Rhythm & Booze An online music webzine created by music lovers for music lovers.

23 March, 2015

The Woo Town Hillbillies-Hay Fever

Filed under: acoustic,Blog,bluegrass,blues,country,Recorded Reviews,rock n roll — Tags: Hay fever, new album, the woo town hillbillies — willmunn @ 20:44

The Woo Town Hillbillies are a ramshackle musical collective residing in and around Worcester (or Woo Town, if you’re a local), uniting a combination of bluegrass, country and acoustic blues in a bid to become the counties (and beyond) ultimate roots party band and on the evidence of their debut album, Hay Fever they can’t be too far off.

The band use a combination of guitar, mandolin, banjo, ukulele, double bass, harmonica, various percussion instruments and Kazoo to create an infectious, tongue in cheek, rustic riot, that’ll have even the most hardened cynic smiling like a cheshire cat whilst, trying in vein, to stop their foot tapping along.

Hay Fever opens with On The Road Again, a glorious collision of country blues and rock n roll, complete with twanging strings, rolling double bass, kazoo, washboard and a delightfully weathered yet infectious lead vocal that hooks you in from the off.

As the album continues the band showcase a varied array of influences, Dartmoor Girl could be the illegitimate son of Hayseed Dixie and The Beach Boys uniting frolicking banjo with sun-kissed harmonies, Do You, Do I? sounds like it could have been lifted from Blue Hawaii or from the Doc Pomus (Teenager In Love Fame) songbook as a lovely laid-back 50’s pastiche, Oval Room showcases the band’s instrumental skills with a brilliant slice of deep country blues noir, whilst both 4 A.M Girl and (the album’s lone cover) Salty Dog are both lusty, swaggering anthems perfect for a bar full of jubilant half cut punters in search for a good old sing-song.

Hay Fever is a fun fueled album full of bawdy country, good time roots, heartfelt sing-a-longs and more hooks than the Spanish Armada. Glug a beaker of moonshine, kick off them shoes and join the hillbillies, its party time in Woo Town.

Rhythm & Booze Rating 9

www.facebook.com/WooTownHillbillies

Catch The Woo Town Hillbillies Live In The Woo

10th April-Cap & Gown

18th-Cathedral Chaos with The Delray Rockets, Nigel Clark and Skewwhiff

25th-Rise Records CD Launch

26th-The Chesnut

10 March, 2015

Dan Walsh-Incidents And Accidents

Filed under: americana,bluegrass,blues,folk,Recorded Reviews,roots,singer-songwriter,world music — Tags: dan walsh, incidents & accidents, new album — willmunn @ 10:40

Dan Walsh is often touted as one of the UK’s finest banjo platers, described by Uncut as “the read deal, a demon picker”, with both his solo output and work with the award winning Urban Folk Quartet receiving critical acclaim, whilst appearances with the likes of The Levellers and Seth Lakeman have further enhanced his stock.

Incidents & Accidents is Dan’s third solo album to date, following on from the well received Same But Different opus. The new album sees Dan strip his sound back a little relying less on guest appearances (although the likes of Patsy Reid and Meaghan Blanchard do guest) but instead concentrating on delivering bare bone laments and heartfelt instrumentals highlighting the human condition in a touching and poignant manner.

The album opens with Time To Stay, a glorious slice of upbeat banjo fueled blues,paying homage (and battling mixed emotions) to his return to Stafford after six years away, Dan instantly grabs the attention with a deft display of blues picking, hard strumming and a suitably gravelly weathered vocal that instantly had me sat to attention.

Last Rambler follows and showcases Dan’s dexterous finger picking on the first of four compelling and inventive instrumentals highlighting his love of all things bluegrass, gaelic, folk and beyond. Talking of folk, Hermit Of Gully Lake, is a lovely laid-back lament featuring an infectious melody, the aforementioned Patsy Reid’s dancing fiddle  and warm, breezy vocal harmonies.

