Category Archives: Music Review

Music Review – Rita Hosking – Come Sunrise (self released)

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come sunriseRita Hosking might call Davis, CA home (18 km / 11 mi West of Sacramento) but the geographical and cultural influences that shape her excellent new release, Come Sunrise, could plot here anywhere between a rural West Texas roadhouse or the front porch of an Appalachian cabin.

Recorded in Austin with producer, engineer and Robert Earl Keen guitarist, Rich Brotherton and featuring some of Austin’s best musicians – Lloyd Maines on Dobro, Glenn Fukunaga on upright bass, and Danny Barnes on banjo, Warren Hood on fiddle, Brotherton plys several instruments himself and Sean Feder from Hosking’s backing band Cousin Jack on percussion and harmony vocals.

With a vocal style somewhere between Natalie Merchant and Gillian Welch Hosking sings all 11 of her original songs with a delicacy that belies the force of her delivery. This is the kind of music I imagine a few generations ago would have easily landed on bestselling Hillbilly charts before some executive in the 40’s decided the term too degrading (and probably less market-friendly) and changed the name to Country & Western.

Now this music finds its home in the Americana genre, where skilled musicians like Hosking remind us that music that tells tales of people’s lives, with instrumentation and arrangement that also hearken from that heritage, is so wholly satisfying in a world more and more addicted to entranced and irony.

The slow burners are the real stand outs.  Simple pleasures yearn from the title track as Maines’ Dobro and Hood’s fiddle envelope you with the sonic equivalent of a down comforter, Montgomery Creek Blues is a dreamy pedal-steel laced tale of drunken revelry that ends in murder and Hiding Place (my hands-down favorite) is a sparkling ode to solitude that betrays a hint of menace from possible pursuer.

Precious Little, Little Joe and Holier Than Thou are straight up honky-tonkers that shoudl strike shame in the heart of every Music City big label suit.

With Come Sunrise Hosking gives us a prism that isolates the distinct historic threads of country and folk music and then combines it again
into a wholly satisfying and extraordinary body of work.

Official Site | MySpace | Facebook | Buy

five_rate[youtube]http://www.youtube.com/watch?v=bmxbQwJPDMA[/youtube]

Michael Dean Damron “Father’s Day” (In Music We Trust Records)

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Portland Oregon’s Michael Dean Damron, or Mike D. as he was known when fronting his former hell-raising roots-rock band I Can Lick Any Sonofabitch in the House, isn’t your garden variety sensitive, market tested, conveyor belt type of singer/songwriter. The emotion, fear and anger is laid out on his third solo release Father’s Day for all to feel. He’s not just singing, he’s testifying.

The youthful flame-thrower intensity of ICLASOBITH has been condensed into a focused,  welding torch constructing a dark and twisted terrain of one mans life and soul.

The lost love songs here – Dead Days, Boy With A Car and the provocatively titled I Hope Your New Boyfriend Gives You Aids (do NOT judge the album based on the title of this song, it doesn’t show up once in this beautifully heart wrenching cut.) display just as much defiance as they do remorse. Love songs are welcome, whining is not.

The specter of the Damron family patriarch is summoned and exorcised in the title track. The song tells of Damron’s father’s life as a hard, violent, and lonely one. The song is both a celebration and an unflinchingly cautionary tale. The excellent Angels Fly Up carries on the divisional theme, devils and angels, suicide and celebration- that seems to run through Fathers Day.

Tornado Song is a chugging blues-Gospel number veined with wailing harmonica and I’m A Bastard has Damron unmitigated affirmation of his place among the best of the worst in the troubadour trade.

As if the original songs weren’t enough to make this a fine album the three covers Damron has chosen to include speak volumes, fit nicely and are done with deftness and deference. Drag the River’s Beautiful And Damned is a solemn pedal-steel laced number and a ’round the campfire treatment of Thin Lizzy’s Dancing In The Moonlight are wonderful. The real courage, as with anyone willing to cover the Late Great Townes Van Zandt, comes with the inclusion of an accomplished rendition of Towne’s bleak tale of perseverance Waiting Around To Die.

