By Brian Rock

Appalachian troubadour, Ian Noe returns on his third album, Canyon Falls Trailer Band. Or perhaps more accurately, Ian Noe conducts the fictional Canyon Falls Trailer Band. The story goes that this consortium of hardscrabble, self-taught musicians from rural Kentucky made only one public performance outside of their local holler. They hosted a Nashville showcase in the hopes of landing a life changing record deal. Sadly, Nashville passed and the band faded into local mythology. However, a recently discovered recording of their legendary Nashville showcase has preserved their musical stylings for future generations.

Although the band may be fictional, the music is as authentic as it gets. Drawing from his Appalachian roots, Noe and company lay down some serious backwoods country with a heavy dose of bluegrass. Like fellow Kentuckian, Ricky Skaggs, Noe reinvigorates classic country tones and tropes and creates a vibrant musical bridge between past and present.

The title song introduces the album, and the band, with high energy fiddle and Oak Ridge Boys style vocal harmonies. After listing his band mates and their eclectic instruments (including paint cans, barbed wire, and Marlboro boxes,) Noe sings, “I’m just trying to make a living, the only way I know.” He keeps the good time country music going with, “The Heidelburg Fisherman’s Ball;” a honky-tonk party song about using your best bait to lure a worthy partner. “Another Night Like This,” commemorates a wild, wonderful night that’s well worth the morning after headache. “Redneck Mess,” dreams of making it big, without getting above your raisin’. Noe also addresses life’s somber moments. Singing of heartbreak on, “She’s Familiar (in the Strangest Ways),” Noe can’t help but see his ex in every new lover. “Whiskey to Work,” acknowledges that in order to drown your sorrows, you have to let go of any hope of returning to the way things were. “Kentucky Hurricane,” is a doomed from the start love affair with a prostitute. Diving into pain deeper and darker than heartache, Noe confronts the ill effects of moonshine on both the buyer and seller on, “Dixie Speed.” “What I’d Give,” is a requiem for a loved one lost to addiction. “Jukebox Blues,” wrestles with the feeling of being trapped by circumstance. “Tobacco Moon,” is a haunting and hypnotic insight into the challenges of the independent farmer. Singing, “There’s too many ghosts on this farm,” Noe feels the pull of all the generations who have come before him and given their lives working the land. “Antarctica,” describes the lonely chill of isolation and desolation. “Bible County,” addresses despair on a community level; as children rebel against their parent’s traditions, leave home to find their own path, begin to miss home, then return to find a town in decay. “Leeann,” comes full circle, and somehow manages to find the silver lining of broken dreams. Returning empty handed from her attempt at stardom, Leeann is comforted by friends who remind her, “If the holler gets rough, just keep your head up. We’re glad you’re home.” Ian Noe portrays the good, the bad, and the ugly of rural living with tender insight. His characters are deep and nuanced and based on a lifetime of keen observation. His lyrics celebrate the struggles and the triumphs of the dreamers and the doers who soldier on in anonymity. His musical arrangements perfectly complement his storytelling. Each strum of a banjo or waver of a pedal steel note heightens the emotion of his lyrics. Noe is a master musician and storyteller who distills complex life experiences into musical parables. “Canyon Falls Trailer Band,” is a stunning and unflinching examination of the human psyche. As a coda to his Kentucky memoirs, Noe delivers a tongue-in-cheek imagining of what success might have looked like had The Canyon Falls Trailer Band ever made the big time on, “Kickin’ It In Nashville.” Going from “sweeping food courts at the airport,” to major label record deals, to falling off the charts, to addiction, and back to the reunion tour; Noe checks all the boxes of the life cycle of a successful country band. Funky syncopation and cosmic cowboy effects enhance the dream like quality, even as he faces the reality that, “just because you like to party, don’t make you George Jones.”

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By Brian Rock

Dynamic Soul slinger, Eli Paperboy Reed gets serious on his eighth album, Getting There. The title reflects a growing maturity. No longer chasing the temporal pleasures of a twenty-something, Reed describes his new sound as “grown folks music.” To emphasize the point, Reed brought in soul legend Swamp Dogg to produce the album. The result is a still passionate, but more nuanced take on life and love. Reed no longer redlines the vocal meters, but he is still one of the definitive voices in the modern Soul renaissance.

Jubilant Memphis horns introduce the album on the first notes of “Every Once In A While.” The rhythm section lays down a classic soul backbeat as Reed sings, “A look or a touch, a wink or a smile; all you gotta do is hold me baby, every once in a while.” Addressing relationships from a more mature perspective, he is no longer looking for quick flings. He’s come to appreciate the subtle, nonverbal communications that keep romance alive. Acknowledging that, “There’s just a few hours we have in each day; if we don’t pay attention, we’ll let our love slip away;” he declares that he’s willing to set aside his own busy agenda, even if just for a moment, to make time for what’s really important in life. The uplifting melody and Reed’s yearning voice show that the flame of love is still burning. But it’s the little, almost subliminal gestures that keep fanning that flame. 

“Like We Used To,” is another soulful celebration of lasting love. “One Man’s Trash (Is Another Man’s Treasure,)” evokes the sentiment of Joe Tex’s classic, “Skinny Legs And All.” Reed enlists Zaniah to assist on the lover’s duet, “Love You More.” The song is a soulful synergy of two hearts beating as one. But before arriving at love’s promised land, Reed spent his time wandering in the wilderness. “Sore Loser,” is an Otis Redding inspired blues ballad that finds Reed realizing too late that, “my pride was my only mistake.” Reed evokes Keb Mo on the heartbreaking mellow Soul of “I Can’t Even Walk (Without You Holding My Hand.) “Knock Knock Memories,” find Reed haunted by a love gone wrong. Reed even goes full country on “Asking For A Friend.” Reed’s earnest voice and the accompanying pedal steel would make George Jones proud.

