A round-up of recent EPs and singles
MERRY HELL describe the title track of their new EP, Come On, England, as an alternative National Anthem. Needless to say, the song bears no resemblance to the chants of the football terraces or EDL marches. Instead Bob Kettle invokes the Diggers and the Levellers and “the spirit that will never lie down”. The song has a singalong roll that almost disguises its powerful lyrics. The second track is brother John’s ‘We Need Each Other Now’, also from the Bloodlines album, which complements ‘Come On, England’ as a rallying call. ‘Lean On Me, Love’ is a taster for the band’s forthcoming acoustic album – looking forward to that – and the set closes with a live version of ‘The War Between Ourselves’. It’s all inspiring stuff.
Based in Devon, VELVET & STONE line up as Lara Snowden and Roger Styles on vocals and guitars, Barry Muir on bass and double bass and Kathryn Tremlett providing violin and piano with producer Gareth Young on hand for percussion and Caroline Lavelle, who’se worked with Radiohead, Muse and Afro Celt Sound System on cello. The self-released ‘Raise Your Ghosts/Embers’ is a two track single taster for October’s EP and, while I’d have thought it would make more sense no release them all altogether rather than fans buying the numbers twice, it certainly whets the appetite. The first has definite mid-tempo Fleetwood Mac shades, or more specifically Stevie Nicks, while the second is a more reflective ballad, Lara’s soft vocals enrobed with strings as the song swells to a head. Nice stuff, but, as I say, waiting for the EP would seem the more sensible option.
The Things That Matter is the debut record from Irish/American duo THE 19th STREET BAND. Caolaidhe Davis and his wife Meghan are the principals, doing the singing and playing guitars, fiddle and mandolin, and are supported by Brian White, Patty Dougherty and Tom Verratti on bass, drums and banjo. Their sound is a mixture of Americana styles: ‘Jump In The Water’ is heavy bluegrass with modern lyrics while ‘Long Runs The Fox’ is sort of slide guitar blues – Meghan has a hell of a voice for that. ‘It’s True What They Say’ is a real shit-kicker; in fact, the pace barely lets up until the closing title track.
You’ve Been Away So Long is a self-released 5-track EP from Boston singer-songwriter and guitar picker ALICE HOWE that winningly draws on such retro 60s American folk influences as Guthrie, Rambling Jack, Kate Wolff, Judy Collins and Joni Mitchell, while, accompanied on dobro by Jeff Fielder, opener ‘Homeland Blues’ has definite echoes of Baez.
Described by folk singer Vance Gilbert has having a voice like “a broken angel’s bell”, she brings an emotional catch to ‘Nothing But You’, an elegy to her late father while, another Baez echo, the playful Appalachian-flavoured country waltz ‘Make A Fool Out Of Me’ pays homage to Steve Martin. Her fingers work the frets for ‘Don’t Worry Honey’, a cleverly ambiguous fatalistic love song and how “it’s always in the dark that I liked you best” that has her doing her best Joni soaring notes.
In the unlikely event you’ve not yet been won over, the closing title track makes resistance futile, Fielder on a Gibson L-1 archtop for a song about knowing yourself and being comfortable with who you are. Putting me in mind of Dar Williams’ ‘Mercy of the Fallen’, with its cascading melody lines and her wistfully dusty voice, it’s up there with the very best of Mary Chapin Carpenter, Gretchen Peters and Williams herself, as well as those icons of her raising.
I confess I’d not come across her before and this is her first release in three years following an eponymous EP in 2009, her debut album in 2013 and the Tiger Lily EP a year later. I’ll be adding those to the collection and trusting a new full album will be down the road sometime soon.
The covering letter that accompanied Loose Ends, the second record from CHRIS FOX, asked if we’d consider reviewing it for fRoots. Ignoring the poor first impression, Loose Ends turns out to be pretty good. Chris does everything himself: finger-picked acoustic guitar, tasteful bass and percussion that make the record very easy to listen to. Chris wrote seven of the eight tracks and they are thoughtful, often witty – the line about lying drunk on the lawn “holding on to the grass to keep myself from falling” is particularly memorable: ‘Howl At The Moon’ is a cracking opener and says what a lot of us are probably thinking. The only non-original track is ‘Lord Franklin’, a gentle, reflective reading of the song.
ADRIAN BATES makes his recording debut with a four-track EP, Small World, of original songs supported by Chris Miley, Carl Leighton and David Leighton. The opener, ‘Hard Working Man’, is a particularly fine song, putting a 21st century spin on the age-old complaint of the put-upon worker. ‘The Apple’, featuring the Leightons’ violin and cello, is a reflective piece in which the writer laments that he has become what his father was and what he swore he would never be. In the final song, ‘Winding Wheels’, Adrian looks back on his childhood in the Yorkshire coalfields and, in doing so, laments the loss of an industry. An impressive start.
‘The Man Who Ate A Hurricane’ is the first single to be drawn from Standing Still Will Kill You, the third album from Essex based singer-songwriter OWEN WILLIAMS. It’s a gritty, hard-edged song with apocalyptic lyrics, supported by piano and backing vocals. We’re looking forward to the album.
A singer-songwriter from Swindon, ROB RICHINGS delivers a shuffle along busker-like song about not closing our eyes to the social problems around us with ‘Carry On Regardless’ (Crescent), its catchy loping crunchy percussion chorus about how “we all stick our head in the sand and carry on regardless” firmly lodging itself in those singalong neurons.