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would stand up and sing the song I had been rehearsing. I've not heard her five earlier releases, so although all the tracks were recorded. And this is what it is, a collection of covers of well and lesser known Elvis songs, delivered totally faithfully and given an additional touch of authenticity with vocal back-ups from The Jordanaires. Their delivery is captivating, refreshing and entertaining, and often very moving; coincidentally perhaps, the latter quality characterises my personal highlights: the powerfully evocative Siren Sea (one of Alan Bell's finest compositions in my opinion, and complementing his beautiful Sailor's. You are, of course, advised to possess both the aural and the visual versions (even if the latter's a bit on the dark side) of what the Washington Post declared the best concert they'd seen in the past five years. Lyric-wise, Chris adopts a more dispassionate stance when addressing Affairs Of The Heart, but his delivery betrays his deeper involvement; on the other hand, the chugging riff of the rock-reminiscences for Die Without It proves more interesting than the heard-it-before lyric which borders on cliché. The downside of Barbara's vocal accomplishment, however (at any rate, on some of the songs is that in presenting an already precisely preordained or "worked-out" interpretation she runs the risk of leaving little or no room for any element. But again, you could say that time also seems to stand still for our favourite country-bluesman, don't it?…. That aside though, while I'm not persuaded it's better than its predecessors and it's unlikely to earn many new converts, long time fans won't be disappointed.

Not to mention the ingenuity of the at times uncannily simple instrumental arrangements (special mention for the ghostly drone-enhanced concertina-and-harmonium backing for O The Wind And The Rain and the unusual use of slide-guitar on the Napoleon ballad). Then comes what many may regard as the album's tour-de-force, a singularly inventive 6/8-time rendition of Dylan's Visions Of Johanna. A few seconds shorter and with subtly different lyrics, it's a good example of how Springsteen was constantly revising his work, looking for the sharpest, most poetic images. At first acquaintance it may be a little too much for the more traditionally-inclined listener, even at times too relentless perhaps, but in the end I find. Here's to their next difference of opinion and reconciliation, then. And although there may be no sample as such, the lyrics of a slinky love fever Bad For You surely deliberately reference both Say A Little Prayer and Knock On Wood. The songs are mostly from the pens of band members, and several are by Ron himself; there's also a few covers (Merle Haggard's The Fugitive for instance).

On the downside however, none of the songs make a lasting impression and neither Paula nor the slightly twangier David McKee are particularly distinctive vocalists. Sadly, the album proves to be her first and last outing with the band, but in taking lead to play Stevie Nicks on the Fleetwood Mac-like Please Come Home she's ensured an enduring part in their history. They play delta blues from the 20s and 30s and mix it up with a contemporary feel every now and then. Score 5 out. The simple universal truths expressed in Parting Is The Hardest Thing or the altogether lighter What Shall We Drink To Tonight? There is some contemporary Irish music on Little Terrace Houses which has very clever lyrics and is a very evocative song. It's the same world of which fans of Dropkick Murphys and Flogging Molly dream when they slip beneath the sheets for dreams of seafaring and nights of drunken revelry. David Kidman May 2009 Tommy Sands - Arising From The Troubles (Spring Records) This is a really fine collection of original songs, many never before recorded or available, that together offer an eloquent, expansive and balanced (and intensely thought-provoking). Even above the whine and crackle which dogged the radio reception of the day (as you can hear on the first song of that debut session although here, as throughout, remastering engineer Ron Geesin has done a splendid job on the decidedly variable available tapes). Having said that, the vast majority of the album does appear to have a particular "sound signature".

Oh, and there's a key curtain-call for ultra-young violinist Rachel Hall, while Glenn Tommey, Nigel Newton, Sarah Mitchell and Andy Marsden also provide solid, if at times perhaps a touch too well-upholstered, extra weight to the basic foursome. The brightness of the settings, with their sometimes stylised dance-like textures and tempos, can give a false impression of insubstantiality which belies the thoughtfulness of Maggie's interpretations, and these can seem unduly detached. Elsewhere, the strummed acoustic brooding All Along The Watchtower feel of This Is How It Goes is veined with darkness with lines about towns bleeding, jerking chains and juries while the bluesy urgent steamrollering If Not. Souther - Natural History (Eone) Although he made #41 in the US album charts with 1979's You're Only Lonely, enjoying his sole Top 10 single with the title track, Souther was never as successful as a solo artist as he was a writer. Both Sue and Liz happen to be really good singers, either heard individually or together in attractive harmony, and their thoroughly professional attitude to their craft enables them to relax sufficiently as they demonstrate their affinity with their chosen material. Walking is sparse to the point of being bleak but it's that quality that drives the song home. M Michael Mee The Sorentinos - The End Of The Day (The Major Label - through Evangeline/Universal) Take ' The End Of The Day ' new CD by The Sorentinos, a liberal quantity of Tequila Sunrises which we'll christen. M David Kidman December 2009 Ralph Stanley - Ralph Stanley (DMZ/Columbia) A living bluegrass legend, now 75 and with over 170 albums under his belt, Dr Stanley still plays around 150 shows a year.