Having wrestled with Cupid and won, Reed contemplates life in existential terms. “Everyone Else,” incorporates subtle New Orleans jazz riffs to ask, “why can’t I be just like everyone else?” Fusing soul and country on, “The Questions,” Reed ponders if, “the ones I love are satisfied with me?’ “Hardworking People,” adds lilting folk rhythms to ask, “how to make a life for yours and mine.” Still searching, Reed confesses, “We don’t know which way to go. I pray that God will let us know.” “Getting There,” offers a glimmer of hope that even if we don’t have all the answers, we may still be making progress. Barrell house piano, a rousing horn section, and slide guitar create a buoyant, optimistic tone as Reed sings, “Watch where you’re going, not where you been. Keep one eye on your enemies, and one eye on your friends. Always look ‘em in the eye, but it’s impolite to stare. That’s it son, you’re getting there.” The advice comes in handy at several stages of his life, until he ultimately passes that same advice to his young daughter. It may not be the fate of us mere mortals to know the answers to life’s biggest questions, but as Eli Paperboy Reed shows, if we work together, we’ve got a shot at “Getting There.”

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By Brian Rock

Blues vocal powerhouse, Ruthie Foster accentuates the positive on her new album, Just Say Yes. Inspired by a post-it note she left to herself when she was on a hiatus from music, the album is a call to embrace life fully. Leaning into her gospel roots, Foster shows that everything in life is either a lesson or a blessin’. With a little faith and perseverance, we can survive the hard times; and with a little open-mindedness, even learn from them. 

Musically and lyrically, “Yes,” is the centerpiece of the album. Mellow, grand piano chords give way to electric guitar, drums and organ as the mood shifts from contemplative to explosive. As if receiving an epiphany, Foster sings, “When life comes a knockin’ asking “Are you home?’, you better say Yes!” Whatever happened in the past doesn’t matter because, “You know we’re always learning and there’s always more to find.” Bold gospel chords and backing vocals emphasize the sentiment. But Foster makes clear that life isn’t just about saying “yes” to the things you want. She urges us to say, “yes to a little more conversation. No, we ain’t gotta see eye to eye. Maybe we can find some truth between us. Baby I’ll love yours if you love mine.” “Yes” means also allowing others to experience their version of “Yes.” If we can say “Yes” to uniting and working together, then “There’s no need to worry about those mountains we must climb.” The soaring melody portends the beautiful world we could create by working together.

But before we can make peace with others, we must first make peace with ourself and our God, however we perceive that. The gritty Chicago blues of “Tangled,” shows how we can lose ourselves in a toxic relationship if we don’t know ourselves. The soulful, Memphis blues of “Doubling Back,” shows how easy it is to keep going back to a bad relationship when we don’t love ourselves. “Reachin’,” takes a folk/blues moment to self-reflect. Knowing that she’s searching, but not quite sure what she’s searching for, she asks for someone “to shine a little light on me.” “Sitting Still,” finally helps Foster find herself. Against a backdrop of power ballad piano chords, she sings, “It ain’t the runnin’ or climbin’ uphill, a race to the finish, or chasing dollar bills. Peace is gonna find me, I know that it will. It’s loudest in the quiet, when I’m sitting still.” Having found herself, Foster sings a lullaby to, “Take Time,” to enjoy life and our part in it. Now at peace, Foster can look back on previous unhealthy relationships, and say, “Thank You.” The Chicago blues tones strike an accusatory tone as she recounts the pains of past lovers. But her new point of view allows her to say, “Thank you for lighting my fuse.” The pain of the past was exactly the kick start she needed on her path to enlightenment. Newly liberated, she no longer feels compelled to say yes to bad relationships. Now she is free to, “Mabe it Up.” The lively Piedmont blues tune hints at potential and promise, but still keeps Foster in the driver’s seat. “Hold On,” is her Gospel blues declaration of love when she finally finds her perfect partner. Singing, “I’m a gonna love you to my dyin’ day,” she is professing a love rooted in joy, not need. Background singers echo her jubilation and testify to the power of love. “Come On Up,” takes love to a deeper, spiritual level. Having found herself, she extends a hand to those still struggling. Backed by pulsing gospel organ chords, she sings, “I know everybody stumbles. I can help you if you fall.” Listen to this song and imagine the people you judge, you criticize, maybe even despise – then picture yourself reaching out a hand of fellowship to them. With her powerhouse vocals and gospel/blues rhythms, Ruthie Foster has shown us how to build a better world, if we have the courage to, “Just Say Yes.” 

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By Brian Rock

Kentucky native and in-demand Nashville session bassist and songwriter, Adam Chaffins delivers a double portion of new tracks on his sophomore album, Trailer Trash: Doublewide. The 14 tracks on the album are a funkified fusion of country-rock with just a hint of Kentucky inspired bluegrass. This self-proclaimed trailer park troubadour weaves stories of rural Romeos, backwoods beauties, and mountain top magnates. With a wry touch of humor and a rockin’, rustic rhythm section, he dispenses pearls of wisdom for finding your bliss no matter what social class you find yourself in.

“Living Till My Dying Day,” starts the set rolling with a funky, Little Feat inspired tune about making the most of each day. Noting his changing priorities, Chaffins sings, “Spent most of my twenties just trying to get laid. Made it to my thirties now I wanna get paid.” Alternating acoustic and electric slide guitar create an easy going “porch music” vibe as Chaffins continues: “I’m rollin’ on like a river to the ocean; lovin’ with my arms wide open.” Growin’ as he’s rollin’; his motivations shift from physical to mental to emotional. To be truly alive is to be constantly growing. Chaffins embraces life’s changing tides and rolls with them.

Seeking his emotional fulfillment on the surprisingly tender, “Trailer Trash;” Chaffins asks, “Would you wanna get taken out by trailer trash?” Adopting a different approach, he decides to, “Sugarcoat It;” using country funk grooves to put his best foot forward. Chaffins tries his hand at compromise in the Jerry Reed inspired, “You Get Drunk, I’ll Get High.” Tired of the posturing and compromise, he decides he really just wants, “Easy Love.” The Glen Campbell inspired ballad holds out hope for a perfect mate out there somewhere.

