Cudighi Records

Sampler Platter Vol. III

Cudighi, 2020

9/10

Listen to Sampler Platter Vol. III

The Cudighi label is putting out some of the most interesting compilations in area of indie-rock lately, and here they bring us 18 obscure but exciting artists who are well versed in pop, noise, electronica and psychedelic songwriting that’s both iconoclastic and inviting.

William Lyon Of Rosycross starts the album with soundbites against the warm ambience of “Psalm 24 In Cobalt” that bursts into a bouncy, buzzing display of playful synth-rock, and Spookey Ruben’s “Rachel” follows with bright melodies, smooth vocals and plenty of indie-pop fun.

Elsewhere, Elena Dakota’s soulful “Diamond Ears” moves with soft horns amid a soothing beat, while Lils Ring’s “Material Memory” is a lullaby-esque track with breathy singing and sounds of water, giving it an almost meditative quality. “Cosmodrome”, one of the most memorable tunes on the compilation, then pulses with an energetic dance-rock meets electro-pop glow that’s as mesmerizing as it is intoxicating.

Deeper still, Paradot brings us the glitchy, rhythmic patterns of intrigue that is “Duplex Elliptic”, and Benjamin Finger closes out the affair with the dreamy repetition of “Still Cares” that’s light and airy and alluring in its unique appeal.

An ideal way to peruse their roster to see if there’s any interest, there’s a wealth of talent on hand here, and it’s all executed in charming and atypical ways that warrants much attention.

Travels well with: Cudighi Records- Sampler Platter Vol. II; Lyndon Blue- Wet Paint

Richard Whiteman

Very Well & Good

Cornerstone, 2020

8/10

Listen to Very Well & Good

A Toronto multi-instrumentalist who stays quite busy playing piano in his hometown scene, here Richard Whiteman takes up bass as Reg Schwager holds down guitar, Amanda Tosoff handles piano and Morgan Childs sits behind the drum kit. Additional guests include Mike Murley and Pat LaBarbera on tenor saxophone, and together the players bring classical ideas to very straight forward jazz on primarily originals from Whiteman, Tosoff and drummer/pianist Andre White.

Whiteman starts the album with a pair of well crafted originals as the title track flows with glorious saxophone and warm keys as Whiteman’s deft bass anchors the tune, and “Not So Early”, which is a calmer pace of soulful piano alongside a restrained, cautious backdrop.

In the middle, “Selohssa” finds a soothing place to reside, where gorgeous guitar lines really illuminate the mood of the protest song, while “Residue” swings with a frisky rhythm and a whole lot of fun on the White tune. “Pat & Mike”, one of the album’s best, then cultivates all sorts of grooves in its dynamic and accomplished atmosphere that tips it hat to LaBarbera and Murley it title and spirit.

At the end, “Right Here, Right Now, With You” pairs playful percussion with elegant piano, and “Dancing With Zeke”, one of two songs here about Whiteman’s late Siamese cat, finishes out the listen with a sophisticated and danceable pulse in 3/4 time- an ideal tribute to the feline dancing partner.

A splendid album with no lack of solos and that’s textured with a lovely presence, Whiteman cites this as both his most personal recording to date and his best, and we’re certainly not going to disagree with that.

Travels well with: Dave Young Quartet- Ides Of March; Doxas Brothers- The Circle

415 Records

Still Disturbing The Peace

Liberation Hall, 2020

9/10

Listen to Still Disturbing The Peace

Liberation Hall is doing us all a favor by reissuing releases from the famed 415 Records, who were of utmost importance in documenting San Francisco’s underground rock scene in the late ‘70s and early ‘80s.

They’re starting off the rereleases by bringing us an expanded version of the 1978 compilation album Disturbing The Peace (now titled Still Disturbing The Peace), where many of the bands that defined the 415 label are in attendance, including The Nuns, Renegades, The Symptoms, VKTMS and many more.

The Nuns start the listen with a live version of “Suicide Child”, where a soft, mysterious opening bursts into a thundering display of charged rock, and “Insect Lounge”, by Mutants, follows with both pop and punk ideas in the melodic landscape.

