VARIOUS ARTISTS – Strange Angels: In Flight With Elmore James (Sylvan Songs Records)

Strange AngelsTaking its name in part from a James song, Strange Angels: In Flight With Elmore James reworks thirteen well- and lesser-known James songs in homage to his lasting influence on not just the blues, but far beyond.

To do justice to the roll-call of first-rate musicians appearing on this album would leave little room for discussing the music itself. Suffice to say, stellar names from soul, country, rock and pop feature large. Even the notional “house band”, Elmore’s Latest Broomdusters (an update of James’s own band name), consists of hugely respected musicians including producer/drummer Marco Giovino. Special mention here goes to Rudy Copeland whose mighty Hammond sound provides a meaty punchline to many of the tracks.

Wisely, perhaps, no-one tries to emulate the shimmering metallic thrust of James himself, and these covers are largely indebted to his influence on later blues rock. The resulting tracks are, broadly speaking, much heavier sounding, with plenty of what the Buzzcocks used to refer to as “tricky guitar solo(s)”.

Elayna Boynton sets the pace with a galloping take on ‘Can’t Stop Lovin’ You’, followed up by soul legend Bettye Lavette’s lived-in ‘Person To Person’. A briskly rollicking trot through ‘Shake Your Money Maker’ by country singer Rodney Crowell is followed by the unmistakeable grunt “Huh, yeah” as Tom Jones powers through ‘Done Somebody Wrong’. ‘Mean Mistreatin’ Mama’ is a triple-bill of Warren Haynes, ZZ Top’s Billy Gibbons and Mickey Raphael’s storming harmonica.

Deborah Bonham’s ‘Dust My Broom’ unfortunately somehow manages to lose that classic raw slide guitar wailing riff under a country rock beat, although Jamey Johnson’s ‘It Hurts Me Too’ keeps the bar room piano firmly on tap.

‘Strange Angel’ (singular: as listed on the promo CD) brings together the stunning sibling harmonies of Shelby Lynne and Allison Moorer over a long, slow, jazzy beat embellished with more of that Hammond sound, plus a fat, gritty guitar riff, all underpinned with a twanging county steel.

Triple Grammy award winner, Keb Mo’, lends an almost fairground-ride motion to ‘Look On Yonder Wall’, with maybe just a soupçon of the Grange Hill theme. In contrast, Mollie Marriott delivers an impassioned vocal on ‘My Bleeding Heart’, bringing real pathos to lines like “People, people, you know what it means to be left alone”.

The ringing phone that opens Chuck E Weiss’s take on ‘Hawaiian Boogie’ is followed by the most gorgeous dirty, fuzzed out guitar, with just a taste of New Orleans. Weiss said of his choice, “After careful consideration the vocal work for Elmore was too perfect for me to touch… So I chose my favourite instrumental!!!”

Perhaps the most radical interpretation here sees Addi McDaniel’s smooth lounge vocal smouldering over a slouchy, loose gypsy fiddle-led blues with touches of banjo and a Spanish-inflected guitar. Then the house band winds up proceedings with ‘Bobby’s Rock’, another scuzzy, fuzzy rendition, with that driving Hammond in place of the sax of the original.

And if all of this collected talent offering updates on some classic songs is not enough of a feel-good factor, profits from the album go to benefit two US charities. C’mon, what’s not to like?
Su O’Brien

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Rodney Crowell – ‘Shake Your Money Maker’:

RODNEY CROWELL – Close Ties (New West Records 6354)

Close TiesWhile I’ve long been aware of Rodney Crowell’s talents as a songwriter, going back at least as far as Emmylou Harris’s 1975 recording of ‘Bluebird Wine’, his songs have always reached me as interpreted by other A-listers. So I jumped at the chance to take a closer look at his album Close Ties, due for release on the 7th April. And I wasn’t disappointed.

While the number of musicians participating in one or more of these ten tracks is too large for a complete listing here, it’s worth mentioning one or two names, their presence giving some idea of the regard in which Crowell is held by his fellow musicians. Besides vocal contributions from John Paul White, Rosanne Cash and Sheryl Crow, there are instrumental contributions from Tommy Emmanuel, Steuart Smith, and Jordan Lehning (who co-produced with Kim Buie) and others.

But there are also ghostly Nashville legends walking these lyrics, such as Guy Clark, Townes Van Zandt, Dennis Sanchez – could ‘Newberry’ in ‘Nashville 1972’ be Mickey Newbury? – but also survivors like Willie Nelson and Buck White. Crowell has been quoted as saying “It’s a loose concept album … and the concept is related to how you tell stories about yourself.” That may sound self-indulgent, but this is not just a personal memoir but an insider view of a somewhat alternative Nashville that has given modern music some wonderful moments. If this suggests an easy listening experience, it isn’t meant to: Crowell’s often sardonic and sometimes bitter wordplay makes few concessions to “the petty politics of bliss“. It demands (and amply repays) close attention.