His first attempt to find that perfect mate ends poorly in the minor key tones of, “Hard to Reach.” His next attempt goes even worse on the baseball bat wielding, southern rocker, “Stepped Over the Pieces.” Chaffins finally strikes gold on his third try with the Piedmont blues/bluegrass fusion of, “Kentucky Girl.” At long last he finds a woman that fits him, “like a fiddle and a bow.” Unable to contain his joy, he sings her praises on the Jim Croce inspired county/folk of “Lucky Me.” His journey from heartache to happiness is also populated with some memorable characters along the way. “Dive Bar Moses,” is an outlaw country tribute to a war vet and former musician who adds charm to the local watering hole. The song, and its hero, who, “don’t let the truth mess up a good story;” would make Jerry Jeff Walker proud. “King of Coal Dust County,” is a traditional country story song that ponders the difference between law and justice. “Flea Market,” celebrates the discarded items and people that become treasure in someone else’s hands. Capturing the moment in Sheryl Crow tones, Chaffins sings, “You can’t believe it till you see it – something that you needed that you didn’t know you needed.” After exploring his relationship with others, Chaffins turns his attention inward. “Get Rich,” is a southern funk anthem about following your dreams, instead of the almighty dollar. The funky americana tones continue on, “Little Bit At A Time.” The culmination of his journeys, Chaffins realizes, “that mountain wasn’t ever coming down to me. I had to get up and climb. Only one way to the top of that thing: a little bit at a time.” The best things in life, like love and friendship take time to build. Adam Chaffins shares that wisdom with a warm Chris Robinson meets Isaac Gibson voice, and a funkalicious backbeat steeped in country, rock, folk, and Piedmont blues.

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By Brian Rock

When you hear a new honky-tonk band is releasing a debut album, your first question is probably, “Are they from Texas or Tennessee?” New York’s Neon Moons is seeking to change those assumptions. Hailing from the Hudson Valley area of upstate New York, the band plays the kind of authentic, dust-on-your-boots honky-tonk usually associated with areas much further south. Their debut, Day Late and a Dollar Short, is a hard-hitting, hard-drinking album that stands toe to toe with many of the finest recent releases in the genre.

The title song is a semi-autobiographical tribute to those struggling to get by. Outlaw country rhythms drive the hard luck story as the band struggles to catch a break. And, according to lead singer, Brett Miller, “When I finally get there someone else got there before.” Jangling guitar and pedal steel soften the tale of woe and add an undercurrent of hope as Miller declares, “I know someday baby, I’m gonna get my share of mine.” Miller’s “Waylon Jennings meets Isaac Gibson” (of 49 Winchester) voice is perfectly suited for this style of country.

“Hard Way,” discloses why the band always finds themselves in such dire straits. Singing, “I learned early on what it means to get the horns. I’ve been messin’ with the bull since the day I was born;” Miller confesses to a long-standing stubborn streak. The Outlaw country tones accentuate the defiant attitude of the song. Scooting slightly left on the dancefloor the band explores traditional honky-tonk on, “Hey Mr. Jukebox.” Harking back to the days before party DJs, the song commemorates grabbing a beer at your favorite watering hole and popping a quarter in the jukebox to find the perfect song to match your mood. “One Glass of Wine,” and “Where I Go,” also dive deep into gloriously authentic honky-tonk melodies. “Don’t Tempt Me Satan,” “She Just Came to Dance,” and “Stoned on a Country Song,” add a touch of southern rock to the honky-tonk hoedown. The latter of which celebrates people from different backgrounds coming together in perfect harmony while blissing out to the harmonies of great music. “On Down the Road,” explores cosmic country with a heavy dose of Jerry Garcia inspired guitar. “15 MPG,” explores classic country tones and tropes as Miller sings the praise of his new rolling home.  “Long Line,” also hearkens to classic country with an opening line that instantly recalls Kenny Rogers’ “The Gambler,” and a theme that expounds on Johnny Cash’s “I Walk the Line.” Turning their attention to ballads, the band moans the country blues on, “At the Bottom,” and “Crazy.” The latter is not a cover of its more famous namesake. It is however, a worthy homage to Willie Nelson and every honky-tonk hero whoever spilled a tear in his beer. For a debut album, Neon Moons gives us a lot to like here. These Hudson Valley honky-tonkers are the real deal.

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By Brian Rock

San Francisco soulsters, Effie Zilch return with their fifth album, Higher Calling. Singer/guitarist, Evanne Barcenas and Grammy winning multi-instrumentalist and producer, Steve Wyreman deliver another master class in modern Soul. Adding elements of gospel, folk, country and blues, the duo creates life-affirming soul music brimming with joy, hope, and optimism.

“Lover Boy,” is an irresistible love song that celebrates not just a lover, but love itself. Echoing the rousing rhythms of “Rescue Me,” by Fontella Bass, the song is a multi-faceted jewel of love. Pounding drums, driving bass, soaring, sitar inspired electric guitar, and dramatic backing vocals give voice to the many shades of love. Declaring how much richer life is with love in it, Barcenas sings, “Any scheme I’m dreaming up is better with him in it.” The song is as bold and buoyant as love itself.

Barcenas addresses the difficult give and take between a mother and her teenage daughter in, “Easy.” The mellow, Laurel Canyon rhythms recall Dusty Springfield as Barcenas sings, “You’ve got to be good to your mother cuz no one loves you better.” After the battle of wills, she finally makes peace with her child following her own path, singing, “set your stare up on that mountain high and climb your own climb.” Capturing the pain of butting heads with a willful teen, the song also captures the bittersweet pain of letting go of those moments. “Salton Sea,” adds touches of gospel to sing the praises of nature. “Teardrops,” finds Barcenas adopting an “American Songbook” elegance with a jazzy take on heartbreak. “The Argo,” adds pedal steel country tones to the heartbreak theme. The duo then takes heartbreak head on, on the gritty blues of “On The Loose.” Getting ahead of the heartache this time, Barcenas sings, “love me or let me loose.”  They rediscover their optimism on the sunny, disco infused, “Under the Weather.” Turning contemplative, they ponder mortality on the folk tinged, “Where We Go.” Evoking cosmic cowboy tones, Barcenas turns her attention to her children again, on the mellow, “Higher Calling.” Recounting a visit to an art gallery, she sings, “I stumbled through the galleries to take in everything I saw. I never felt a truer higher calling, ‘cause you’re my only masterpiece.” A beautiful lullaby from mother to child, the song wraps around you like a mom’s loving hug. From love to heartbreak to raising children to letting them go; Effie Zilch encourage us to follow love’s higher calling.

