Reviewed by Harry Kaplan

Normally, acts will start off noisy and full of angst and get progressively quieter as time goes on. Shovels &Rope seem to be working in reverse. O’ Be Joyful was released in 2012 and was a more straight forward folk, country, and bluegrass release. Little Seeds, by contrast, is a noisy, feedback laden affair. People who liked their earlier straightforward approach may recoil a bit by this one. Me, however, I find it to be refreshing. There are some straight folky and traditional type songs on Little Seeds such as St. Anne’s Parade, The Last Hawk, Mourning Song, and St. Andreas Fault Line Blues. There are also the noisier tracks such as I Know, Botched Execution, and Buffalo Nickel. This experimentation and exploration of new territory is a welcomed change from the straight traditional songs. Don’t get me wrong, I love the straight traditional songs, but I also like variety and a little bit of noise is a good way to break the monotony.

Although the music has changes somewhat, the beautiful harmonies and songwriting has remained consistent. Michael Trent and Cary Ann Hearst, the married duo from Charleston, still deliver gorgeous melodies even with the elevated tempo and noise level. It seems like they may be going through a little “Neil Young phase” incorporating some grunge into their music. As they say in Johnny Come Outside, “teacher says it’s just a phase, and he’ll grow out of it”. Well, I hope Shovels and Rope doesn’t grow out of this phase. Keep a little noise, I say. It worked for Neil, Velvet Underground, and Jesus and Mary Chain. And it works for Shovels & Rope as well. This is another act that seems to be improving over time.

You can listen to the album in its entirety on NRP and go to the Shovels & Rope website to plunk down your $$ and make a purchase.

Reviewed by Harry Kaplan

This looks really promising. If these three songs are any indication of the future, I like what I hear. Casual Chaos is a trio from Brooklyn, NY that makes a ton of noise for three people. They package that noise quite nicely into a twangy, punk rock package. They sound like early Parquet Courts. Got a Pavement/Sonic Youth/Ramones feel to it as well. If all music sounded something like this, that would be fine with me. This is definitely my sweet spot and Casual Chaos is all over it. Only three songs has left me wanting way more. All three songs are very strong offerings. They all have that quirky early punk thing happening, but all three songs are distinct. There is no problem differentiating the three. If I have to pick a favorite, I would have to say Opaque Reality. It is an extremely catchy punk rock ditty that I could listen to over and over. It is a keeper for sure. The whole EP is a keeper, but we need more. Make a full album soon fellas! Until then, the EP can tide you over here. 

 

Reviewed by Harry Kaplan

This is a live show that was recorded in 1995 at the Metro Club in Chicago. The backing band was a who’s who in the punk rock/alternative world in the mid-90s. You had Eddie Vedder (Pearl Jam) on backing vocals, Dave Grohl (Nirvana, before Foo Fighters) on backing vocals, Pat Smear (The Germs, Nirvana) on guitar and backing vocals, and William Goldsmith (Sunny Day Real Estate, before Foo Fighters) on drums. Mike Watt’s resume at that point included the Minutemen and Firehose. This was truly a punk super group. All of the backing band were already very established and famous in their own rights. Why would these guys agree to be a backing band and essentially take a back seat to Mike Watt? You know why? It was out of respect. That should give some indication of the influence Mike Watt had and still has on rock n’ roll music.

Watt is a self-made bass player and musician. He quipped that when he first started playing, he thought the tuning pegs were there to make the strings looser or tighter, depending on your preference. He has come a long way. On this Ring Spiel recording, the bass is as prominent as the lead guitars. Mike Watt helped to revolutionize the bass guitar and make it harmonic. It’s not just for time keeping anymore. Watt is a multitasker as well. He sings and plays bass simultaneously, executing both instruments to perfection. That is an amazing feat since I find it difficult to do 2 things at once. You know, like walking and talking.

Ring Spiel is a great historical marker of the punk/alternative music landscape back in ’95. It is actually more than that. It is a great album. It traverses alternative to punk to country to straight rock n’ roll and back again. Watt and company play a mixture of tunes from the Minutemen, Firehose, Eddie Vedder, Daniel Johnston, Blue Oyster Cult, and even Madonna. Yes, Secret Garden by Madonna and they do it quite well.