A varied listen with plenty of surprises, “Everyone’s A Bigot” flows with plenty of rhythm in its ska-punk delivery from The Offs, while New Math’s “They Walk Among Us” is firmly planted in the ‘80s with its New Wave nods. “Stand By Your Man”, the highlight of the first half, then showcases Baby Buddha’s synth prowess and firm beats in the dark spirited dance-rock.

The back half of the listen doesn’t disappoint either, and includes the raw, old school punk of “Teenage Underground” by Red Rockers, and “Truckin’”, where Pop-o-pies deliver some lively garage rock that’s gritty and instantly memorable. Close to the end, Units brings us one of the record’s best tunes with the buzzing and eccentric “Warm Moving Bodies”, that’s kind of sci-fi, definitely unusual, and would certainly make David Byrne smile.

In revisiting these very old tunes, it’s amazing how ahead of their time these San Francisco artists were. When punk and New Wave were at their infancy, many of these bands were already doing it just as good, if not better, than the names that made it onto the radio and in glossy magazines.

An excellent starting point on this project, look out for reissues from SVT, Uptones and Readymades coming up next.

Travels well with: Jiffy Marx- She’s My Witch 7”; Buzzcocks- The Way

The Nels Cline Singers

Share The Wealth

Blue Note, 2020

9/10

Listen to Share The Wealth

An extremely creative double album, The Nels Cline Singers don’t actually have any singing involved, but that doesn’t stop Cline and company from blending Skerik’s saxophone prowess and Cline’s guitar magic with the rest of the esteemed musician’s across the avant-garde adventure that’s some type of iconoclastic version of jazz.

“Segunda” starts the album with plenty of atmosphere as spirited guitar work, frisky percussion from Scott Amendola and Trevor Dunn’s warbling bass guide the innovative opener, and “Beam/Spiral” follows with a calmer approach where warm saxophone flows alongside some spacey ideas in the atypical restraint.

Elsewhere, “Headdress” flows with a percussively strong album highlight where synth ambience and soulful ideas meet, while “Princess Phone” displays much diversity in its busy landscape of calculated free jazz meets electronica. “The Pleather Patrol” then gets experimental and adventurous with its stylish rhythm and nods to funk with Brian Marsella’s key skills making an indelible impression.

The last 2 tracks are among the most notable, including the cinematic “A Place On The Moon”, that’s often ominous, shrouded in mystery and goes on for 20+ minutes and in and out of grooves in some type of off kilter, jam band fashion, and “Passed Down” exits the listen with a dreamy quality as Cline’s acoustic guitar and the eloquent saxophone interact playfully on the folk finish.

Perhaps best known for being the guitarist for Wilco since 2004, Cline has had his hand in all sorts of side projects over the years, and despite never playing a note live in this line up of The Nels Cline Singers, it just might be his most exciting and unclassifiable to date.

Travels well with: The Nels Cline 4- Currents, Constellations; Charles Lloyd & The Marvels- Vanished Gardens

Dave Alvin

From An Old Guitar: Rare And Unreleased Recordings

Yep Roc, 2020

9/10

Listen to From An Old Guitar: Rare And Unreleased Recordings

It’s been over a decade since the Grammy winner, guitarist and singer-songwriter Dave Alvin has released a solo album, and he makes the wait worth it as he collects 16 rare and unreleased tunes for us here, where Greg Leisz (electric guitar), Gregory Boaz (bass), and Don Heffington (drums) are in attendance.

Alvin starts the listen with the warm Americana of “Link Of Chain”, where his inimitable pipes are exceptionally expressive, and this formula carries to the rootsy rock of the Bob Dylan cover “Highway 61 Revisited”, where spoken word guides the rugged landscape, as well as the acoustic guitar and strategic piano of the emotive “Amanda”.