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By Brian Rock

Ready or not, here comes summer! With new music from India Ramey, Braxton Keith, Thomas Csorba, Peter Karp, and, Grey DeLisle and Les Greene to help you make the most of the season. Here are a few recommendations to jumpstart the playlists for your backyard BBQs and epic road trips.

Country

India Ramey Villain Era

India Ramey is not a woman you want to cross. She’s already overcome childhood abuse and prescription addiction, so she’s not intimidated by macho posers. From the fiery honky-tonk of, “Dead To Me,” to the country noir of, “Ghost Town,” to the classic country tones of “Red Red Roses Harm;” Ramey stands her ground and deftly dispatches the losers, the leeches, and the Lotharios that prey on weaker women. Other standouts include the foreboding, “We Ride At Dawn,” the playful, “Scattered and Smothered,” and the darkly exotic, “Six Feet Under.” With a commanding voice and an authentic country tone, India Ramey is a gun toting Kitty Wells.

Sizzlin’ Summer Single: “Welcome To My Villain Era”

A rousing 12-gauge warning of comeuppance to anyone who dares betray this sassy siren of honky tonk. Pounding drums, ringing telecasters, and rousing fiddle rise to match India’s fury as she turns the tables on a faithless lover and vows to, “wear that black hat with pride.” 

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Country

Braxton Keith Real Damn Deal

Braxton Keith represents both sides of the country coin. He’s the rowdy, beer drinking, good ole boy on songs like, “Real Damn Deal” and “I Ain’t Trying.” He’s also the heartbroken hero on songs like, “Don’t No More,” and “Am I All Alone.” Again, Keith represents the heads of old school country on, “Hurt By Heart” and “White Walls;” and the tails of modern country on, “Prescription,” and “Wind Blows.” Embracing all sides of country’s rich history, this Texas native puts his heart in every song. The honky-tonkers are all dance floor approved. The tear-jerkers are all hanky ready. Keith’s high baritone voice conveys authenticity to all of his highs and lows.

Sizzlin’ Summer Single: “I Own This Bar”

A fun and flirty country shuffle about dueling pickup lines. When both boy and girl are in on the joke, the more outlandish the line, the better. Acoustic guitar and pedal steel mimic the verbal interplay as Keith sings, “You can’t B.S. a B.S.er. You know it’s all in good fun, ain’t no damage done, were just two honky-tonk birds of a feather.” Whatever the outcome, this form of liar’s poker is a winner.

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Americana

Thomas Csorba Tender Country

Recalling the mellow folk/country of Glenn Campbell and BJ Thomas, Csorba shines a spotlight on life’s little moments. Highlighting the small moments that pass too fast and are only later appreciated for their significance; Csorba focuses on life’s unsung defining moments. “The Big Time,” contemplates all the special times you miss when you’re chasing the big time. “You Think You Know Someone,” finds new ways to appreciate your lover even after years together. “Lived In,” notes that the worse the condition, the more something’s been appreciated. “Tony Rice & Beans,” celebrates bluegrass music and good cooking. “He Would Have Loved This,” is a heartfelt bridge between a child and her departed grandfather. Flourishes of fiddle and pedal steel add a country patina to Csorba’s mellow folk vocals to create a unique sound that can only be described as tender country.

Sizzlin’ Summer Single: “Homemade Margaritas”

Celebrating one of summer’s favorite cocktails, Csorba sings the praises of getting back to basics – both in drinks and in life. Adding a funky, Jerry Reed style bassline, he sings, “City lights and reckless nights, well honey we don’t need ‘em. We’ve got enough ‘cause we got us and homemade margaritas.” I’ll drink to that.

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Soul

Grey DeLisle and Les Greene Grey & Greene

At first glance, the pairing of voice actress Grey DeLisle with musical actor Les Greene seems like a head scratcher.  DeLisle is the voice behind Daphne Blake in the Be Cool Scooby Doo series and Greene is the voice/vocals for the actor who portrayed Little Richard in the movie ELVIS.

But after one listen you won’t need a Mystery Machine to figure out why this pairing works so well. Sometimes singing duet, sometimes trading vocals, the pair gives a tour de force Soul performance straight out of 1960’s Memphis. “Homewrecker” and “Back Of Your Hand,” are high octane, dancefloor ready instant Soul classics. “I’m Gonna Let You Call Me Baby” and “That’s All,” capture the heartbreaking intensity of Otis Redding. “The Pieces” and “Mister,” add rustic americana tones to their Soul. “Go Go Go,” showcases a touch of swing jazz elegance. They even give a soul-icana interpretation of “You’re The One That I Want,” from the Grease soundtrack. From ballads to blasters, Grey & Greene deliver dynamic vocals dripping with soul. 

Sizzlin’ Summer Single: “Shake That Thing”

A Jump Blues celebration of the feminine form. Greene shouts, “the way you shake that thing – there oughta be a law!” Gospel backup singers make the attraction a borderline religious experience. The music is pure joy as Greene channels the energy and excitement of Little Richard at his tutti-fruttiest.

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Blues

Peter Karp Jersey Town

Garden State bluesman, Peter Karp paints in every hue of blue on “Jersey Town.” From the Chicago blues of, “The Man I Used To Be,” to the Texas blues of, “House Full of Love,” to the gospel blues of, “Faith,” to the Louisiana blues of, “Fate la A Train,” Karp masters the subtle differences of the many regional flavors of the genre. Part Delbert McClinton, part Charlie Musselwhite, Karp plays blues you can dance to, blues you can cry to, and blues you can chill out to.