They even play some Mike Watt originals. Through all the tracks, you can clearly hear Watt’s bass twanging and slapping like the maestro. Chinese Firedrill (Track 8 ) is the pinnacle of numerous highlights on this recording. Chinese Firedrill is a melodic number Watt wrote and recorded on his 1995 album Ball-Hog Or Tug Boat. It is way less frenetic than Watt’s earlier works with The Minutemen and Firehose, but every bit as beautiful. He proved that he can slow it down and still make heartfelt music with tons of energy. Piss-Bottle Man (Track 9) was dedicated to Mike Watt’s father. Watt didn’t sing it on the album, Evan Dando did. Watt does sing it on this recording with some back up vocal assistance. His voice is perfect for his lyrics. It is a little bit raw and gravelly, perfect. Forever…One Reporter’s Opinion is a Minutemen song from their eponymous 1984 release Double Nickels On The Dime. Watt stretches it out and turns a one minute song onto a three minute number. The bass and guitar solos on this number are great. It even features dual drummers as Dave Grohl gets behind the kit as well.

I think I have written enough to convince you all that is a must have for many reasons. The main reason is of course that it kicks a boatload of ass. You can pre order the CD here and the LP here.

Reviewed by Harry Kaplan

I will start off by talking about the opening number, Hard Times. It includes two very prophetic lines: “Was I running away or was I chasing a dream”? And “Don’t let the hard times break you down, they’re going to make you a better man”. How true. Certainly thought provoking lyrics. Moving away is always a big undertaking and I think the normal question we would ask is are we going forward or backward? Chasing a dream is certainly moving forward and running away is taking a step back. Handsome And The Humbles are definitely moving forward. Have Mercy is a beautiful release. Intelligent song writing with great singing and instrument playing make this one a good one.

The other prophetic line in the opening number Hard Times is “Don’t let the hard times break you down, they’re going to make you a better man.” It is sort of a take on what doesn’t kill you makes you stronger. It is very true and very well put. I think there is more to learn in hard times than there is in good times. That is if we are open to learn it. Listen to Hard Times because the song is cheaper than a life coach and the words are sung beautifully.

Handsome And The Humbles hail from around Knoxville, Tennessee and they write and sing about what they see around them. Pristine and breathtaking beauty and the hardscrabble people that live there. These songs are about poverty, hard work, and hard times. But they are also about hope and learning lessons with each situation. I go back to the line in the opening song: “Don’t let the hard times break you down, they’re going to make you a better man”. I would say that theme carries through the entire album.

Glad To Know You (Track 7) is a bit of a rocker with some nice noisy and moving guitar parts. This song is about leaving and moving on. Glad To Know you is about friendship or love ending but with the hope of new beginnings. Hints of sadness tempered with hopes and dreams. Bittersweet with the sweet overtaking the bitter. I do consider this a song of hope even though it is about loss as well.

So, you can listen and buy this fine album on their Bandcamp site here. You are welcome.

Reviewed by Harry Kaplan

Bill Kirchen and Austin de Lone are both long time and esteemed veterans of the music business who came together to make one incredible album. This is rockabilly, honky tonk, classic country, bar band, and twang-o-rama. Kirchen and de Lone have been friends for 40 years or so. Based on this album, I wonder why it took so long for this partnership. Whatever the reasons, I am glad it occurred. These guys make beautiful music together. Perfect song arrangement and musicianship are hallmarks of Transatlanticana.

I have had the great pleasure of seeing Bill Kirchen live three times. He puts on one of the greatest rock and roll shows I have ever witnessed. He is immensely talented, having the ability to play multiple instruments. But, guitar is what he is known for and he is a virtuoso. He can play so many different styles flawlessly that it will make your head spin. I have heard him play honky tonk, rockabilly, blues, rock n’ roll, and punk rock in the same song. I don’t know why he isn’t listed up there with the guitar greats, but he should be. And Austin de Lone is no slouch on the keys. He knows how to get every bit of boogie woogie out of the ivory. This is a feel good album and deserves heavy airplay.

Listen and buy right here.

Reviewed by Harry Kaplan

Waywhilago consists of singer songwriter duo, Wendell Franks on acoustic and vocals and Shane Blalock on bass and vocals. These guys have been together for 20 years! Waywhilago also features Jeff Hill on lead electric, and Danyelle Bragwell Franks of on vocals. They all hail from Alabama and play their brand of southern rock and outlaw country with fervor and ferocity.