Halfway through, “On My Way Downtown” offers an upbeat country track with aching pedal steel amid a shuffling pace, while “Inside” moves gently with subtle female vocals aiding Alvin’s soulful singing in the reflective climate. “Peace”, one of the album’s best, then takes nods to classic rock with plenty of rhythm and blues.

Deeper still, “Dynamite Woman” recruits some honky tonk spirit in its breezy, dance friendly melodies, and “Signal Hill Blues” exits the listen with no lack of grooves populating its soaring blues nature.

These tunes were originally recorded for tribute albums, Alvin’s own albums, or just because the mood was right, and they span a wide array of rock, country, folk, blues and embrace both balladry and bar rockers. If you’re a longtime fan, this is absolutely essential, and for the first time listener it’s a hell of a place to start as Alvin is in fine form with his old, beat up guitars sounding just as comforting, rowdy and memorable as ever.

Travels well with: The Long Ryders- Psychedelic Country Soul; Steve Earle & The Dukes- Ghosts Of West Virginia

Bee Bee Sea

Day Ripper

Wild Honey, 2020

10/10

Listen to Day Ripper

An Italian trio who are just as familiar with pop punk as they are classic rock, this 3rd album from Bee Bee Sea is a blast of energetic and contagious riffs, memorable sing-alongs and syrupy sweet hooks that could remind you of both The Who and Ramones.

“Daily Jobs” starts the listen and makes an immediate impression with its gritty, garage-rock presence as melodic singing aligns with the tuneful guitars and drumming, and “Be Bop Palooza” follows with a firm power-pop presence that’s also friendly with punk in a head bobbin’, toe tappin’ sort of way.

At the midpoint, “Destroy” is a swift and harmonic display of buzzing indie-rock, while “Mheer Sag” is a perfectly executed tune of guitar driven punk rock where the dynamic rhythm section anchors the fun. “Horst Klub”, the quickest tune, then delivers a scrappy vintage rocker wrapped up in a universally embraceable pop formula.

Near the end, “Telephone”, which is primarily instrumental, benefits from bouncy bass lines and swirling psychedelia amid vocal effects, and “Day Ripper” exits the listen with the best track, as precise musicianship unfolds with a hypnotic and punchy prowess that’s drenched in fuzz.

Formerly very much indebted to garage rock, this time around Bee Bee Sea spread their wings with much success as their rock’n’roll template now involves psyche-rock, grooves and no shortage of nostalgic nods to The Beatles, too.

Somehow, these guys are still working days jobs, but with albums like this, worldwide fame should be very close by.

Travels well with: Thee Oh Sees- Live In San Francisco; Buzzcocks- The Way

John Calvin Abney

Familiar Ground

Black Mesa, 2020

8/10

Listen to Familiar Ground

John Calvin Abney’s 5th album, Familiar Ground, comes at a very unique time in history, where many artists are sequestered and penning records during the country’s lockdown. In continuing with the theme of the pandemic and its repercussions, the Oklahoma resident examines mortality, and strength, especially when it comes to battling the often difficult tides of life, and his pensive and yet optimistic atmosphere sure sounds like it should soundtrack 2020.

Abney starts the album with the appropriately titled “When This Blows Over”, where folk and twang meet with Abney’s dreamy vocals suiting the warm pedal steel and cautious drumming perfectly, and “Shine Like A Friend” follows with some nods to Elliott Smith in both mood and delivery, as sunny moments meet plenty of reflection.

Further along, “Evening Tide” contains plenty of soulful ideas amid some playful pop-rock sensibilities, while “The Contractor” is a bare display of subdued beauty that’s as stirring as it imaginative. “Signs Of Weather” then offers a poetic approach of timeless folk song craft where Abney sounds like an old soul trapped in a young man’s body.

At the end, "Familiar Ground” has John Calvin Abney Jr. on acoustic guitar in an eloquent climate that’s about Abney’s father’s recent passing, and “Tokyo City Rain” exits the listen with much elegance in a hopeful execution inspired by a brief, spontaneous trip to Japan.

