamer and Lewis are also joined by Shawn Pelton (drums, percussion), Rave Tesar (piano), Ed Alstrom (piano), Will Barrow (organ), Gary Dibenedetto (pedal steel), Dan Nigro (sax) and Vinnie Cutro (trumpet), and they help make this 3rd album a fuller, more exploratory version of their blues and roots influenced rock’n’roll that’s impossible not to enjoy.

Travels well with: Chickenbone Slim- Serve It To Me Hot; Hanna PK- Blues All Over My Shoes

Heather Sarona

Head Above Water

Self-Released, 2022

8/10

Listen to Head Above Water

Even though this is her debut album, the North Carolina resident Heather Sarona has been playing music since the age of 14, when she discovered her dad’s old guitar. Also skilled at banjo and ukulele, the singer-songwriter pens 9 very well thought out and articulate tracks here.

The title track starts the listen with warm acoustic guitar and strategic banjo, as Sarona’s pretty, poetic vocals unfold with a very wise and soothing spirit to guide the timeless Americana, and “Better Than What I Got” follows with a more bare approach that brings dreamy instrumentation to the soft melodies.

Further along, “For Me” makes great use of mandolin amid the plucked bass and reflective singing, while “Fool” is a more upbeat delivery of cautious and mature songwriting that really showcases Sarona’s versatile pipes.

Approaching the end, “Don’t Want To Let It Go” might be the quickest tune, where the swift string interaction touches on bluegrass, and “Window To Break” exits the listen with folk-rock tendencies as Sarona and company get more firm but still very harmonic.

Sarona’s in some great company here, including Andrew Marlin (Mandolin Orange, Watchhouse), Libby Rodenbough (Mipso), Sarah McCombie (Chatham Rabbits) and Lizzy Ross (Violet Bell) on harmonies, as well as Hank Smith on banjo, Marcel Ardans on guitar, Alex Bingham on bass, and Jason Cecil on percussion. Together, they illuminate her folk, Americana and bluegrass ways with much poise and beauty, and it makes for an excellent first record.

Travels well with: The Whitmore Sisters- Ghost Stories; Sad Daddy- Way Up In The Hills

Urge Overkill

Oui

Omnivore, 2022

9/10

Listen to Oui

It’s been over a decade since we’ve heard new music from the veteran rockers Urge Overkill, and Nash Kato and King Roeser make the most of this 12 track outing with their signature hook heavy and riff friendly brand of rock.

“Freedom!” opens the listen with an energetic blast of melodic and warm alt-rock, where gritty yet tuneful vocal harmonies populate the intricate guitar work of the George Michael cover, and “A Necessary Evil” continues with a calmer approach of thumping drums, buzzing guitars and a bit of post-punk.

The middle tracks are among the best, and include the raw meets soulful vocals of the gritty “I Been Ready”, while “A Prisoner’s Dilemma” twists and turns with a multi-faceted version of rock that’s arena ready. “Litany”, another excellent track, then brings much rasp into the soaring and thundering climate.

“Won’t Let Go” and “Snow” exit the listen, where the former sounds indebted to early ‘90s’ alt-rock in all the best ways, and the latter builds off a hypnotic riff and into a more intimate landscape.

Though the bulk of their fame arrived decades ago when their cover of Neil Diamond’s “Girl, You’ll Be A Woman Soon” made its way onto the Pulp Fiction soundtrack, these dozen sturdy and rugged tunes prove that Urge Overkill’s songwriting chops haven’t waned one bit.

Travels well with: Matthew Sweet- Catspaw; Bob Mould- Blue Hearts

The Rave-Ups

Tomorrow

Omnivore, 2022

8/10

Listen to Tomorrow

The Rave-Ups released a trio of albums from 1985-1990, and enjoyed much success with their cowpunk ways, and even made an appearance in a couple of John Hughes movies.

A reunion show for a reissue of their debut album sparked an interest among the members, and here we’re treated to their first album in 32 years, where the original members Jimmy Podrasky, Terry Wilson, Tommy Blatnik and Timothy Jimenez are in fine form.

“So, You Wanna Know The Truth?” opens the listen with crisp drumming, swift banjo and smooth vocals for the energetic roots rocker, and “Brigitte Bardot” follows with a playful and jumpy melody that just invites dancing.

Moving along, “Cry” offers a calmer display of sprited guitar, thumping drums and well timed piano that builds into an anthemic delivery, while “Coming After Me” employs harmonica and pedal steel from Marty Rifkin for the reflective and radiant album highlight.

Nearing the end, “When I Write Your Name” is a thick and rowdy country rocker, and “Tomorrow” exits the listen intimate and breezy with some folk-rock ideas entering the dreamy finish.

A very mature affair that still captures the fervor of their youth, this is a fantastic comeback album, and you won’t hear me complaining if The Rave-Ups put out many more.

Travels well with: The Whitmore Sisters- Ghost Stories; The Bootheels- 1988: The Original Demos

The Waymores

Stone Sessions

Chicken Ranch, 2022

9/10

Listen to Stone Sessions

The Waymores are the duo of Willie Heath Neal and Kira Annalise, and together their rich harmonies and relatable lyrics touch on the classic country ideas of Conway Twitty or June Carter, and they inject a bit of honky tonk into the equation, too.

“Heart Of Stone” opens the listen with crisp drumming, warm guitars and a frisky tempo that welcomes both pretty and raw singing in the dance friendly climate, and “Even When” follows with a galloping spirit that’s sure to satiate any country-rock fan with its rural melodies.

In the middle, “I Don’t Like The Liquor” isn’t lacking melody as the pair deliver a timeless drinking themed album highlight, while “Road Worn” displays intricate and sublime guitar playing amid the sing-alongs you won’t soon forget.

Nearing the end, “When I’m Gone” emits a playful and wise rootsy energy with agile drumming and cozy guitar licks, and “Ode To The Animals” exits the listen with a bare recording, where the pair strip the setting back to minimal instrumentation and their gritty yet pretty singing makes for an impactful finish.

An excellent sophomore album, there’s bits of folk and blues to be found here, too, and it makes for a top notch effort in the area of roots rock, Americana and honky tonk.

Travels well with: The Whitmore Sisters- Ghost Stories; Rain Perry- A White Album

Helene Cronin

Old Ghosts & Lost Causes

Self-Released, 2019

9/10

Listen to Old Ghosts & Lost Causes

For many years Helene Cronin has been writing and performing behind the scenes, but here the songstress is front and center across 11 tracks of her vivid storytelling and heartfelt musicianship.

“Careless With A Heart” starts the listen with gentle acoustic strumming and expressive vocals from Cronin, and “Mean Bone” follows with a fuller delivery of cautious yet playful blues-rock.

Further along, “Riding The Gray Line” finds a warm and elegant place to reside with folk influences, while “El Camino Fly” flows with lush textures as Cronin radiates timeless melodies. “The Last Cowboy”, one of the album’s best, then showcases Cronin’s strong vocal prowess on a reflective tune with aching pedal steel.

Near the end, “Mongrels And Mutts” finds the record embracing adventurous sounds in the multifaceted approach, and “Ghost” ends the listen similar to how it started- Cronin armed with an acoustic guitar and her soothing pipes on a solo exit of sublime beauty.

Cronin delivers the entire package here, an album that blends together seamlessly from one track to the next, as she explores her vast skill set with imaginative, soulful and unforgettable songwriting that any and all fans of Americana and folk music will enjoy every second of.

Travels well with: Jane Kramer- Valley Of The Bones; Meghan Hayes- Seen Enough Leavers