Sizzlin’ Summer Single: “Baby Hold Tight”

Horn driven Memphis blues offer hope and heart during these turbulent times. Karp promises, “If you believe in the promise of love, there’s nothing in this world that you can’t rise above – if you hold tight.” But in order to rise, we have to know how we fell, Karp sheds some insight into the matter, singing, “Happiness is so hard to find when you’re living inside your mind.” Stop worrying about yourself and reach out to help and hold others, and everyone ends up in a better place. The hard driving rhythm moves like an unstoppable ray of sunshine breaking up the clouds of doubt.

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By Brian Rock

Blues Icon, Americana originator, and living legend Taj Mahal returns with his 33^rd studio album, Time. Defying time itself, Taj Mahal performs with the same energy and warmth that he exuded in the 1970’s. With a voice that resonates with experience and authority, he sings of the two pleasures that give life meaning: love and music.

“Life Of Love,” introduces the set with Calypso rhythms and a soulful horn section. Recalling his younger days, Taj sings, “We used to come together on Sunday evenings on a street corner, serenading. African, Black and French Creole, delta blues and Caribbean soul; different folks with different names. The love of the music was all the same.” The melding of world beat rhythms echoes the sentiment of sharing cultures. Hammering home the point, Taj continues, “When we all sing together there’s no trouble we can’t rise above. Your heart ain’t heavy when you dance, so take every chance you can to celebrate living a life of love.” The melody and the lyrics are a musical medicine that melts away tension. 

“You Put The Whammy On Me,” continues the tropical vibes with a sultry, salsa/soul hex on the heart. “Wild About My Lovin’,” adds a touch of reggae to the romance. “Talkin’ Blues,” leans even more into the reggae rhythms as Taj confronts trouble in paradise. Stripping away all other influences, he pours out 100 proof blues on, “Ask Me ‘Bout Nothing’ (But The Blues).” Taj returns to his wheelhouse on the barrelhouse blues of, “Crazy About A Jukebox.” Paying tribute to rock & roll and rhythm & blues artists from the 1950s, he’s equally mesmerized by a woman who’ll, “pop a cork for Jackie Wilson.” “Rowdy Blues,” is pure Professor Longhair inspired New Orleans blues. Touching on more musical influences, Taj gives energetic renditions of Otis Redding’s “Sweet Lorene,” and “Charles Sheffield’s “It’s Your Voodoo Working.” He saves his most intimate musical tribute for the album’s title song. “Time,” is a never released song by Bill Withers. Both a fan and friend of Withers, Taj Mahal pours his heart into the soulful folk ballad. Talking about Time’s healing attributes, he sings, “Just remember to forget about your past and get on with the new. Time will see you through.” Although Time may lessen the sting of loss, you can still hear the yearning in Taj Mahal’s voice as he recalls his late friend. Whatever else Time may do; it has not slowed down, Taj Mahal. Seven decades into his storied career and he is still as vibrant as ever.

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By Brian Rock

Ameripolitan originator, Dale Watson unveils his impressive, thirty-first studio album, Unwanted. An ironic title for one of Americana’s most beloved performers. Perhaps the title refers to the inability of traditional country music to break into contemporary country music charts. If so, it’s a testament to Watson’s integrity and devotion to country music’s golden age. A true disciple of Waylon Jennings and George Jones, every song on this album is a honky-tonk boot scooter or a tear in your beer ballad. Capturing the feel of 70’s AM radio, Watson creates original country that feels as familiar as your favorite pair of faded jeans.

Watson kicks off the set with the outlaw country anthem, “Willie, Waylon and Whiskey.” His back up band, The Lone Stars generate a galloping rhythm as Watson pays tribute to two of his heroes and one of his habits. Singing, “Willie, Waylon, and whiskey; gonna have a real good time… Hangin’ out with some old friends of mine;” he gives a call any true country fan will respond to. Referencing classic Willian Nelson and Waylon Jennings songs, Watson adds fiery licks from his custom Tompkins guitar to add to the raucous roadhouse feel. The music delivers on the promise of a real good time.

Watson captures the funky fun of Jerry Reed on, “She Was My Baby.” Talking about his ex, he sings, “She can make a man stop drinking. She can make a man start too. She can make a man stop thinking, then start thinking what’s he gonna do.” The funky bass line and pedal steel create a playful, country funk feel for this tongue in cheek song. “You Gotta Try Harder,” is another fun, honky-tonk take on dating. “Don’t Let The Honky Tonks Go,” is a two-step tribute to the classic dance halls of his native Texas. “Unwanted,” showcases Watson’s Waylon Jennings influence. His commanding baritone voice delivers an unabashed defense of his solitary lifestyle as he declares, “I’m livin’ the life I chose.”

Watson channels his inner George Jones on, “If You Really Love Me, Outlive Me.” Minor key acoustic guitar, pedal steel, and fiddle set the mood as he pleads his lover, “Don’t make me go through life without you.” Celine Lee adds a Tammy Wynette yin to Watson’s George Jones yang on the lovers’ duet, “You’ve Got My Heart.” “Just Yesterday,” is another tender tribute to lasting love. “Life Is Like A Song” and “If I Can,” capture the mellow AM radio feel of Mac Davis. Watson delivers a scathing indictment of modern sensibilities on the Hank Williams Jr inspired, “What The Hell Happened To The Cadillac.” Watson pays tribute to the legendary Austin, Texas nightclub on, “Never Mend The Broken Spoke.” The honky-tonk rhythms transport you to a place where, “Bob Wills and Willie Nelson and Ernest Tubb have walked the floor.” Like The Broken Spoke itself, Dale Watson is an American institution. Though both may be unwanted by disposable pop culture, they remain icons of authentic American music. If you prefer your country music without auto tuners and facial piercings, you’ll want to listen to Dale Watson.

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By Brian Rock

Yarn is a band of contradictions. New Yorkers who have found their home in North Carolina. rockers who play authentic country music. Partiers who take time for spiritual reflection. At the center of it all is bandleader Blake Christiana. The thread that holds Yarn together, he recently took time from their busy touring schedule to talk about the band’s new album, Saturday Night Sermon, and to reveal the stories behind the songs.