A record made with his longtime collaborator John Moreland, Abney built the demos on an aged Mac where he wrote on guitar, piano and Mellotron, and then sent the work to Moreland who added drums and bass. Abney would eventually place strings and synth on some tracks, and the process yields an intimate and expansive journey that may make you want to mull things over in a very positive, life-affirming sort of way.

Travels well with: M. Lockwood Porter- Communion In The Ashes; Cory Branan- The No-Hit Wonder

Go Cactus

Vinyls For Good 7”

Mahou, 2020

10/10

Listen to Vinyls For Good

A 2 song 7” from Spain’s Go Cactus, this release is actually a benefit for businesses affected by Covid that was spearheaded by Mahou Beer.

Side A from the trio brings us “Would You Hold My Hand”, where rhythm and melody are intertwined as gritty yet tuneful singing guides the retro-rocker, while Side B offers us the calmer “Hippy Jump”, where spirited guitar and a hazy rhythm section help illuminate the band’s unique, timeless surf-rock meets garage rock approach.

A fantastic way to explore one of Spain’s brightest bands while also supporting a very important cause, this piece of wax comes with a download code and aesthetically pleasing artwork, too.

Travels well with: beingmoved- Smiles And Bigger Hearts ; The Persian Leaps- Electrical Living

Amy LaVere

Painting Blue

Nine Mile, 2019

9/10

Listen to Painting Blue

A Louisiana native who has been playing music since high school, Amy LaVere has kept busy with her flourishing solo career as well as playing with The Wandering, alongside Luther Dickinson.

On Painting Blue, LaVere takes help on the production side of things from her husband, Will Sexton, resulting in another stirring and emotive chapter in her expressive catalog.

LaVere starts the listen with the mysterious and warm “I Don’t Wanna Know”, where her pretty, expressive vocals are accented by strategic keys, cautious guitar and calm percussion, and “No Battle Hymn”, co-written by Sexton, follows with a quick pace of imaginative folk-rock that’s as memorable as it is fluid.

Near the middle, “You’re Not In Memphis” offers a charming brand of Americana that’s stylish and groove friendly, while “Love I’ve Missed” tugs at the heartstrings with a dreamy, romantic quality. “No Room For Baby”, a particularly striking track, then flows with strings, much emotion and gorgeous instrumentation.

Close to the end, “Shipbuilding”, an Elvis Costello tune, recruits accordion in a bare atmosphere where LaVere’s breathy vocals are the focus, and “Painting Blue (On Everything)” exits the listen bright and full of melody in the drum filled and dynamic landscape.

A record that’s as likely to embrace jazz as it is twang and is at times intimate but also very full, LaVere’s always approached her song craft from a unique perspective, and that certainly continues on this touching and timeless effort.

Travels well with: Pieta Brown- Freeway; Patty Griffin- American Kid

Stiletto Feels

Push Back

Self-Released, 2020

8/10

Listen to Push Back

An Austin, Texas experiment spearheaded by Geoff Earle, he took an unusual approach by securing studio time with session players who would then improvise over demo tracks after just one listen. Earle then collaged the pieces together for this second album as Stiletto Feels.

“Perfectly” starts the listen awash in modern day electro-pop as soulful vocals and synthetic drumming populate the busy landscape, and “I Wanna Break It” follows with a bright and soaring display of indie-rock that’s not short on melody in its buzzing appeal.

Halfway through, “Plug Me In” recruits ‘80s inspired synth in the club-friendly delivery, while the dreamy “Kill” glides with an ethereal spirit of textured beauty. “At Home With The Piano”, then offers a raw, home recording of bare piano before erupting into a sleek version of dance rock.

Near the end, the atmospheric “Things Will Work Out” is a layered execution of spacey sounds, and “Do You Remember How Perfect It Was” finishes the listen with 45 seconds of ambience in its blurry, warm climate.

While a project like this is just asking for a fumbling mess in some people’s hands, when you have artists like Aaron Perez of Ume, Ryan Figg of The Octopus Project, Bryan Richie of The Sword, Jimmy Vela of Think No Think, and Paul Oliphint and Cody Skinner of Stiletto Feels' live incarnation in attendance, you get a very adventurous sophomore record in Push Back.