Dennis Bird For a full account of Dennis Bird's trip to ' sarf ' London to see Dave ' live plus gigs, albums and pictures of David Hughes, Andy Guttridge, Little Johnny England, Alan Burke and. Or, preceded by acoustic guitar instrumental Amulet, there's Questions, a gentle meditation on loneliness, disappointment and destiny that suddenly slips in an image of rapper Jay-Z with a kid on each knee advertising clothes. Dragon's a more sedate trad folk styled number, almost a fairytale lullaby with descending vocal scales, albeit a lullaby in which the narrator wishes to follow her fellow villagers into death's maw to escape the pain of being alone. About half of the material comprises covers, some of which have been in the duo's repertoire for a while but not all of which have previously appeared. But within a framework of country music, Snider has filled East Nashville Skyline with delicious subtleties. M David Kidman Stömp - I Claim My Five Pounds (Osmosys) OK Lobby Lud!

The great machine lumbers into action at the start of the disc by imparting a heaving full-steam-ahead depth-charge of a shuffle rhythm to the tale of The Gallant Frigate Amphitrite. Anna's is a very special talent, so miss this release at your peril! From the opening The Rat Patrol And DJs, it's clear the other half of the equation, recorded a year earlier, is a different proposition with its rasping guitars and bass throb sounding like early REM. I then sat down, put the dragon back in his cage, fed the gryphons, and really gave a good listen. They all also agree that it's a very ' listenable ' album.

David Kidman, May 2006 Show Of Hands - As You Were (Hands On Music) This handsome release is only available at gigs and through the band's website. On Grinning, Martin sings and plays exclusively solo (albeit with some overdubs except for limited appearances by Bob Smith and Annette Costello; on Sad Or High Kicking!, he extends the palette more on occasion (albeit always with commendable sensitivity). Evidence for all of this is here in concerts from '94 and '01 along with interviews (which my poor French can just hang on to, so I'm sure you'll manage, folks) and a generous handful of performance extras. Firstly, that subtitle's actually a bit of a misnomer, for only the first of the compilation's two discs actually deals with the recordings that Swarb made for the Transatlantic label (between 19). However, as on the penny whistle haunted Fire On The Water, the hoar-frosted These Are The Days and the book-ending title track, there's also a lining of hope and optimism while the rousing banjo plucked trad flavoured. Instrumentally, Mick demonstrates his considerable skills (mostly on flute) on a lovely Forest Fields (a medley of Roumanian air, jig and slip-jig) and a set of Midsummer Reels (where you can marvel at Clive's extraordinarily sympathetic guitar work also an intriguing, freshly syncopated.

Ron's mates Wayne Taylor and Sammy Shelor also appear sporadically. M Mike Davies Miranda Sykes - Bliss (Hands On Music) Bliss is Miranda's second solo album; Don't Look Down was a significantly accomplished and persuasive first effort which easily convinced potential disbelievers that a solo album from a female. The title seems a perfect description of listening to an album which ranks among his very best. Peter's playing is lively and committed throughout, with an appealing spring in its step and thoughtful embellishments of the melodic lines; he also contributes a couple of his own tunes (a hornpipe and a polka) to break up the songs. While they have followed the same pattern of that debut with a clever mix of originals and classics, Dark and Weary definitely has a lighter, airier, almost classier touch, for Hendrix's Little Wing, read Gershwin's Lady Be Good. Apparently it has been recorded "live-ish and yes, in that respect it does come close to replicating their continually upfront and abundantly infectious stage presence, what you hear is what you get: just about. This instrument is used to good effect on Blues For Celeste Holm, where its music box sound gives a beautiful overtone.

Swank are the latest in a long line of rebellious country bands who have married anarchic guitars and rasping guitars with country melodies and sentiments, on Reverend Pleasant the friction between them causes sparks to flyand, just. If youre wonderful is weird, these records are a good mix of the weird and wonderful. As well as half-expected names like Roger McGuinn, Charlie Daniels, Doug Kershaw, some tracks (like the instrumental Bleeker Street Rag) feature a number of players more associated with rock than country - (eg Billy Joel and TYA guitarist Alvin Lee). Some have suggested that this album is on a par with California Bloodlines, to which one can only suggest they dig out their collection again and listen to what they're saying. In this respect, the album could be said to be consistent to a fault, even-tempered with no specific peaks or troughs or sudden mood-swings. In album that straddles the line between power-pop and soft rock there are instantly memorable moments aplenty. The rest of the songs are traditional in origin; as Peggy explains in her liner notes: "I love new songs, yet I still find myself returning to the old ones? songs handed down to us by singers. M David Kidman January 2008 Sharon Shannon and Friends - Libertango (Independentrecordsltd) Originally a member of The Waterboys way back in 1988, the Clare born accordionist/fiddle player's career has seen collaborations with such diverse musicians as Bono, Nigel Kennedy. Tommy Malone has never sounded better, either as a guitar player or a singer.

His sanguine vocal is well suited here and there's a telling guitar break. It contains exactly what it says on the label. And, it doesn't disappoint. Carrying Lightning continues much in the same vein, but if anything has an even more potent appeal. Well, we're largely in 60s folk-rock territory here and if Joseph is Cardiff's Springsteen, then Taylor-Beales may well be its Cat Stevens.

This quality may at times be a less than comfortable listen and take a bit of getting used to, but I find it very powerful indeed, and the appropriately complementary lean, often nervily edgy musical settings enable Steve. All of these songs are ideally judged both in terms of tone and pace (although It might be said that the gait of the opening history-lesson Song Of Erin feels a touch too chirpily animated but in the. Take a road-trip in to the heartland of the soul with this sometimes trouble troubadour, but ever optimistic, minstrel curator of the unattainable, alternative American Dream-scapes. This would be the ideal song for them to do on 'Later With Jools Holland' if they get an invite. The trio are a very good live band and the only thing that I can criticize them on is that they did not offer up any self-written material. The hard-edged rocking bagpipe-and-fiddle-fuelled folk-rockery of Wit's End is probably the most fiery number, and Clueless Wife and Jailhouse Jigs buff up nicely, but the remainder verge on trusty clich?: the epic scene-painting of Gairm A'Chuain, the stirringly Runrig. T David Kidman July 2010 Pete Seeger - Live In '65 (Appleseed) Travelling back in time from Appleseed's last Seeger release that chronicled Pete still going strong a couple of years ago at the age of 89, here's a great. With a name like Sugarland Slim, you'd be forgiven for thinking this earthy, raw album was the work of a contemporary of the great John Lee.

Dig delivers all that, served up with the degree of professionalism you'd expect from a man who's been plying his trade for more years than he'd probably care to admit. M Mike Davies October 2011 The Sunshine Delay - Outrageous Expectations Outrageous? What has happened, of course, since that year's Inflammable Material is the SLF have perfected their craft. At the same time, it's not often that an established performer of Martin's stature is heard to run the risk of being upstaged by fellow-singers to whom he willingly and deliberately yields a lead vocal role. Con takes lead vocal on her own compositions, and though she hasn't got what you might call a conventional blues-voice her weary and knowing delicacy of expression speaks volumes more than a shouter might with using twice the lung-power. Johnson's lyrics might not make much literate sense but delivered in his weather-beaten tones lines like 'rearrange hope on the sediment feed' and 'you shoot down the newest stars with some vernacular' do manage to take on an emotional.

(Fledg'ling) This pair of albums was originally released by Topic back in 19 respectively, then both gained a long-awaited CD reissue on Fledg'ling at the tail-end of the following decade. Divested of the emotion he shows elsewhere, he sings as if he's in a hurry to get through it with the snare too far up in the mix. I wouldn't argue with a single selection on this collection though fans might've included a couple more from Trouble In Paradise if there'd been room, say, and my preferences would definitely omit most of the later, altogether blander Home By Dawn album. So revel and rally, and sing up! I care not a jot if and how far, their collective tongue is in their collective cheek because faced with the hellfire and damnation rock n roll of How Do We Do, I'm saving myself and I'm doing it now. As befits the subject matter, the approach is relaxed and mellow and although he does turn up the heat slightly on the jangling I Think We're Lost (with a guitar solo that surely nods to George Harrison) and. And then Michael McGoldrick guests on uilleann pipes on the sublime closing Tune For Bartley. Guest vocalist Finis Tasby is first up on the opener, Done Got Over It, which is a smooth blues that drifts off into jazz with Shultz's guitar, Alberto Marsico's Hammond and Mando Dorame's sax to the fore. So, down to the bonus tracks: these are taken from the 1996 collection Seemed Like A Good Idea At The Time, a limited-edition release of out-takes and demos that was originally released by Al and Acoustic Music Resources as a thankyou to fans.