Damron’s whiskey-and-dust vocals  brings to mind modern day contemporaries like Ryan Bingham, Drive By Truckers’ Patterson Hood, William Elliot Whitmore and Lucero’s Ben Nichols. The worn nature of the delivery adds another depth of ragged beauty to each of these gems. Damron sites Steve Earle, Alejandro Escovedo, Townes Van Zant and Waylon Jennings as heroes. But I believe that the true Patron Saint to his unique style of edgy storytelling, with a penchant for tenderness might well be David Allen Coe.

Sure Father’s Day is not a sunny Summer party album, who cares. It’s a great example of a  mature and excellent singer/songwriter venting his own private Winter.

Official Site | MySpace | Facebook | Buy

Father’s Day mp3

[youtube]http://www.youtube.com/watch?v=uDIYDNi2uTI[/youtube]

Angela Easterling – Blacktop Road (De L’Est Music) Release Date 7/14

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If you want an excellent example of what Americana, that 5 layer-dip of genres, has to offer you need to just put on Angela Easterling’s new release Blacktop Road. Easterling’s delivers neo-trad country, folk and rock in her earnestly melancholic voice betraying her Greenville, S.C. roots, and her expanded tastes and sensibilities that might have been cultivated by her stretch in L.A. She sounds like she’s be right at home in a honky-tonk or a New York supper club.

Blacktop Road was produced by Will Kimbrough (Todd Snider, Rodney Crowell, Kate Campbell, Jimmy Buffett) and the album reflects his good sense to not burdon it with studio wiazardry.

Easterling has the goods and needs little more than a mic (though here she has a crack band – Al Perkins, Fats Kaplin, Ken Coomer, Anne McCue and Dave Jacques, along with Kimbrough – backing her) to get the job done. whether it’s John Mellencamp or Steve Earle style roots rocking on American I.D., a mid-tempo piece about American multiculturalism and self-identity and the title cut (not a cover of the Lost Trailers crappy song by the same name), and decrying the encroaching suburban sprawl and the loss of a rural way of life.

American identity is again addressed in the The Picture about a woman’s relationship with her father and his involvement in the Jim Crow South. For all braying about social messages in contemporary country music they are like crayon scribbling compared to finely crafted song like this.

Better is a beautifully aching hillbilly-chamber piece featuring mandolin, dobro, cello and violin (not fiddle) as a backdrop for longing for the comfort of a loved one. AP Carter’s Blues continues the bitterweet tone and offers a fine tribute to the Carter family patriarch with excellent pedal steel accompaniment by Fats Kaplin.

The cover of Neil Young’s Helpless is done similarly as the original’s slow, woeful simmering manner that fits the song to a T without being done by rote. Stars Over The Prairie is wonderfully spirited is A Western Swing shuffle reworking of a song penned by her great-grandfather in the 40s.

Easterling’s first offering, 2007’s Earning Her Wings, was an excellent first release, and with Blacktop Road she advances her skills and confidence and has provided us a great Summer soundtrack.

Official Site | MySpace | Twitter | Buy

Elvis Costello – Secret, Profane & Sugarcane (Hear Music)

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Hardly a day goes by that we hear about another performer leaving their chosen career trajectory and taking a swing at country music.Some of these travelers deeply feel the need to honor the history, the tradition, of the genre. They also bring something new and interesting to the sound. Then there are the carpetbaggers. The ones who’s career have a justly stalled and are looking to find a new audience in a genre they mistakenly see as an easy get. They carry with them the foul stench of mediocrity they cultivated from whence they came.