With A Memory Like Mine (originally by Darrell Scott) is a stunning slice of Americana, with Dan delivering a wonderfully passionate, gritty vocal, whilst his banjo burns a blazing trail. Whiplash Reel is perhaps the pick of the instrumentals, as Dan showcases a new found love for Indian Classical Music with a stunning and compelling tribute picking and bending strings to create a mesmeric groove. Whilst Only Way To Go unites Meaghan Blanchard’s gorgeous vocal harmonies with Dan’s striking croon creating yet another rootsy highlight.

Incidents And Accidents is a varied, inspiring collection covering the entire roots spectrum from folk to country via world music and blues. Both lyrically and instrumentally, Dan and his mesmeric banjo cook up a storm, bringing stories the songs to life without the need for overcooked instrumentation. This is stripped down, stirring roots at its absolute best, a must have addition to any self discerning music fan’s collection.

Rhythm & Booze rating 10

www.danwalshbanjo.co.uk 

Dan Walsh is often touted as one of the UK’s finest banjo platers, described by Uncut as “the read deal, a demon picker”, with both his solo output and work with the award winning Urban Folk Quartet receiving critical acclaim, whilst appearances with the likes of The Levellers and Seth Lakeman have further enhanced his stock.

Incidents & Accidents is Dan’s third solo album to date, following on from the well received Same But Different opus. The new album sees Dan strip his sound back a little relying less on guest appearances (although the likes of Patsy Reid and Meaghan Blanchard do guest) but instead concentrating on delivering bare bone laments and heartfelt instrumentals highlighting the human condition in a touching and poignant manner.

The album opens with Time To Stay, a glorious slice of upbeat banjo fueled blues,paying homage (and battling mixed emotions) to his return to Stafford after six years away, Dan instantly grabs the attention with a deft display of blues picking, hard strumming and a suitably gravelly weathered vocal that instantly had me sat to attention.

Last Rambler follows and showcases Dan’s dexterous finger picking on the first of four compelling and inventive instrumentals highlighting his love of all things bluegrass, gaelic, folk and beyond. Talking of folk, Hermit Of Gully Lake, is a lovely laid-back lament featuring an infectious melody, the aforementioned Patsy Reid’s dancing fiddle and warm, breezy vocal harmonies.

With A Memory Like Mine (originally by Darrell Scott) is a stunning slice of Americana, with Dan delivering a wonderfully passionate, gritty vocal, whilst his banjo burns a blazing trail. Whiplash Reel is perhaps the pick of the instrumentals, as Dan showcases a new found love for Indian Classical Music with a stunning and compelling tribute picking and bending strings to create a mesmeric groove. Whilst Only Way To Go unites Meaghan Blanchard’s gorgeous vocal harmonies with Dan’s striking croon creating yet another rootsy highlight.

Incidents And Accidents is a varied, inspiring collection covering the entire roots spectrum from folk to country via world music and blues. Both lyrically and instrumentally, Dan and his mesmeric banjo cook up a storm, bringing stories the songs to life without the need for overcooked instrumentation. This is stripped down, stirring roots at its absolute best, a must have addition to any self discerning music fan’s collection.

Rhythm & Booze rating 10

www.danwalshbanjo.co.uk

 

30 November, 2012

John Wheeler-Un-American Gothic

Filed under: americana,bluegrass,country,folk,Recorded Reviews,rock,roots — Tags: hayseed dixie, john wheeler, new album, un-american gothic — willmunn @ 21:59

John Wheeler may not be a household name but if any of you have had your finger on the pulse in the past few years may recognise the multi-instrumentalist and singer-songwriter as the frontman of Hayseed Dixie, the world’s finest puveyours of Rock Grass and perhaps one of the most infectious and fun live acts known to man.

Un-American Gothic is John’s debut solo album and though it still contains a little of that tongue-in-cheek charm of the aforementioned ‘Dixie, a winning combination of rock, bluegrass, folk and stripped down rootsy Americana, John also delivers a number of biting slabs of social commentary (be it with a knowing side order of wit) on the likes of Deeper In Debt.

The album opens with the Down At The Exit, which serves as a brilliant statement of intent as John delivers a driving rootsy rocker complete with an addictive strummed acoustic, a killer melody and a winning contagious chorus that instantly warms the listener setting the stall for the treats ahead.