Here’s the customary track-by-track listing (all tracks were written by Rodney Crowell except where noted below):

  1. Crowell has expressed a hope that “my study of the blues is starting to show up in my music.” ‘East Houston Blues’ is by no means a 12-bar, but the lyric has a hard-times lyric sung feel over a blues-y shuffle beat, benefiting from Tommy Emmanuel’s classy acoustic lead guitar.
  2. ‘Reckless’ is a slow, introspective song, with clever but understated strings behind the acoustic guitars, harmonium and minimal percussion.
  3. In contrast, ‘Life Without Susanna’ has much more of a rock feel, with a hard-edged lyric about “A self-sure bastard and a stubborn bitch/Locked in a deadly game of chess“.
  4. ‘It Ain’t Over Yet’ is closer to country rock, with excellent additional vocals from John Paul White and Roseanne Cash. The uncredited harmonica play-out is sparse yet haunting.
  5. ‘I Don’t Care Anymore’ chronicles disillusion over a riff that reminds me a little of early-ish Stones, with a touch of Chuck Berry’s ‘Too Much Monkey Business’ towards the end of a harsh lyric.
  6. ‘I’m Tied To Ya’ was written by Rodney Crowell and Michael McGlynn, a ballad that also features attractive vocals from Sheryl Crow.
  7. ‘Forgive Me Annabelle’ is another ballad with piano and strings predominant in the accompaniment.
  8. ‘Forty Miles From Nowhere’ is another slow song that hints at a tragic backstory – “If there’s anything that we can do rings hollow down a telephone line“.
  9. ‘Storm Warning’ was written by Rodney Crowell and Mary Karr: it’s a rockier number, but maintains a mood of foreboding and very bad weather. “Ninety-five miles of twisted aftermath…
  10. The CD finishes with ‘Nashville 1972’, a look back at his arrival in “Old School Nashville“: a simple, almost folky song, though I could almost imagine Kenny Rogers singing it.

When I hear or read of a songwriter talking about poets and ‘poetic sensibility’, my first impulse is usually to turn the page or put on a different CD. But in this case, it’s not inappropriate. This isn’t the finely-tuned poetry of great literature – though Crowell can turn a phrase as neatly as any lyric writer I know – but it does have the rough-hewn passion and clear-sighted observation of the best Americana.

David Harley

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Rodney Crowell announces new album

Rodney Crowell

Multi-Grammy award winning troubadour Rodney Crowell will release his new album Close Ties on 7th April through New West Records. The ten-song set is his first album in over three years and follows The Traveling Kind, his acclaimed collection of duets with long-time collaborator Emmylou Harris. Co-produced by Jordan Lehning and Kim Buie, the album features a duet with Sheryl Crow on the haunting ‘I’m Tied To Ya,’ and ‘It Ain’t Over Yet,’ a vocal collaboration with his ex-wife Rosanne Cash and John Paul White. It is the first time Crowell and Cash have appeared on record together since Cash’s Interiors album in 1990. Rolling Stone premiered the video for ‘It Ain’t Over Yet,’ which also features legendary harmonica player Mickey Raphael and reflected,

“the evocative lyrics call to mind the two-tone, punked-out cover image from Cash’s 1985 LP Rhythm And Romance, which preceded Crowell’s mainstream country breakthrough of five consecutive Number One hits from 1988’s Diamonds & Dirt and the subsequent collapse of the couple’s marriage.”

Close Ties both demonstrates Crowell’s strengths as a songwriter and illustrates how he has learned to balance personal recollection, literary sophistication and his profound musical reach. It’s at once his most intimate record and his most accessible, the product of years of understanding the ways songs can enter – and be entered by – life. Close Ties is a loose concept record that ranges from songs about Crowell’s childhood in Texas (‘East Houston Blues’) to songs about arriving in Nashville as a young songwriter (‘Nashville 1972’) to songs about friends (the anguished ‘Life Without Susanna’) and lovers lost (‘Forgive Me, Annabelle’). It is a roots record, in the sense that Crowell himself has deep roots that stretch back into the alternative country scene of the early seventies that included Guy Clark, Townes Van Zandt, Steve Earle and more. But it defies easy classification. Is it country? Is it a singer songwriter record?

“I have declared my loyalty to Americana. It’s a hard category for people to get their heads around, or at least the terminology is. But all the people who represent it – Townes Van Zandt, Guy Clark, Lucinda Williams, Steve Earle and more recent stars like John Paul White and Jason Isbell – share a common thread, and that thread is poet. Whether they are actual poets or their music exemplifies a poetic sensibility, generally speaking, the Americana artist shuns commercial compromise in favour of a singular vision. Which resonates with me.”

One trait of a poet and the concept behind Close Ties involves the careful handling of memory.

“A few years ago I made a record called The Houston Kid that triggered Chinaberry Sidewalks [Crowell’s 2011 memoir],” he says. “Those memory muscles are pretty strong in me. They have a natural pull. And so many of these songs use those memories as raw material.”

Fifty years after Crowell first started playing as a teen in Houston garage bands, he has moved into elder-statesman territory, and continues to extend the path carved out by the top-tier songwriters who preceded him. His songs have been recorded by country legends (Johnny Cash, Waylon Jennings, Willie Nelson, George Strait), to current country chart toppers (Tim McGraw, Keith Urban) to blues icons (Etta James) to rock and roll legends (Van Morrison, Bob Seger). He is a Grammy award winner, a member of the Nashville Songwriters Hall of Fame, recipient of the 2009 Lifetime Achievement Award for Songwriting from the Americana Music Association, and the author of his autobiography, Chinaberry Sidewalks.

If you would like to order a copy of the album (in CD or Vinyl), download it or just listen to snippets of selected tracks (track previews are usually on the download page) then click below to be taken to our associated partner Amazon’s website.

Buying through Amazon on helps us to recover a small part of our running costs, so please order anything you need as every little purchase helps us.

Artist’s website:

‘It Ain’t Over Yet’ – official video:

Cathryn Craig and Brian Willoughby release Real World

Cathryn Craig and Brian Willoughby Real WorldIt’s interesting how all of us keep people in certain slots, no matter how we deny it.

Consider Brian Willoughby, best known for his work with the legendary folk-rock band the Strawbs. Sure, he’s a guitar master who is much in demand as evidenced by his work with Nanci Griffith, Mary Hopkin and many others, obviously including the Strawbs. Still, thinking of him always conjures up Strawbs’ melodies.

What a delight it is to remind ourselves of his fluid versatility. Perhaps nowhere is that clearer than on his Continue reading Cathryn Craig and Brian Willoughby release Real World