Steve Earle back with new album

Steve Earl & The Dukes
Photograph by Tom Bejgrowicz

Steve Earle & The Dukes are set to return with Guy on March 29th, 2019. A return to New West Records, the 16-song set is comprised of songs written by one of his two primary songwriting mentors, the legendary Guy Clark. Guy appears ten years after his Grammy Award winning album Townes, his tribute to his other songwriting mentor, Townes Van Zandt. Produced by Earle and recorded by his long-time production partner Ray Kennedy, Guy features his latest, and possibly best, incarnation of his backing band The Dukes including Kelley Looney on bass, Chris Masterson on guitar, Eleanor Whitmore on fiddle & mandolin, Ricky Ray Jackson on pedal steel guitar, and Brad Pemberton on drums & percussion. Guy also features guest appearances by fellow Guy Clark cohorts Emmylou Harris, Rodney Crowell, Terry Allen, Jerry Jeff Walker, Mickey Raphael, Shawn Camp, Verlon Thompson, Gary Nicholson, and the photographer Jim McGuire.

Steve Earle first met Guy Clark after hitchhiking from San Antonio to Nashville in 1974. A few months after his arrival, he found himself taking over for a young Rodney Crowell as bassist in Guy’s band.

“No way I could get out of doing this record,” says Earle. “When I get to the other side, I didn’t want to run into Guy having made the Townes record and not one about him.”   Townes Van Zandt and Guy Clark were like Kerouac and Allen Ginsberg to me.”

The mercurial Van Zandt (1944-1997) who once ordered his teenage disciple to chain him to a tree in hopes that it would keep him from drinking, was the On The Road quicksilver of youth.  Clark, 33 at the time Earle met him, was a longer lasting, more mellow burn.

“When it comes to mentors, I’m glad I had both,” says Earle. “If you asked Townes what it’s all about, he’d hand you a copy of Bury My Heart At Wounded Knee.  If you asked Guy the same question, he’d take out a piece of paper and teach you how to diagram a song, what goes where. Townes was one of the all-time great writers, but he only finished three songs during the last fifteen years of his life. Guy had cancer and wrote songs until the day he died…he painted, he built instruments, he owned a guitar shop in the Bay Area where the young Bobby Weir hung out. He was older and wiser. You hung around with him and knew why they call what artists do disciplines. Because he was disciplined.”

Guy wasn’t really a hard record to make,” Earle says. “We did it fast, five or six days with almost no overdubbing. I wanted it to sound live…When you’ve got a catalogue like Guy’s and you’re only doing sixteen tracks, you know each one is going to be strong.

There was another reason, Earle said, he couldn’t “get out of” making Guy.  “You know,” he said, “as you live your life, you pile up these regrets. I’ve done a lot of things that might be regrettable, but most of them I don’t regret because I realize I couldn’t have done anything else at the time. With Guy, however, there was this thing. When he was sick — he was dying really for the last ten years of his life — he asked me if we could write a song together. We should do it ‘for the grandkids,’ he said. Well, I don’t know…at the time, I still didn’t co-write much, then I got busy. Then Guy died and it was too late. That, I regret.”

Artist’s website:

There are no videos from the new album yet but here’s a live version of a classic recorded a few days ago:

The 2018 Folking Awards

Welcome to the 2018 Folking Awards and thank you again to everyone who participated last year. The nominations, in eight categories, come from our ever-expanding team of writers and were wrangled into shape with considered argument and arm-wrestling by the Folkmeister and the Editor.

There are five nominees in each category, all of whom have impressed our writers during 2017.

As with the format last year, all are winners in our eyes, as are quite a few who didn’t make the short list. However, it’s not just down to what we think, so again, there will be a public vote to decide the overall winner of each category.

*The Public Vote for each category will close at 9.00pm on Sunday 1st April (GMT+1).

Soloist Of The Year

 Jon Boden
Ange Hardy
Daria Kulesh
Richard Thompson
Chris Wood

Public Vote

*And the winner is: Open envelope!


Best Duo

Kate & Raphael
O’Hooley & Tidow
Kathryn Roberts & Sean Lakeman
Laura Smyth & Ted Kemp
Winter Wilson

Public Vote

*And the winner is: Open envelope!


Best Band

Sam Kelly & The Lost Boys
Merry Hell
Peter Knight’s Gigspanner
Police Dog Hogan
The Unthanks

Public Vote

*And the winner is: Open envelope!