From such an instantly likeable opening salvo, John cranks up the guitars, throws in some sawing violin and hammers the crap out of the drumkit for a gloriously rowdy and stirring rocker in the shape of Doomsday Dance, that comes complete with a false ending and a wonderful fiery fiddle solo that’ll have the likes of The Levellers dribbling with envy. In direct contrast but no less impressive is the first of two inspired covers, in the shape of The Jam’s Eton Rifles, a track that see’s John strip the song to it’s bare bones, to deliver a stunning a (near) solo piano led version that manages to find a brand new dimension to the the well-known crowd-pleaser without losing any of it’s charm.

Highlights continue throughout the duration of Un-American Gothic, from the folky celtic-tinged ballad Kuss Mich Noch Einmal (yes I know German lyrics and Celtic influences do sound like a contradiction, but seriously check this out it works wonderfully), to the unexpected strong and beautifully soulful vocal delivery of Street Sweeper Lullaby, a track that simply oozes with emotion and longing, whilst Black Forest Skies again see’s John deliver a stunning dreamy turn, tinkling the ivories once more and It would be hard not to mention the ragged strum of the album’s second cover in Masters Of War which John makes Dylan’s tune his own, with an impassioned almost  feral take.

Now I have to admit, I’m already a fully paid up member to the Hayseed Dixie fanclub (well not literally but you know what I mean), so you can imagine my intrigue when I read about John Wheeler’s first solo trip, but I can honestly say, I never expect such a varied, inspired and intoxicating collection of songs and styles, Un-American Gothic is something of a masterpiece, a genuine classic roots rock album with numerous twists and turns, countless hooks and more passion than most performers muster in a life time and though I hope Hayseed Dixie continue to flourish, this could well be John Wheeler’s most defining moment in music.

Rhythm & Booze Rating 10

www.johnwheelermusic.com

14 June, 2011

Sarah Jarosz-Follow Me Down

Filed under: bluegrass,country,folk,Recorded Reviews — willmunn @ 15:36

Sarah Jarosz is a young (just twenty) singer-songwriter who blends traditional folk, country and bluegrass with a modern twist, both experimenting with sound and reviving tradition with her unique and intoxicating material.

Follow Me Down is Sarah’s second album to date and she’s already seen her material find favour with the likes of Word Magazine in this country, whilst in her native US she’s had Grammy and Americana Music Award nominations along with invitations to perform at the renowned Austin City Limits along with Boonaroo among others.

I have already read a number of short soundbites on the album, with the likes of Uncut, Word and Q lavishing praise on Follow Me Down, proclaiming Sarah to be the new hot name on the bluegrass scene, modernising and updating the sound whilst still managing to honour the traitions of bluegrass and folk. The praise to dae is more than worthy, in fact after listenng to Follow Me Down a number of times I feel that the plaudits have been somewhat understated, the album is one of the best roots releases in the year to date. Sarah posseses a fantastic expressive voice whilst the musicainship throughout is second to none, featuring a number of special guests throughout from cult favourites The Punch Brothers to bluegrass legend Bela Flack among others.

The album opens with the stunning title track, a modernised take on Appalachian forbidden love, featuring a gorgeous combination of passionate vocals, guitar and haunting strings providing the perfect introduction to Sarah’s wonderous sound. From Follow Me Down, Sarah takes us on a widescreen journey through stripped down roots, twanging bluegrass and beautiful country laments all topped off with her beautiful voice.

Highlights come thick and fast from the heartbreaking old time tragic tale of Annabelle Lee, to the quietly reflective nature of My Muse via the startling yet bewitching interuptations of Dylan’s Ringing Them Bells and Radiohead’s The Tourist (re-imagined as an infectious combination of aching vocals, mandolin, bluegrass and strummed acoustic guitar that has to be heard to be believed). Each and every track on here is worthy of place not only on the album but also in your record collection, there’s not a single wasted note or minute as Sarah captivates throughout, even the instrumental Old Smitty is a masterclass of craft and musicianship.

Follow Me Down is simply a wonderful album from start to finish, which should find favour with anyone who like their music stripped down and full of heart, that not only straddles genres but also manages to bridge time lines.

Rhythm & Booze Rating 10

www.sarahjarosz.com

 

 

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