Sacred Harp Singing In Western Massachusetts (wmshc). Then there was a cancer scare when he found a lump in his throat. In fact many of the tracks come from sessions in various living rooms. In its own way too, Shire Boy was pretty much "fretless in that it espoused the philosophy that a good song is simply a good song whatever its provenance (traditional or composed even taking into account that individual songs might. He can, of course, play flash and fast, but the delicacy with which he does so is miraculous; at times, as on the first section of the Walking On Water jig-set (track 11 I was reminded of the artistry and dynamic control of Tony McManus. Thus train rhythmed opening track Worry Number One begins at Cannon Street after a few drinks with musings on the sexual attraction of money while the last, People, winds up at Clapham Junction, an end of the line symbol of endings and new beginnings. Her emotional gamut ranges as widely as her theme, with the almost matter-of-fact resignation of When You Need A Train It Never Comes balancing the quiversome aching longing of Love Be A Bird, the almost-too-good-to-trust contentment depicted in Sloe Gin.

The simple pleasure of dropping by on a friend and sharing concerns is at the heart of the fingerpicked Tian Put The Tay On with its evocative line 'we've been spending too much time watching pantomimes we didn't buy. Neither the service provider nor the domain owner maintain any relationship with the advertisers. So go eat your heart out Harry Potter - this is high-grade wizardry, the real deal. Oh, and Emily's sole composition here, the actual title track, is a paragon of simplicity and so what if the woman's left holding the baby again?! He sticks with the traditional style for Kitchen Floor and serves up what is probably the track of the album. In complete contrast, Patio Song is a deliciously vengeful barbershop-style ditty inspired by a local wifebeating! Gary Boyle (no relation!) and Dave Bowie (and before you jump, no! I don't want to fight no more and The Beast That Lived Behind The Bank's jaunty, guitar fuzzed and jazzed sloped credit crunch snapshot, he has a keen observational eye and poet's tongue too. Kalispell is good Indie type rock and shows the brothers close harmonies at their best and, to show their versatility, Fancy Bird, is a slice of modern country rock with psychedelic phasers in the background.

Thankfully shedding the production overkill of his last album, joined by Tim Renwick on guitars this is essentially a set of man the barricades power chord folk rock as he attacks consumer culture (Get it Now climate-change denial (It's. The album Southern Tenant Folk Union is a collision and celebration bluegrass, folk and country but it is the commitment and talent of Southern Tenant Folk Union the band, that acts as the catalyst for what is a thoroughly wonderful album. This plain and simple Papa Lightfoot song is one of the highlights. Steve's voice is not a ' folk ' voice. This should push your buttons. That aside, this is a real gem with a timeless appeal from a voice and writer from whom you'll definitely want to hear more. The sound of Sometymes Why a little different to what you're probably expecting, it's not quite folk and not quite bluegrass, and although it has obvious influences from both camps, the overall sound is laid back, organic and distinctly individual. On the latter category, composing credits are shared more or less equally between band members Tom Bliss and Neil Russell Whitaker. Her last Top 40 UK hit came in 1990 when Reputation (not featured here) struggled to the No 38 position, while her final album, A Very Fine Love (again from which nothing is included reached No 43 in 1995. Disc 2 brings us Big Rock Candy Mountain (in close on the Lomax version a spiritual, civil rights and anti-war songs, a lengthy excerpt from Pete's ambitious medley from his then-not-quite-released Rainbow Quest album (which included the original three-verse.

This is played so well that Carr himself would have been proud to have produced. Having said that, Svensson does deserve some praise for his consistently excellent guitar work too. However, the downside of any albums featuring a large number of special guests is that there's always the danger that the main artist's own identity might get subsumed, and I feel that this set tips over that edge once or twice, with. Mick sings enchantingly on a version of the old Dillards number There is A Time (which furnishes the disc with its title by the way while another unexpected success is M?ir?ad's rendition of Rickie Lee Jones' Sailor Song, and Winifred's. Blues and country are mixed in together for Real Thing and we hear another level to Sid's voice, there's a bit of grit in here for this one. Exciting ain't the word for it!