Best Live Act

CC Smugglers
Eliza Carthy & The Wayward Band
Fairport Convention
Merry Hell

Public Vote

*And the winner is: Open envelope!


Best Album

Bring Back Home – Ange Hardy
Pretty Peggy – Sam Kelly & The Lost Boys
Long Lost Home – Daria Kulesh
A Pocket Of Wind Resistance – Karine Polwart/Pippa Murphy
Strangers – The Young ‘Uns

Public Vote

*And the winner is: Open envelope!


Best Musician

Kevin Crawford
Seth Lakeman
Richard Thompson
Karen Tweed
Ryan Young

Public Vote

*And the winner is: Open envelope!


Rising Star

Sam Brothers
Siobhan Miller
Jack Rutter
Sound Of The Sirens
The Trials Of Cato

Public Vote

*And the winner is: Open envelope!!


Best International Artist

Rodney Crowell
Anna Coogan
Michael McDermott
Le Vent Du Nord
The Wailin’ Jennys

Public Vote

*And the winner is: Open envelope!


Folkies 2018


Hearts Of GlassHer twelfth solo album (she also released Liv On, a collection of healing songs with Olivia Newton-John and Amy Sky in 2016), this is her first new material since The Mighty Sky six years ago and also the first where she’s handed over complete control of production to someone else, namely Sam Ashworth.

Having said that, it’s not entirely new with several of the tracks being re-recordings from earlier albums or (as on the Uncovered album) things she’s written but never previously recorded herself, except this time arranged for guitar rather than piano. It is, though, the all new ‘Come To Mine’ that sets things in motion, a co-write with Graham Gouldman and Kevin Montgomery from Chris Difford’s songwriting retreat in Somerset, an upbeat come together sentiment set to a catchy rolling rhythm and chorus that musically puts me in mind of Dar Williams’s ‘Mercy of the Fallen’.

Originally written for and recorded by Waylon Jennings on his Eagle album, ‘Old Church Hymns & Nursery Rhymes’ , a song about the passing of time, duly opens with a pump organ and is taken a slightly more uptempo pace than his. Another previously unrecorded number can be found with the dreamy country ballad waltz ‘If My World Didn’t Have You’, first heard on Willie Nelson’s 1990 album Horse Called Music, here featuring Johnny Duke on electric guitar and Rodney Crowell on backing vocals.

Dating back to her second, self-titled, album that same year, ‘Life Holds On’ is transformed from the original punchy piano driven version to a slower, more reflective number, while from that same album also comes ‘Child Again’, the soulful, bluesy flavour still much the same except with classical guitar dominant rather than piano (though it’s still in evidence) along with Spencer Cullum Jr. on pedal steel.

There’s also two songs revisited from 1993’s You Hold The Key, first up being the breathily-sung ‘Rage On Rage’, stripped of its strings and, again, built around classical acoustic, courtesy of Duke, its dreamy Janis Ian-like slow waltz structure more apparent and coloured now with pedal steel, organ and doleceola and Ruby Manafu on backing. The other, which closes the album, as it did on the original, is an even more lovely reading of ‘Dancer To The Drum’, her hymn to the unknown path of life upon which each new child embarks, carrying with them the DNA of the past awaiting rebirth.

Perhaps the most radical transformation is the affirming ‘All For The Love’ from 2002’s Deeper Still, the original’s persistent, hypnotic clip clopping percussion replaced by a less intrusive drum beat, Chapman playing banjo and bandoneon as well as guitar and piano and minus the one-minute closing drone and keening wordless choral vocals.

The remaining songs are all new, ‘Epitaph For Love’, featuring Matt Slocum on cello, a fairly self-descriptive fragile ballad followed with a distinct mood contrast by the jauntily infectious bounce of a long lasting love that informs ‘Enough For Me’, its warm glow embellished by flugelhorns and multi-instrumentalist Sam Ashworth on whistles.

In similar swooning romantic mode, Chapman on electric piano, Ashworth brushing the drums, Mark Hill providing electric bass and Jeff Taylor on accordion, is the early hours slow dance jazz of ‘You’re Still My Valentine’, a number that sounds as though it was plucked from an album of forgotten standards.

At some point, it would be good to have a whole album of new material, but for now this is another tremendous addition to an already impeccable catalogue.

Mike Davies

Artist’s website:

‘Rage On Rage’ – official video:

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

Artist website:

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

Artist’s website:

‘It Ain’t Over Yet’ – official video:

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.

Artist’s website:

‘It Ain’t Over Yet’ – official video: