Americana
Thomas H. Green
Of all the great country superstars of his era, Willie Nelson is truly the last man standing (as was made clear by the title of his last album… Last Man Standing). In his mid-80s his output has, if anything, become more prolific. However, if his 1970s outlaw persona could peek into the future and see what 2018 Willie was up to, he might be surprised. His latest album, a tribute to his old pal Frank Sinatra, has wandered far off into the world of late night jazz bar shuffling.In truth, Nelson has form in this area. A couple of years ago he released a set of George Gershwin standards – and even Read more ...
David Nice
The meanderings and bickerings of an extraordinary mother and daughter as they roam or lounge around a semi-derelict house and overgrown garden on Long Island have become a cult since the 1975 release of Albert and David Maysles' documentary Grey Gardens. "The Big" - as singing "mother darling" calls herself here - and "Little" Edie Bouvier Beales have been much impersonated, not least by drag artists (Jinxx Monsoon on the ever-amazing RuPaul's Drag Race won the film legions of new gay fans). Is there more to tell about what already seemed a little bit too much of a good thing?Absolutely. Read more ...
Ellie Porter
This woozy, seductive slice of gothic Americana is the Canadian quartet’s first album in six years, a swampy follow-up to the icy, winter-inspired sounds of their last offering, The Wilderness. “All That Reckoning Part 1” gets things going, an oppressive tale of a relationship with dark undercurrents. “This bed was poison / And I lay afraid of ever touching you,” breathes Margo Timmins, whose rich, smoky vocals go from seductive and sinister to sweet and romantic over the course of the record. Unfortunately, a few of these songs – including the next track, “When We Arrive” –seem to Read more ...
Kieron Tyler
How great is Uniform Distortion? As great as Greg Sage’s Straight Ahead or Neil Young & Crazy Horse’s Ragged Glory or Dungen’s Ta det lugnt or Alex Chilton’s Like Flies On Sherbert. That’s how great Uniform Distortion is.Uniform Distortion is the fourth solo by Jim James, mainstay of My Morning Jacket and in-demand producer and collaborator. He’s helmed albums by Basia Bulat and Dean Wareham and, most recently, contributed to Laura Veirs’ The Lookout. His last solo album, Tribute To 2, was a covers set where he tackled songs by such unlikely bedfellows as Al Bowlly, Dylan and ELP. Tribute Read more ...
Barney Harsent
For his fifth solo album (not counting last year’s delayed soundtrack to Set Fire to the Stars) Welsh singer-songwriter and sometime Super Furry frontman Gruff Rhys inhabits an imaginary landscape in order to deal with issues that are all too real. Like its filmic predecessor, it has been a long time coming. The songs were recorded back in 2016 and, given the world's trajectory in the ensuing years, the dystopian landscape Rhys paints could easily be seen as visionary. The reason for the delay was not to encourage comparisons with Nostradamus but to ensure that composer Stephen McNeff Read more ...
Liz Thomson
2018 has become a year of farewells as a mighty handful of musicians who have, in their different ways, defined popular music bow out. Among them is Joan Baez, a star on the Harvard Square coffeehouse scene when she made her unannounced debut at the 1959 Newport Folk Festival. She was 18 and, it’s safe to say, never dreamed she’d be filling concert halls around the world 60 years later.Her latest album, Whistle Down the Wind, which brings her extraordinary career full circle, has enjoyed glowing reviews and demand has outstripped supply. So too has the clamour for tickets for her Fare Thee Read more ...
Liz Thomson
Many will remember Jennifer Warnes as the backing vocalist on a mighty handful of Leonard Cohen albums, and from his touring bands – she was on the 1972 and ’79 European jaunts. The latter was in support of Recent Songs, mocked at the time for its painting-by-numbers sleeve and for just about everything else. For Cohen had become a figure of some derision (punk rock et al has much to answer for) and was as unhip and irrelevant as it was then possible to be. The notorious Phil Spector collaboration hadn’t helped.The ’79 London concert lives on in my memory still (and not just because I Read more ...
Liz Thomson
Gretchen Peters arrived in Nashville in the late eighties from Bronxville, New York, where she was born, and Boulder, Colorado, where she grew up. Within a decade she was writing songs for some of the biggest names in country music, among them Trisha Yearwood, Shania Twain, and George Strait, and for Etta James. It was “Independence Day”, which Martina McBride picked up, that led to her first honours (a Grammy and a Country Music Association Award), an occasional writing partnership with Bryan Adams and the release of a sequence of distinguished albums (including the garlanded Blackbird, 2016 Read more ...
Liz Thomson
Mary Chapin Carpenter lives these days in the Blue Ridge Mountains of Virginia, where she sits at the kitchen table in her farmhouse and writes songs. “I have a couple of cats and dogs and I’m the hermit who lives down the road,” she explained to a capacity audience at the Barbican as she returned alone, just her and a guitar, for a final encore of “I Have a Need for Solitude”.Her songs – wonderful narratives, intimate, minutely observed – suggest a self-contained woman in touch with both her emotions and the world. Her voice – warm, low, a hint of vibrato, very distinctive – draws you in, Read more ...
Kieron Tyler
Two minutes into The Lookout, a couple of related parallels bubble up when the David Crosby of If I Could Only Remember my Name and Gene Clark at his most sparse spring to mind. It’s not that the album’s opening cut “Margaret Sands” sounds like either but that the creative outlook is similar: a country-ish singer-songwriter setting their composition in a baroque musical frame.The rest of The Lookout is similarly conscious of how the form of delivery can shape a song. Yet such suggestions of lineage – an awareness of the classic – soon vanish. Ultimately and satisfyingly, Laura Veirs’s 10th Read more ...
Thomas H. Green
R.E.M. surprised the music world this morning by announcing an imminent new studio album, Charged. It will be released on their own record label, Around The Sun, on Friday 6th April via Spotify and iTunes, as well as a vinyl version distributed through record shops.The announcement was made via singer Michael Stipe’s press office which shared the album cover art and released the following brief statement:“That bird in the sky. It is flying over America. Distorted, unclear, far away. As with the future. We will not be back long. We will not tour. We must say something. Then we will go. Love to Read more ...
Marina Vaizey
Hie thee to Oxford, for it is doubtful that we will see the like of this exhibition again this side of the Atlantic. American art of the 1920s and 1930s was once disregarded in its homeland in favour of Francophile superiority, and once it fell into critical and commercial favour it became too expensive to move around at the beckoning of would-be international hosts.But the Ashmolean is – bolstered, too, by its nearly breaking the million-visitor mark last year – a master at barter: as the repository of more Michelangelo drawings than anywhere else, its loans made the Michelangelo exhibition Read more ...