TJ: Yarn’s new album is called, Saturday Night Sermon, I have to confess, it’s much more entertaining than most sermons I’ve heard. Given the title, was there a particular message you wanted this album to convey?

Blake: A Sunday sermon is in a church. But the kind of sermon that I’m preaching about is more fun. It’s more aimed at the other six days of the week, especially Saturday night. That was the birth of the idea. Then I had written this song called, “Good Day.” It was just about doing life however you want. Having fun, hurting no one.

TJ: A celebration of life. 

Blake: Yes. And then we wind up tagging a church choir outro on the end of it. I had gospel singers join in. By the way, we’ve got gospel choirs on almost half the record. So, the whole album just kind of took on a bit of a gospel feel. Something about it sounded right and felt right. So, I’m not an organized religion guy. I never have been. I just find it to be completely hypocritical. Compared to the teachings of Jesus, most sermons sound like the opposite of Christianity. It doesn’t make any sense to me. And that’s why I thought, let’s have a new sermon. Let’s preach good times. And let’s do it where you like to have fun, you know? Not where you’re stifled or judged or… made to fear God. Let’s celebrate. 

TJ: There’s a mistranslation in the Bible that says the fear of the Lord is the beginning of all wisdom. The original language says the awe of the Lord is the beginning of all wisdom. By awe they meant just having a childlike sense of wonder. 

Blake: It makes a huge difference. One word makes a giant difference. It’s ridiculous how they use that to control the masses, right? 

TJ: Yes, and the title Saturday Night Sermon, reminds me of the Zen koan, “When the student is ready, the teacher will appear.” By which I mean, enlightenment doesn’t just happen on Sunday in church. If you’re living with an open heart and mind, you can learn from anyone you meet. With that in mind, were there any specific real-life encounters that contributed to the stories in this album, or are they purely fictional?

Blake: Oh, definitely real. My wife, Mandy is a big part of this record existing. She’s dug deep into the spiritual side of things. She’s constantly feeding me with different ideas, either born in her head or something she’s reading about. So, I get a whole lot of this from her. The last song on the album, “A Welcome New Home,” is about a recurring dream she has. It’s about being at a river with elephants; and just being at complete peace. It’s a kind of utopia where she goes to. It’s funny, because we recently bought a house on the Pamlico River, two hours east of Raleigh. So now we actually live at a river. We have yet to find the elephants, but we’re looking for them.

TJ: Yeah, they’re tough to find in North Carolina. But since you mentioned that song, I’ve got to say that it really reminds me of Louis Armstrong’s “What a Wonderful World.” It just has a calming sense of peace about it. Very nice. So anyway, for me; your albums have a literary quality, almost like a southern Gothic novel. And on this album in particular, you have a song called, The Long Awaited Why,” where you’re dealing with generational family dysfunction. And then in the song, “Please,” you deal with abusive relationships – boldly, from the perspective of the abuser. So, when you’re doing this, do you find it emotionally draining to dig into these characters or is this cathartic for you? 

Blake: Oh, totally cathartic. My experience with dysfunctional family is minimal, compared to lots of other people. So that’s not autobiographical, but it’s definitely someone I’m very close to, you know? 

TJ: Yeah, everybody thinks they’re from a dysfunctional family until they actually meet somebody from a dysfunctional family. 

Blake: Yes. So, for “The Long Awaited Why,” I overheard Mandy on the phone. She hung up and said, “I can’t stand him, but I love him.” And that’s how the song starts. And then I took it down that path and, I think it’s obviously quite relatable. I mean, even the least dysfunctional family in the world can relate to it a little bit. And then for the song, “Please,”, I’ve always liked the song, “The Beast in Me.” Nick Lowe wrote it, and Johnny Cash did a cover of it. And it’s a song from the jerk’s perspective. I guess I ripped it off to some degree. The idea is to speak from that perspective. It’s like controlling the devil inside you. It’s a little dark. But it’s honest. 

TJ: What I like about that song is you neither glorify the character nor condemn him. You’re just like, here’s what I think it would be like to be in the mind of somebody that hates themselves while they’re harming others. 

Blake: Yeah. And we all have the ability to do that. So, it’s all within us. 

TJ: Yes. We’ve all had times where we’ve let somebody down, and usually we try to move past it. But this is a guy that’s trapped in that cycle and can’t find a way out. 

Blake: Well, I appreciate you listening, so intently. 

TJ: It truly is my pleasure. Talking about listening to the lyrics; through the course of this album, you immerse yourself in characters. Like on the song, “Good Day,” you’re a self-serving hedonist. But on, “A Welcome New Home,” you’re a spiritual seeker. On, “Brand New Light,” you’re boasting about one-night stands; and then on, “Longshot,” you’re yearning for a long-term commitment. So, given the sermon reference in your album title, how do you reconcile these opposites? 

Blake: I think they’re all an important part of everybody’s whole. There is a balance, you know? And I don’t see anything wrong with hedonism and exploring pure pleasure. So, I think it’s a part of being human. I mean, we’re here to experience this body. My wife, Mandy is constantly talking about oneness. If we all go back to being united with the bigger God, or whatever it is; then the physical form just ceases to exist. So, I feel like we need to embrace that. And there’s just a balance you need to achieve. You know, you can’t go overboard and you can’t let it rule your life, but you gotta see the meaning of things, Party as hard as you can, have a good time, but don’t hurt yourself, don’t hurt anybody. I think all of that needs to be experienced. And I think a lot of people take it too far. You can take it way too far in either direction. You can try to indulge in too much, or you can try to avoid too many experiences. There’s a balance in all of it. I can easily reconcile all of it just by being human, you know?