The latter category is too painful to detail here but a prime example of the former is Elvis Costello. A singer/songwriter so accustomed to straddling, hopping and distorting genres that people are surprised when he returns to his earlier literate pop-punk roots. Costello’s love of American Southern music is well documented. The established Angry Young (British) Man takes a sharp turn from edgy punk-pop to head to Nashville and cut 1981’s Almost Blue which featured songs by Hank Williams, Merle Haggard, George Jones and Gram Parsons. The post-divorce roots-folk of 1986’s T. Bone Burnett produced King of America. 2004’s The Delivery Man featuring duets with  Emmylou Harris and Lucinda Williams – who he also performed with in a CMT Crossroads. There is the Costello T. Bone Burnett penned Scarlet Tide was used in the film Cold Mountain, nominated for a 2004 Academy Award and performed by Costello it at the awards ceremony with Alison Krauss, who also sang the song on the official soundtrack. Point being his newest Americana release Secret, Profane & Sugarcane is not a hard diversion nor a lark for Mr. MacManus.

It doesn’t help that you’re sound is so distinctive that people start to harp on it like it’s a curse. Secret, Profane & Sugarcane like it’s spiritual cousins Bob Dylan’s Nashville Skyline, Neil Young’s Harvest and the Rolling Stones’ Exile on Main Street seems to lose points some detractors because the work reflects the unique characteristics the artists brings with them when they cross the Americana tracks. If you prefer your music by outsiders to be cleansed of all traces of the performers unique earlier style, well, Secret, Profane & Sugarcane is not for you.

The album took three days to create in a Nashville studio (March 31 to April 2, 2008)  thus beating out the usually fleet Bob Dylan’s Nashville Skyline, which took 9 days (February 12, 1969 – February 21, 1969) is with producer T Bone Burnett- whos is becoming the go-to-guy when you want to do Americana – and focuses on Costello’s own work rearranged for a crack band featuring Stuart Duncan on banjo and fiddle, Jerry Douglas on Dobro, , Dennis Crouch on bass, Mike Compton on mandolin and Mr. Americana himself Jim Lauderdale lending honey harmony vocals to counter Costello’s (in)famous keen.

Things get off to a nice starts with Down Among The Wines And Spirits, originally written for Ms. Loretta Lynn, is a lolling down-and-out drinking song featuring the kind of wordplay Costello has become famous for (there’s that uniqueness again!) Complicated Shadows, first recorded for 1996’s All This Useless Beauty and originally written for Johnny Cash, gets the amped-up greasy blues treatment that would make Tony Joe White smile.

The beautifully sad I Felt the Chill Before the Winter Came was penned by Costello and aforementioned Loretta Lynn is lovely but brings to mind the coldness suggested in the title. My All Time Doll is a hillbilly cabaret number featuring the excellent accordion work by Jeff Taylor and a demo from All This Useless Beauty Rhino reissue Hidden Shame gets a great rousing makeover.

How Deep Is the Red?, She Was No Good,”She Handed Me a Mirror, and Red Cotton are  from Costello’s unfinished Hans Christian Andersen chamber opera The Secret Songs (did I mention that man was eclectic?) As prolific as Costello is, he is known to rework his own songs for different occasions, and although these songs do carry trace elements of their classical origins they sound right at home here.

Sulphur to Sugarcane was written by Costello & T Bone Burnett for (but not used)  in the Sean Penn 2006 film All The King’s Men. The song sounds like a bawdy ragtime-jazz response to Johnny Cash’s I’ve Been Everywhere as imagined by Leon Redbone. The Crooked line is rumored to have been an unused song for the Johnny Cash biopic Walk The Line and Costello is reported to have said that it’s “…the only song I’ve ever written about fidelity that is without any irony.” Here the song is a Cajun-flavored duet with Emmylou Harris with Emmylou way too far down in the mix, or just right, depending on your feeling about Ms. Emmylou’s disctinctive style. Changing Partners is a more-or-less faithful rendition of a the ubber-crooner Bing Crosby’ classic  number of lost love.

Is Secret, Profane & Sugarcane a great country or Americana album as you might expect from a seasoned vet? No. Is it a great Elvis Costello record? No, it hits just about in the mid-range of his canon. But with the likes of Jewel, Miley Cyrus and Kid Rock paraded as examples of roots and country music’s future Costello has given us a lovely, lively work to brace us out of that nightmare.