The first track on this album is called Shine about, you guessed it, moonshine. Certainly is a good start for an outlaw country record. “Pickin’ dust corn kernels and makin’ ‘em shine.” Sounds nice with a really authentic musical backdrop chock full of twangy guitars and fiddles. Yes fiddles! This is legit country. Track 2 is another drinking song called Drinking To Drive You Off My Mind. So 2 for 2 so far. Certainly adding up to a good outlaw country album. Come By It Honest (Track 5) is a great outlaw country ballad about the southern life. “Church pew on Sunday and guitar on Saturday night, I learned from my Daddy but momma is usually right.” The lyrics explains the southern experience in vivid detail. Sounds just like Waylon would have sung. Hell And Alabama in another fine song. The acoustic guitar intro plays perfectly into the vocals. This deals about going back home, wherever that home is. The next track, Long Time Since I’ve Been Home, is another number about longing for home. Great guitars and fiddles accentuate this song.

This is a great feel good outlaw country album. These guys and gals know how to play. Show them some respect and buy this great release on ITunes.

Reviewed by Harry Kaplan

I am not even sure where to begin on this one. My first thought was this is very raw. Very raw indeed. At first blush, you may think this is just another basement tape by a fledgling artist. Actually, it is so much more. This could be groundbreaking. While experimental is a word you may hear or read to describe this, I disagree with that moniker. Experimental infers a sort of trial and error approach. Just throwing stuff against the wall to see what sticks. I prefer to call this unconventional. Thunderhead, whose real name is Barry Madison, knows exactly what he is doing. He writes, records, and plays all of the instruments on his tracks. That alone is an incredible feat. Madison also pushes the envelope. Let me change that, he completely obliterated the envelope and created a new structure altogether. In the rawness, there is something incredibly infectious and beautiful. Energy cannot be created or destroyed but Thunderhead found a way to horde energy. A lot of energy. If you take some Dylan, Beck, Beatles, Velvet Underground, and some Stones, you may come close to a valid description of what Barry Madison (Thunderhead) has created. I hear a lot of music and I have never heard anything quite like this. It is beautiful noise in all its glory.

Now time for brass tacks, the music. Redwood Country (Track 14) starts off like a Velvet Underground song with a little dose of feedback and a minimalistic guitar, bass, and drum riff that is lovely. When Thunderhead starts singing, it sounds like early Beck before he decided to try his hand at disco. This song is one of the best I have heard in quite a while. Words don’t do this song or album the proper justice it deserves. Bottle Bottle Mouth Window Sill Lightning (Track 1) is another song that will leave you awestruck. It is a blues number with an incredibly rich musical backdrop that is almost symphonic. Again, it is hard to imagine that this song was conceived and executed by just one guy. Love Is Such A Sweet Sensation (Track 6) is a song that is a cross between the Beatles and Velvet Underground. Big City Country Girl (Track 9) sounds like it could have come directly off of Sticky Fingers or Exile On Main Street. Let’s not forget Lost In Space (Track 14). This song is as trippy as it gets and is a complete masterpiece. Watch this awesome video.

Thunderhead is not a copycat or a tribute artist but is a synthesis of those driving forces to create something new and unique. I dare say he created a masterpiece, but that is what I want to say. Some may compare Thunderhead to Daniel Johnston because of the DIY spirit. But, that is where the comparisons end. Thunderhead is a much more well-rounded song writer and musician than Johnston. I am truly blessed to have had the opportunity to hear and experience his music. I hope you get to experience it as well. You can say you knew about him before everyone else. That’s because it isn’t a matter of IF Thunderhead will be a star, it is a matter of when. Hail to thee, Thunderhead! Time to jump on the bandwagon, there is plenty of room.

Go to his Bandcamp site here to listen and buy this.

Reviewed by Harry Kaplan

There is good, great, and the stratosphere. Blindfaller is in the stratosphere category. I don’t think there are words in the English language to truly articulate just how incredible Blindfaller is. This is one of those “I knew it from the first listen” records. If you like heavenly mandolin and serene banjo, you will love this. Also, if you like absolutely pitch perfect vocals and harmonies, you will love this. In fact, I can’t think of one reason not to love this. Blindfaller elicits a plethora of excitement and energy. For me, it is rare to get that awestruck feeling from listening to an album, but Mandolin Orange pulled it off in spades.

My Blinded Heart (Track 7) is absolutely sublime. This song is a throwback to the good old days of country. The writing sounds like something the man, Hank Williams, could have written himself. All the tragedy and sadness of a Hank song. But, all of the musicianship and technology of a song today. Sonically, this song is so impressive and gorgeous. The best of both worlds. Actually, this song has some electric in it. Some spacey and ambient electric guitar riffs add the perfect touches to this tune. Wildfire (Track 2) is a classic in the making. I really can’t say enough good things about this song. Wildfire has made my exclusive playlist with such acts as The Drive By Truckers, Old 97s, and Ryan Adams to name a few. This is some esteemed company that Mandolin Orange is rubbing elbows with. And the company is well deserved. Add this album to the growing list of phenomenal releases in this banner year.