Travels well with: Mr. Gnome- The Day You Flew Away; Soft People- Absolute Boys

Snowglobe

Our Land Brains

Nine Mile, 2020

8/10

Listen to Our Land Brains

Originally released in 2002 and highly praised for its atypical version of pop, Snowglobe’s Our Land Brains sees the reissue treatment here on double LP and with new artwork to accompany its remastered sound.

“Waves Rolling” gets the album off to an atmospheric start as an ominous beginning leads into acoustic guitar alongside hazy vocals, and “Beautiful” follows with jumpy keys in an almost show tune like display that embraces tambourine and xylophone.

Elsewhere, “Big City Lights” is a folksy strummer that hosts brass and melodic singing before heading into psychedelic influences, while “Adrenaline Mother” is a quirky mix of indie-pop and off kilter classic-rock that seems indebted to the ‘60s. “Experiments”, one of the best selections, then benefits from warm guitar lines, multiple vocals in the chorus and ambient keys in its textured delivery.

Further down the line, “The Song That Frustrates Us” offers a retro-inspired version of rock where organs and horns dance around plenty of harmonies, and “Goodbye Dream”, the last formal song, is a quick display of subdued piano and Tim Regan’s gentle vocals as soulful horns complement the dreamy exit.

Snowglobe rarely stay in one place very long, which is very much part of their charm, and when the relatively unknown band released this 18 years ago, it didn’t take long for people to notice. If The Beach Boys and Neutral Milk Hotel had a baby, it might sound like this, and it’s comforting to know that nearly two decades later, people are still admiring Our Land Brains.

Travels well with: They Might Be Giants- My Murdered Remains; The Flaming Lips- King’s Mouth Music And Songs

Jeff Ellwood

The Sounds Around The House

Self-Released, 2020

8/10

Listen to The Sounds Around The House

The tenor sax extraordinaire Jeff Ellwood is in great company on this first album as band leader, where Alan Pasqua contributes piano, while Darek Oles and Joe Labarbera handle the rhythm section on these 9 creative jazz tunes.

Ellwood starts the listen with his warm sax prowess on the lively and elegant “U-R”, where Labarbera’s frisky drumming makes an impression, and “Agrodolce” follows with Pasqua’s mature keys that align perfectly with the soulful delivery from Ellwood.

Closer to the middle, “Provence” recruits Bob Sheppard on tenor sax for a gentle, reflective tone, while “The Sounds Around The House” resides closer to balladry with sublime interaction between the esteemed players. “King Henry”, an exceptional track, then glides with a swift pace of timeless, dynamic jazz sensibilities.

“The Honeymoon” and “For Roger” finish off the album, where the former swings with a whole lot of fun amid flowing melodies, and the latter exits with much beauty in its bare display as Ellwood’s passionate sax and Oles’ deft bass work together with plenty of emotion.

Ellwood and company pull off some excellent interpretations here while also giving us well crafted originals, too. If you’ve got an ear for saxophone fueled song craft and/or no frills jazz, The Sounds Around The House won’t disappoint.

Travels well with: Max Haymer- Whirlwind: Live At Sam First; The Michael O’Neill Quartet- And Then It Rained

Free Radicals

White Power Outage Volume 1

Self-Released, 2020

8/10

Listen White Power Outage Volume 1

The Houston outfit Free Radicals are nothing if not unclassifiable, as they often pack hip-hop, rap, funk, jazz, bluegrass and about a dozen other genres into one recording. Here, they host 50+ musicians that span the ages of 4 to 92 for a listen that’s as diverse as the backgrounds of the players who made it.

“America Is A Lie” starts the album with help from Obidike Kamau on the spoken word opener as jazz and funk ideas enter the insightful climate, and “Redlining/Strange Flute” follows with Swatara Olushola’s expressive pipes guiding the reggae inspired atmosphere that makes great use of flutes, too.