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One packed with enchanting incidental details, yet never feeling cramped or constrained by the need to engage the listener. As with the brooding title track, a tale of cruelty and curses inspired by Yorkshire poet William Watson's own The Ballad of Semerwater, much here draws on rural legends and stories, often with a supernatural basis. The musical venom reflects the album's concerns with the two nations America's become and songs that variously turn an eye on crime, poverty, and prostitution but also celebrates the blue collar resilience to raise a bottle and a middle finger to hard luck. That song is equally testament to Stewart's continuing ability to pull a classic out of the bag, something like Star In The Black Sky Shining which harks back to his lifetime themes of being and purpose. Instrumentally they're red-hot, energetically driving the music forward, laying down that authentic grainy vibe with an unerring sense of pacing. However, while the sense of and affection for tradition is strong, the passion and energy is too raw and vital to render this as merely a slice of nostalgia.

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Ostensibly part of the Cosy Sheridan Mid-Life Crisis Tour ! In the latter Santos names numerous ice cream makers, discards Texas' famed Blue Bell brand, and casts his vote in f(l)avour of Bronx made Haagen-Dazs. The former yields the scuzzy title track blues, 8-Ball and the moaning Xmas Prison Blues while from the latter you again get the title track with its Spirit in The Sky riff, My Donny, Fallen Off A Rock and Cut My Wings. The penultimate song is Duke Ellington's The Mooche and although it's only played on piano, a strong, deep and powerful blues is delivered. And then, to round it all off, he return to Young's Harvest territory to close up with Phosphate Skin, a number that drift away into the night heavens, leaving a faint trail of optimism as Farrar sings 'the. M David Kidman November 2010 Ricky Skaggs - Solo: Songs My Dad Loved (Skaggs Family ) The title pretty much says it all. but in essence these minor points don't spoil what in every respect that really matters is a most persuasive compilation and a wholly fitting celebration of the longevity of the justly acclaimed and highly respected musical institution that is Show Of Hands. Probably unlikely to turn them in giant redwoods, but it's an impressive enough little acorn to build an oak upon. The programme mixes traditional tunes with modern compositions in decent proportion, and includes three of Anne-Wendy's own (ranging from a lovely air written in tribute to her father to a spirited reel that she even got to play on the dreaded Balamory TV show!). and yet its sentiments and experiences also can be seen to have an embracingly universal import; this aspect, together with its very simplicity of expression, sex weiden geheime sexaufnahmen renders it profoundly moving. The pieces on this new CD are all Savourna's own compositions, ranging from the middle-eastern sensuality of the title track (one of two to feature Bijan Chemirani on udu as well as zarb) to some more Celtic-influenced tunes with an appealing. Cases in point being Thunderbird, a scuzzy throaty blues celebration of the wino's chardonnay, the wicked slide work on Chiggers, a talking blues about dealing with some nasty little bugs, and the slap leg train rhythm chug of Prospect Lane. Even if you are just two stepping it down to everlasting perdition. To achieve this, Mike and Peggy took time out to just sit back and sing (with no overdubbing, and little or no cutting between takes) fourteen of these old familiar songs. Well that's what comes blastin' out of your speakers at the start of this sparky offering from Eilen Jewell and a handful of her like-minded chums. They are, in effect, different songs than the ones you know by the same titles. Echoing the us not me sentiments of the album title, there's a whole bunch of guests too, among them long time cohort Gypsy Dave Smith, Locus Eaters frontman Peter Coyle, 60s prog-rock stalwart David Foster while Brighton Goes Gospel Unplugged. And that's just the opening set of strathspeys (Haughs)! It's 24 years since the death of the great Alex Harvey and now with The Shamen's Max Maxwell out in front, Zalvation shows that Zal Cleminson, Chris Glen and Ted and Hugh McKenna have lost none. Stephen's also real fortunate to be supported on this disc by a whole gang of Nashville notables: Kenny Vaughn (guitar Dave Jacques (bass Paul Griffith (drums David Henry (cello Wendy Newcomer (backing vocals Casey Driessen Ward Stout (fiddles with Paul Niehaus and producer Eric Fritsch. The second of the tracks to feature a Clemons solo, Land Of Hope And Dreams actually dates back to 1998 and was originally intended to appear on The Rising. The disc also contains two vocal numbers (Jim does the honours here an attractive enough, carefree, casual treatment of The Curra Road and a delicately accompanied but finally fairly bland rendition of First Time Ever I Saw Your Face. Packaging and artwork is the usual ultra-high SoH standard - impeccable, attractive, informative and entirely relevant. (Actually, I'm surprised that Nigel hasn't managed to turned up the quasi-legendary acetate of the infant Swarb fiddling in the bathtub!) Each of the four discs is themed craftily, by dint of one single letter from the man's initials. It's a "keeper" alright!

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