You can listen to the whole enchilada here. This is the place to buy it on Mandolin Orange’s website. They gave us plenty of choices as to where to purchase Blindfaller. No excuses!

 

Reviewed by Harry Kaplan

Old Heavy Hands is a Greensboro, North Carolina trio made up of Nate Hall, David Self, and Larry Wayne. These gentlemen are multi-talented. Not only did they make a fine album with skill and professional musicianship, but they are all tattoo artists in a studio owned by Hall. Where should I start? This is a great album with truly stellar country music songs, the way country ought to be. Great thought provoking lyrics, great instrumentation and vocals, and plenty o’ twang. Every one of these numbers should be on the radio and played loud and proud.

This record starts out strong with Gates Swing Wide about making some bad choices and ending up in prison. A great country ballad that is about redemption and second chances. Lyrically, this song is classic worthy. I’ll Come Home, the last track on the album is another beauty that starts off with a really beautiful guitar riff that sets the tone perfectly for this song. This song speaks literally and symbolically about going home. Both about going to your hometown but also about finding a place inside each one of us that is comfortable and feels like we belong. Well, that is my interpretation. I could be way off base, but that is what this song says to me. Lake Effect Snow (Track 4) is a gorgeous number. Again, about the cold weather with underlying themes of trying to find a sense of belonging and purpose.

This album is one of the best I have heard in 2016. Here is how to listen on Soundcloud and here is how to buy. And buy you must! That is a direct order!

 

Reviewed by Harry Kaplan

First of all, let me say that I have been a monster fan of the Drive By Truckers (DBTs) for 12 years now. There are no bands currently like them putting out such high quality material and touring almost nonstop. They have such an amazing relationship with their fans and audience that is unrivaled. At a live show, it is very common to hear the crowd uttering every word of every song as loud as the band. So having said all that, I will try to give American Band a fair and unbiased review. I will try, I said.

 First of all, the title of the album is absolutely perfect. American Band connotes a blue collar, band of the people. That is exactly what the DBTs are. The title is not arrogant or self-promoting, just a very accurate description of America’s Band. They ARE blue collar. Writing and singing about every day issues. A working band. They make a living, but I dare say they are rich. Their income is almost entirely derived by album sales, swag, and touring. That is the cornerstone of America right there.

 This is their 11th full length studio release. You wouldn’t expect a band that had 10 studio albums under their belt to still release material that is fresh and as good as earlier albums. But the DBTs have been exceeding expectations for years. This album is a perfect example. This release is the band’s most overtly political album. The song writing is more poignant and direct. There is little left to the imagination as far as which side of the issue the DBTs are standing on. Having said that, the songs do not come off preachy or self-righteous.

I am usually thinking of things to write, but in this case I have to hold back a little. I have espoused the virtues of the DBTs and I have barely described the album. So let’s get to it, shall we? Track 1, Ramon Casiano, is a classic in the making. Written and sung by Mike Cooley, one of the DBT’s front men. The music is catchy and Cooley-esque, but covers a lot of new ground. This song is about a killing that took place in Laredo, Texas in 1931. Ramon Casiano was killed by Harlon Carter. Carter was acquitted of any wrongdoing, claiming self-defense. Although, it did not appear that Carter was in any danger. Carter later became a board member of the NRA. Cooley’s words are every bit as good as Dylan in his prime:

 “It all started with the border,

And that’s still where it is today,

Someone killed Ramon Casiano,

And the killer got away.”

It goes on to discuss Carter’s alleged corruption as a border patrol agent and then onto the board of the NRA. The song deals with xenophobia as an excuse for guns and killing:

“But killin’s been the bullet’s business,

Since back in 1931,

Someone killed Ramon Casiano,

And Ramon still ain’t dead enough.”

  I have listened to that verse over and over, awestruck at how powerful those sentiments are. If I went on to discuss all of the highlights of this album, this review would become a paperback novel and nobody wants that. The other song I will mention is a song called Baggage (Track 11). It is a Patterson Hood song that discusses the suicide of Robin Williams and Hood lamenting about his own battles with depression. It is another powerful ballad and rivals the writing of his counterpart, Mike Cooley.

 I recommend a strong buy on this one. You can order the album here and listen to the entire album. You can even get colored vinyl while supplies last!