Sure, 23 tracks is a lot to digest in one listen, but the abundance of contributors make each track exciting in its own right, including the soulful hip-hop meets jazz of “Look At That”, which recruits D-Ology, while “The Great Australian Heist” features Bryte on the rapid fire hip-hop that’s not without melody. “Café Sin Leche”, one of the best tracks present, then flows with cultured rhythm amid frisky drumming and soothing vocals.

Closer to the end, the bright brass and firm beat of “Chariot Rock” complements the quick rapping and pretty singing from Genesis Blu and Jasmine Christine, and “Piece Of The Rock”, with Matt Kelly, shuffles with a country western influence as gritty singing aligns with some crunchy rock’n’roll near the end.

Despite the non-stop genre skipping present, the message here is quite uniform, as Free Radicals are fueled by their passionate fight to end white supremacy, police brutality, racism, wealth inequality and immigrant detention. In a year as difficult as this one, we could all benefit from the direct wordplay of this very important album, and hope that change is on the horizon.

Travels well with: Stubborn All Stars- Nex Music; The Slackers- Blue

DJ Shub

War Club

Shub, 2020

8/10

Listen to War Club

An esteemed Canadian producer and former member of A Tribe Called Red, Dj Shub is in some grand company here as many Canadian luminaries accompany him across these powerful and very artistic hip-hop anthems.

After the electronica and often ominous quality of the dizzying “Intro”, the title track follows with Snotty Nose Rez Kids as tribal like drumming and buzzing synth enter the rapid fire hip-hop.

There’s 19 tracks here, and the handful of guests add much diversity, such as “Bullets”, which brings in Phoenix and Randy Bachman for a melodic and dance friendly moment, while “Shake Ya Bustle”, with Hellnback, is an adventurous and dynamic display of massive talent. “Back To The Land”, one of the album’s best, then displays Jewlz’s skills with a sci-fi like execution alongside fluid hip-hop.

Deeper still, “Pow Wow Dub” benefits greatly from Steve Salas as plenty of grooves enter the hazy climate, and “Old School Is For Lovers”, with Morningstar River, finds itself in ambient areas as a cinematic appeal meshes with indigenous chanting that’s as mesmerizing as it is memorable.

An album that Shub worked on for two years, you certainly can tell much work went into the effort as each track is meticulously composed and flawlessly executed. Proceeds from the record will go to Black Lives Matter and Missing and Murdered Indigenous Women, too, which is even more reason to pick up this insightful, enlightening and cultured debut.

Travels well with: A Tribe Called Red- A Tribe Called Red; Buffy Sainte-Marie- Power In The Blood

Gabriel Latchin

I’ll Be Home For Christmas

Alys Jazz, 2020

8/10

Listen to I’ll Be Home For Christmas

The luminous British pianist Gabriel Latchin is in fine company here, as Dario Di Lecce handles bass and Josh Morrison sits behind the drum kit across these well crafted and often adventurous holiday songs

“Winter Wonderland” starts the album with frisky percussion as warm keys enter the playful jazz climate, and “Jingle Bells” follows with a swift pace as plucked bass and bouts of acrobatic keys put an entirely new spin on the classic.

Close to the middle, “A Toast To Friends” moves with a rich atmosphere of precise, soulful song craft, while “The Christmas Song (Chestnuts Roasting On An Open Fire)” finds itself in ballad territory initially before building into a rhythmic display of timeless song craft. “White Christmas”, the best of the bunch, then displays sublime beauty from all 3 players amid the sophisticated, elegant landscape.

Towards the end, “Have Yourself A Merry Little Christmas” illustrates intricate restraint in the slow burning atmosphere, and “Silent Night” finishes the album surprisingly upbeat with plenty of grooves, as Latchin and company reinvent the song in a brilliant new light.

These interpretations were originally performed as a sold out show in London in December 2018, and now we can all enjoy Latchin’s unique vision of festive tunes that he reimagined in the spirit of his idols, Bill Evan, Cedar Walton and Ahmad Jamal.