TJ: The hard part is finding that balance and knowing how much is too much. Dean Martin has a great quote about it too. He says, “Good judgment comes from experience And experience? Well, that comes from poor judgment.” So, digging a little further into this; you seem to draw from a deeper well than a lot of songwriters. You speak like someone who’s overcome past traumas; especially on songs like “These Words Alone,” from your last album. That song is one of the most powerful prayers I’ve ever heard. Was there any crisis or turning point in your life that gave you a new perspective or made you realize, ‘Hey, I’m strong, I can do this.’? 

Blake: Life in general has taken me to this point. I’ve always been a “glass is half empty” cynic and pessimist. That’s always lived inside me. For whatever reason, I celebrated it up until the last 10 years. I’ve tried really hard to take myself out of that and be more grateful, more optimistic. So, one specific thing – definitely not. But you listen to my earlier music and all that music just kind of poured out of me without a whole lot of thought. Now, if you listen to this record or the last record, I’m definitely thinking more about what I want to say. I want people to think when they listen to music. I mean, I want to have a good time too. If people don’t listen to lyrics, I think they can still have a good time with this record. If they listen to lyrics, they can enjoy them on a deeper level. I’d like to change people’s views. Just how they look at life and how they look at their so-called enemies, you know what I mean? I’m just sickened by the way things are right now. And a lot of that has changed me for the better. You see the leaders of the world speak so… awful and just unkind. I get it. To become powerful, you gotta do evil shit, unfortunately. Not to be so flippant about it, it just makes me want to be a better person. And that’s been going on for 10 years or so for me. You know, I don’t have any political views. I only have human views. So, I don’t go into that shit. But that’s probably where it’s changed the most for me. 

TJ: Yeah, like your song, “Turn off the News,” from your last album. 

Blake: I love that one, because the news just brings cynicism. That was probably the turning point for me. I used to have every news app on my phone. It didn’t matter which side it was preaching to, and it just made me mad. Finally, I was like, what am I doing? I deleted them all, and I turned off the news, and I experienced a little bliss. I know we can’t turn it off completely, it’s everywhere; but we can’t let any of this steal our joy. And if you’re only looking at social media, or network news, you’re going to be miserable. People are allowing a few idiots to decide their joy in this life. I can’t wrap my head around that and I refuse to take part in it. 

TJ: It’s almost like cult programming. 

Blake: That’s why I’ve checked out. Some people give me a hard time. It’s like, you can’t turn off. You have to be informed. Yeah, I know, but I also have to take care of my wife and my kids and the people around me and make everyone joyful. I mean, what’s our goal with this life except to be happy? All that 24-hour news cycle is just the antithesis of happiness.

TJ: Your point segues exactly into my next question. So, one of the things I love about your songwriting is that despite the struggles that your characters face in your songs, there’s always this “Ode to Joy” moment to show how beautiful life really is when you stop the worrying and just open your heart to it. On this album, that song is, “Let the Universe.” I absolutely love that song! You probably just answered this question, but what advice do you give to people who are having a hard time letting go of that addiction to the news and the anger and the hatred and the judgment? How do you let go of it?

Blake: I think one really good way to do that is to get out there and listen to music. Take part in something that connects everybody. Regardless of your beliefs and opinions, there are people out there with the opposite beliefs. You can’t avoid people that are different and people that think differently from you. But then you go to a concert or something that takes you just completely out of yourself and puts you around other people and the differences disappear. It’d be amazing if everyone did that and then thought about what they just did. 

It’s like, I’m here with a room full of people and even though half of them disagree with me on a whole host of issues, we’re having this beautiful moment together. What a difference it would make for them to see, to just have some sort of clarity in that thought, you know? I don’t hate anybody. So, I just wish we would all stop taking part in that, and it would change everybody’s life, and it would change the world. I just would say, really dig in there and think for a little bit about how ridiculous whatever hatred you have for anyone, or anything is. Because it’s all wasted energy. It just perpetuates the problems we have right now. So, you’re just feeding that energy and that angry beast. Talk about the beast in me! The beast in us is getting really dark. So, like I said in, “Welcome New Home,” it requires very little thought, but just a little thought. Just remember we’re all connected. 

TJ: Well, that’s why I love your lyrics because you challenge people to think about what they’re doing to make a better world. So, lyrics aside, I’m picking up some, “Into the Music,” era Van Morrison on this album; especially on songs like, “Let the Universe,” “Brand New Light,” and “Welcome New Home.” Was that a conscious decision?

Blake: It’s funny you mention that because I was listening to Al Green on Fresh Air with Terry Gross. She was interviewing Al Green, and he was talking about Jackie Wilson and about his music and his influences, which got me thinking about Van Morrison, and his song, “Jackie Wilson Said (I’m In Heaven When You Smile).” I literally turned off the radio, and started writing. I wrote the verse and the chorus in my head, and I just sang it into my phone. Mandy always used to say, “We ain’t here for a long time. We’re here for a good time.” And that’s how “Brand New Light” started, and it was totally Van Morrison inspired. “Welcome New Home,” was definitely subconscious. About a minute after I wrote it, I was like, oh, I can touch that up. Through Al Green, through Jackie Wilson, it wove its way in there. 

TJ: Well, it’s hard to go wrong with Jackie Wilson and Van Morrison. Thanks so much for taking the time to speak with me. Best of luck with the tour, the album, and with all of life’s adventures! 

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By Brian Rock

Fantastic Cat returns for their third and “most-likely-to-prompt-a-lawsuit-from-the-Meat-Loaf-estate album yet,” Cat out of Hell. The New York based supergroup of Anthony D’Amato, Don DiLego, Brian Dunne, and Mike Montali still bring that Raspberries’ style power pop energy. But this time around they add a few more ballads, befitting their lyrical shift from jittery angst to measured reflection. Still tackling life’s challenges head on, they toggle from resignation to resolve. Like Mary Chapin Carpenter’s the bug, they try to find meaning amidst life’s ups and downs; all while cranking out insanely catchy melodies from diverse influences from The Band to Cheap Trick to Corb Lund.

