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We've listed albums in order of star rating. Best first.
Reviews by Pete Whalley
LINCOLN DURHAM The Shovel [vs] The Howling Bones
The blues guitar / percussion combo isn't exactly a new formula. And of
recent times both Seasick Steve and Jack White have successfully exploited their
love of the blues by stripping it back to just these basics.
So with his acoustic Gibson slide guitar with gnarly pickups screwed to it, it's
inevitable that Lincoln Durham will draw comparisons with Seasick. But in a
spitting contest, like a young gunslinger, The Shovel vs. The Howling Bones is
likely to kick Steve's, now somewhat comfortable, ass.
But while he won the Texas State Youth fiddle championship at the age of 10,
somewhere down the line Lincoln Durham - a young man with haunted eyes and the
whiskey soaked vocals of a young Paul Rodgers - sold his soul to the Devil in
return for that of a withered, weathered old bluesman.
Recorded using early to mid century Gibsons, Kays, Sivertones, Voxes, Bells &
Howells guitars and supported by Rick Richards on drums and with just the
occasional helping hand on guitars, mandolin, piano, accordion and backing
vocals, The Shovel vs. The Howling Bones bleeds blues authenticity. It's dark,
raw, and passionate. And to coin a much used phrase 'the real deal'. ****
Review by Pete Whalley
CAM PENNER Gypsy Summer
With his fourth and first self produced album, Canadian singer songwriter
Cam Penner has come up with a rather classy release.
Leaving home at eighteen, Penner left small time life to spend his next thirteen
years absorbing the North American sub culture of the homeless and deprived.
That journey, working in homeless centres, shelters (while at the same time
spending endless hours writing and playing) has left an indelible mark in the
humility of his music. And while 'retro' may be the flavour of 2011, Gypsy
Summer reaches only as far back as Neil Young, Crazy Horse and Springsteen's
more reflective folk / country moments inspiration.
As a consequence it's classic 'modern' Americana. Penner's engaging vocals fall
in the quieter Springsteen / Stripe register, the production is crisp and clean,
but best of all is the 'feel'. A wonderfully warm groove that somehow, you only
expect from analogue recordings pressed in fresh vinyl. ***1/2
Review by Pete Whalley
JIM KROFT The Hermit And The Hedonist
First a word as regards the eco friendly 'cut out' gatefold / sleeve
packaging which is becoming a trademark of Jim Kroft releases. It's simple and
incredibly effective artwork.
Based in Berlin, the Scottish singer songwriter specialises in finely crafted
pop / rock with a clear line of sight back to Beatles and Sgt Pepper, and the
1960's in general.
The opener and first
single Memoirs From the Afterlife has echoes of the Fab Four, and is swiftly
followed by the melancholic Modern Monk, a love song with the hallmarks of
Lennon McCartney and Eric Stewart. Together, they set a template for most of
what follows - middle aged, melodic, radio friendly pop / rock.
Co produced with Laura Marling's drummer Matt Ingram, and ideally suited to the
Radio 2 audience, The Hermit And The Hedonist breaks no new ground and is
unlikely to have listener's 'tuning out'. But neither, it has to be said, is it
likely to have them 'tuning in'. **1/2
AMELIA WHITE Beautiful And Wild
Nashville based singer songwriter Amelia White's self released fourth album
reminds in many ways of the more left field output of Sheryl Crow. But with one
exception, Crow's ability to add hooks that almost guarantee commercial success.
Produced by Marco Giovino (Band Of Joy, Norah Jones, Rodney Crowell) Beautiful
And Wild sits neatly in the American / roots genre with many having made
comparisons with Lucinda Williams. But to my mind the album is epitomised by a
virtually unrecognisable cover of Bryan Ferry's More Than This.
Now some may say that to take such a well known song and deconstruct it so
comprehensively is quite an achievement. But to this reviewer's ears it simply
serves to underline that despite the quality of the playing, production and
singing, the songs on Beautiful And Wild simply fail to cut mustard in any
commercial sense. Which means Amelia White is unlikely to register on any
mainstream radars anytime soon. **
Review by Pete Whalley
ALY COOK Brand New Day
It's really only since the Alison Krauss generation of players put the
'cool' back into country, that the genre has become a magnet for everyone from
Jon Bon Jovi to Robert Plant. Up until then 'country' music was regarded as
somewhat 'cheesy' and anodyne by rock fans.
Unfortunately this debut album from New Zealander Aly Cook, which she descibes
as 'country blues crossover', bears many of the traits of that former period.
Now in her late forties, the making of Brand New Day has clearly been a personal
goal for her, and on a positive note her vocals are pretty decent, bringing to
mind another New Zealand singer songwriter - Sonny Southon who released a
wonderful debut album Falling Through A Cloud back in 1990 but gave music up for
meditation and yoga.
But vocal prowess aside, Brand New Day has little of substance to offer. It's
pleasant in a radio friendly sort of way, but frankly it lacks major hooks, the
playing is nothing above 'run of the mill', and simply sounds dated. It also
only runs to a miserly eight tracks over 30 minutes.
As a personal achievement Brand New Day is an album to be proud of and will
likely cause a few ripples in New Zealand where Aly's been nominated for Female
Country Artist of the Year, and Next Magazine New Zealand Woman of the Year. But
it's unlikley to make much of an impact further afield. **
Review by Pete Whalley
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