Travels well with: Charles Lloyd & The Marvels- Vanished Gardens; 3D Jazz Trio- Christmas In 3D

Henry Gray & Bob Corritore

Cold Chills

VizzTone, 2020

9/10

Listen to Cold Chills

This is the 3rd installment of Bob Corritore’s From The Vaults series, and this time he collects some of his recordings with pianist and vocalist Henry Gray that took place between 1998 and 2018, and there’s an all star cast from some of the most luminous names in blues on hand, too.

“Cold Chills” starts the listen with firm keys and soulful harmonica from Corritore as rugged yet tuneful singing from Gray and Bob Margolin’s bluesy guitar populate the inviting opener, and “Look Out Mabel” follows with the piano and harmonica interacting playfully on the bouncy blues setting.

There’s 15 tracks total, and with the wealth of guests present, each song brings new appeal. “Moonlight Blues” invites John Brim on guitar and vocals in the gritty blues climate, while “Hurt Your Feelings” recruits Johnny Burgin on guitar and Tail Dragger handling vocals in its powerful execution. “Ain’t No Use”, a particularly notable track, then enjoys the company of Pops McFarlane, Chico Chism, Johnny Rapp, Bob Margolin accompanying Gray and Corritore on the busy, textured and dynamic landscape.

Deeper still, “Javelina Jamboree” hosts Chief Schabuttie Gilliame’s gruff pipes on the swingin’ fun, and “Going Down Slow” exits with Gray and Corritore being the focus of the slow burning, timeless blues execution.

If you haven’t familiarized yourself with the From The Vaults project from Corritore, and you’ve got any sort of inclination towards the blues, you’re missing out, cause there’s a whole lot of fun to be had and songs to be absorbed- many of which are previously unreleased.

Travels well with: Bob Margolin- Start Of Stage And Screens; Johnny Burgin- No Border Blues

John Fogerty

Fogerty’s Factory

BMG, 2020

9/10

Listen to Fogerty’s Factory

A family affair, here the legendary John Fogerty and his kids, Shane, Tyler and Kelsy, collaborate where they revisit some of Forgerty’s greatest tunes, as well as some surprise interpretations, while self-quarantining during the pandemic.

The family starts with the 1985 smash hit “Centerfield”, where Fogerty’s aged voice still sounds as gritty and warm as ever as his kids offer warm instrumentation, and “Have You Ever Seen The Rain” has the entire family playing guitars as this campfire-esque version mirrors the greatness of the original recording.

Although there isn’t a bad tune to be found here, naturally, their version of “Lean On Me” is particularly powerful and relevant in these turbulent times, while the soothing “Blue Moon Nights” is a breezy and highly melodic strummer where Fogerty tosses in some intricate solos. Another excellent cover is Arlo Guthrie’s “City Of New Orleans”, where the quartet offer a soulful rendition of a classic folk tune.

Of course “Bad Moon Is Rising” is present, and it’s a fantastic, playful, raw version that’s quite possibly one of the best versions in recent history, and “Don’t You Wish It Was True”, one of the more modern Fogerty tunes in attendance, exits the listen with his children harmonizing and contributing their respective talents with much poise.

What began as simply the Fogerty’s playing songs to spread the joy that music has brought to them lead to a series of Youtube videos that amassed millions of views. This turned into a digital EP, and now in full album form with a vinyl release coming in early 2021. I’d say Fogerty and family used their quarantine time wisely, and if you hear this nostalgic and spontaneous album, I think you’ll agree.

Travels well with: John Hiatt- The Eclipse Sessions; The Textones- Old Stone Gang

Paul Bogart

Won’t Have Far To Go

Self-Released, 2020

8/10

Listen to Won’t Have Far To Go

The esteemed songwriter Paul Bogart mixes originals and covers here, as he brings his authentic cowboy spirit with him across the 10 country music inspired tracks where his glassy smooth and laid back vocals are immediately inviting.

Bogart starts the listen with the warm lap steel and soothing vocals of the original “When She Gets A Hold Of You”, which carries a traditional country template with it, and “Ain’t No Sunshine” follows with intricate strings and plenty of rugged grit in the Bill Withers tune.