The journey begins literally and metaphorically on, “Donnie Takes The Bus.” Pre-recorded concert crowd cheers welcome our heroes as they quickly dive into crunchy, power chords. A bouncy rhythm, punctuated by drums and piano set the pace as the Cats seek an answer to the question, “Oh my Lord, when am I gonna be free?’. The bus takes them from town to town and from experience to experience. Yearning for freedom, but not entirely sure what to do with it when they find it; they set off on a mystery tour in the hopes that answers will present themselves. Rhythmic influences from The Band add an optimistic tone to the uncertainty.

‘How’s That Working Out?,” provides an early answer to their quest. Frenetic, Chris Montez inspired electric organ gives the song a carnival tilt-a-wheel effect as they sing, “You had a real bad year. They had no sympathy at all” A murky story of drugs, gunmen, and a trip to Vegas unfold at a breakneck pace as the band finds themselves moving from bad to worse. The outstanding, Dylanesque folk rock of, “Elevator,” tries to turn lemons into lemonade. Realizing things aren’t going as planned, they adopt a plan B: “When the elevator’s broken, you gotta take the stairs.”  Like their dreams of glory, their romantic prospects are also coming up short. “The Waiting Room,” laments waiting for commitment in counterintuitive Smithereens’ power pop tones. Singing, “How long do you want me to wait for you? I’m gonna die in the waiting room,” the band expresses their frustration. Trying to figure out how to act while they wait for some sort of resolution, they decide to, “try to be decent but don’t make a whole thing about it.” Sage advice, no matter what the situation. Continuing the bad to worse theme, “Lucy,” reveals the aftermath of the relationship they longed for. Anthemic, Fleetwood Mac style folk rock both celebrates and condemns the woman who is making a fool of them. 

“I Spoke To God A Lot Last Year,” finds the band seeking help from a higher power. Mellow folk rock rhythms accompany their prayers as they, “spoke to God, but he never spoke back.” Not receiving the answer they wanted, they decide to, “Turn Off The Lights.” A bittersweet ballad of resignation, they concede, “this place ain’t working for us anymore.” Low on hope, they moan, “if you’re the last one out, you better turn off the lights.” Just when things seem darkest, they find a ray of light. “Don’t Let Go,” offers a Billy Joel style piano driven anthem to not giving up. Singing, “She said it’s time to reassess your life. Are you sure that’s what you’re like?’, they stop for the first time to actually take stock of where they are and how they got there. Confessing, “There was a time when I felt I was strong. Everyone but me was wrong. Now where’d that go?’; they realize that maybe they weren’t as stone cold sure as they thought. The realization causes them to go, “Back To The Beginning.” A tender ballad about second chances, it confronts the ghosts of past mistakes. With a fresh start and clear sense of self, the Cats are ready to try again. “Mona Be Still,” is a touching ballad about giving more than you try to receive. The band doubles down on commitment with the Abbey Road era Beatles inspired song, “No Goddamn Way.” After all they’ve been through, they advise, “The wolves are out and they’re vicious now. But there ain’t no goddamn way I’ll let you down.” Turning their pain into power, Fantastic Cat learns that helping others is the most effective way to help yourself. The band extrapolates that truth on the meditative ballad, “Nobody Better.” Summing up their journey, they sing, “This living gets lonely. I know all too well, there ain’t nobody better than nobody else.” Taking a sonically satisfying bus ride from confusion to clarity, Fantastic Cat weaves poignant storytelling with hook heavy melodies on “Cat Out Of Hell.” It’s one of those albums that makes you yearn for the next one. Perhaps, “Fantastic Cat Scratch Fever?” Or maybe a little more subtle, like, “Tabby Road?” Whatever the title, you can be sure their next album, like this is one, will be Fantastic.

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By Brian Rock

Andy Thomas, the lead guitarist for Yarn, takes to the spotlight and the open road on his solo debut, Highway Junkie. Drawing on southern rock influences from The Allman Brothers to The Marshall Tucker Band to Elvin Bishop, Thomas blends rock, country, and blues to sing about the joys of the road and the freedom it represents.

The title track introduces the album with explosive honky-tonk rhythms and frenetic Jerry Lee Lewis style piano chords. With a voice that’s part Greg Allman and part Hank Williams Jr., Thomas sings, “Getting pretty tired of this old blue collar, day after day just tryin’ to make a dollar.” Frustrated by the 9 to 5 routine, he decides to, “make a livin’ off these rhythms.” The rhythm section heats things up with hard driving bass and drums, and Thomas sets the lot on fire with his scorching lead guitar. Bearing more of his angst, Thomas reveals, “I’ve been trying to outrun the shadow of my father. Every damn day I get a little farther.” So, for Thomas the road isn’t just a path to somewhere better, it’s an escape from somewhere worse. If a journey of a thousand miles begins with a single step, the intensity of this first step will find him reaching his destination in no time.

Thomas keeps the party going with the greasy, 70’s pub rock of, “Hard To Tell.” The song is a fiery ode to all the ‘Miss Wrongs” out there. Thomas unleashes a Molly Hatchet style guitar assault on the driving, “Down The Line.” “Freedom Song,” recalls the Southern Power Pop of 38 Special. “Little Love Machine,” embraces the rough around the edges Texas blues of ZZ Top. “Dirty Work,” dives even deeper into swampy, Texas blues. “Kings & Queens,” leans into the outlaw country stylings of Shooter Jennings. Thomas plugs in and electrifies the Piedmont blues rhythms of, “Long Gone.” Done playing games with a noncommittal lover, he issues an ultimatum: “Just tell me that you love me or I’m saying goodbye.” Hand claps and Hammond organ give a gospel revival feel to the “come to Jesus” moment. Having proved he can rock out with the best of them, Thomas showcases his sensitive side on the ballads, “Twin Flames,” “Runaway,” “Last One Standing,” and the tender, “Nothing I Wouldn’t Do (For You).” The latter features a duet with fellow Virginian, Dori Freeman. After a life of running from love, love finally catches him. Singing in tandem with Freeman, Thomas confesses, “I never meant to fall in love now darling. You just made it so damn easy.” The highway junkie finally finds a reason to come home. And with the release of “Highway Junkie,” Andy Thomas proves southern rock is alive and kickin’.

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