In the middle, “Never Grow Out Of It” flows with rural beauty as Bogart’s storytelling unfolds with much grace in the calm setting, while “You Just Can’t See Him From The Road”, one of the first songs Bogart learned to play when he was 10, is redone here with his stirring brand of Americana. The aptly titled “When It Swings”, which is one of the best tracks present, then gets your body moving with its retro swing flavor and bouncy rhythm.

As we get towards the end, “I Won’t Have Far To Go” recruits a spiritual quality to its thoughtful nature, and Bogart turns in a gospel version of U2’s “I Still Haven’t Found What I’m Looking For” to finish the record on a very high note.

There’s a long history of rodeo and country music being intertwined, and Bogart, who is actually a world champion roper, is further proof of how that lifestyle lends itself to the craft with his relatable themes of love, marriage and children packaged in a nostalgic and very pleasant effort.

Travels well with: Terry McBride- Rebels & Angels; Buzz Cason- Buzz Cason & Sons: 2020

Spencer Cullum

Coin Collection

Yk, 2020

8/10

Listen to Coin Collection

Spencer Cullum has an impressive resume that includes backing up Miranda Lambert and Deertick, among many others, as well as being half of the instrumental duo that is Steelism. On this debut solo outing, however, he takes up lead vocal duties across 8 tunes that channel his inner folky, prog-rocker, as a handful of esteemed players like Caitlin Rose, Andrew Combs and Herman Dune contribute their skills.

“Jack Of Fools” starts the album with plenty of atmosphere where Brit-folk ideas unfold with dual gender vocal harmonizing as psychedelic stabs enter the dreamy setting, and “To Be Blinkered” follows with plenty of retro-qualities as the sound of birds backdrop hazy and string friendly exploration.

At the halfway point, “Imminent Shadow” is a pretty display of warm folk sounds as hypnotic guitar and bare percussion make an impression, while “Dieterich Buxtehude” unfolds with an initially ominous quality that builds into a beat driven, dance-friendly climate that’s spacey and entirely instrumental.

At the end, “My Protector” offers a tense and adventurous 5+ minutes of blurry psyche-rock, and “The Tree” exits the listen almost as if a lullaby that’s a bit off kilter, which, of course, is part of the charm.

An album that certainly embraces the traditions of his current Nashville home as well as his English roots, Cullum mashes synth and twang here that even flirts with Krautrock and Brit-pop. Though he’s most known for his pedal steel work, here he showcases another avenue of his creative spirit, and it’s quite absorbing.

Travels well with: Andrew Combs- Ideal Man; Aaron Lee Tasjan- Karma For Cheap

Jackson Stokes

Jackson Stokes

Create, 2019

8/10

Listen to Jackson Stokes

By sheer coincidence, Jackson Stokes grew up with Devon Allman as a neighbor. At 11 years old, Stokes knocked on Allman’s door, guitar in hand, and this began a life long bond that would bring Stokes into Allman’s band, and also have Allman producing this debut solo album.

“Can’t Get You Out” starts the listen with strong guitar work as Stokes’ inimitable vocals guide us through the Memphis flavored fun, and “Slave For Your Love” follows with a soulful delivery where R&B stabs adds much to the cautious formula.

Elsewhere, “Contents Under Pressure” has Stokes using his mesmerizing pipes in a retro-rock gem, while “Life During Wartime” offers a spirited, funk filled interpretation of the classic.

Towards the end, “Whiskey” takes influences from the ‘70s in the bluesy rhythmic rocker, and “Take Me Home” ends the listen acoustic with backing vocals and beautiful reflection.

Even though Stokes is still a youngster, he plays like an old soul with strong guitar riffs and developed lyricism. It’s no wonder that Allman took him under his wing; Stokes has a bright future ahead of him that could parallel the greatness achieved by his mentor.

Travels well with: The Marcus King Band- The Marcus King Band; Robert Cray- I Was Warn