Official Site | Buy

[youtube]http://www.youtube.com/watch?v=GbAHi3AegMI[/youtube]

Music Review – T. Nile : The Cabin Song EP (Self Released – June 9th)

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This follow up to T. Nile’s (the T is for Tamara )  ’06 debut At My Table showcases this young BC, Canadian’s maturity as a songwriter and her ability to work outside genre but still come away with something uniquely her own. It also continues my well documented infatuation with Canadian roots music.

T. Nile’s handles her blend of country, folk, world and electronica music adroitly on this 7 song EP and it’s not an easy task for anyone little alone someone of her years.

The opening title song is a  lone-prairie shuffle gathering of familial recollections and French lullabies all with Burke Carrol’s pedal steel yawning underneath. Genres change stylistically with Reverie, a soulful dub number reminiscent of New York’s Si-Se, but thanks to T. Nile’s tastefully plucked banjo and warm vocals it’s a smooth transition.

Canadian geese honk the opening of Lake Irene an expansive instrumental that you could imagine being recorded on the bank of said lake and the other instrumental Boats Against a Dock sounds more like a mountain stomp than anything coastal. Pass the ‘shine cousin.

Rock Whatcha Got is a a smooth slice of roots-funk confection that could be a dream collaboration of the Be Good Tanyas and Luscious Jackson.

Sunrises uses spare electronica textures to frame T. Nile’s soulful croon, and at it’s best it reminds me of French composer DJ and producer Solal’s Nashville-based Moonshine Sessions. But where Solal uses beats sparingly in lieu of traditional instruments, here you are very aware of the tech and unfortunately results in a garden variety trip hop cut a la Delerium or latter day Everything But The Girl.

Leather Shoes continues the icy tech theme from Sunrises but is saved from being completely without a pulse by T. Nile warm vocals and the beautiful string arrangements of Jessie Zubot.

I hope T. Nile sticks with more traditional instruments ands uses the tech sparingly in her next daring adventure, but you can’t accuse her of being boring.

Official Site | MySpace | Facebook

[youtube]http://www.youtube.com/watch?v=U05PM38k7yA[/youtube]

Record Review – Spindrift: The Legend Of God’s Gun (Tee Pee Records)

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If you’re a fan of Sergio Leone’s Italiano decomposition of American West mythology and its Ennio Morricone heat-induced sound-scapes accompaniment  then Spindrift’s new release The Legend Of God’s Gun (July 21st -  Tee Pee Records) might be up your shot of mescal.

I haven’t seen the movie that this record soundtracks and probably wouldn’t have to to get the gist. Lone gunman enters a lawless town of frontier anarchy,  blood and whiskey spills in copious quantities, sexy senorita will betray and be dispatched, roll credits. To fill in the details there are narrations of a “land untamed and riddled with lust, greed, debauchery and bullet holes” and “Speak up you rusted .45,  How many can you name that you faced and left to die.” Nice!

There are the aforementioned Morricone-esque nervy spaghetti Westerns serenades (In the Beginning, Titoli, Speak to the Wind), heat-shimmering reverberated art rock (The New West, Speak to the Wind, Burn the Church, Blessing the Bullets) and even quasi-electronica (The Scorpions  Venom) and ending with the warpath horse-gallop of Indian Run .

Now I have to see the movie and hope it’s half as entertaining as Spindrift’s soundtrack.

MySpace | Official Site | Buy

[youtube]http://www.youtube.com/watch?v=AYWaoOlea9I[/youtube]

Record Review – Sometymes Why – Your Heart Is a Glorious Machine (Signature Sounds)

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Formed sometime (sometyme?) around 2005 Sometymes Why (not to be confused with the Canadian alt.rock band, and better spellers, Sometimes Why) – Kristin Andreassen (vocals, harmonica, guitar, glockenspiel, tambourine), Aoife O’Donovan (voice, baritone ukulele, Wurlitzer, piano, guitar, soprano ukulele, glockenspiel) and Ruth Ungar Merenda (voice, fiddle, soprano ukulele, guitar, baritone ukulele, glockenspiel) – work territory currently being staked out by Uncle Earle, The Waifs, the currently on hiatus Nickel Creek and also in the hushed-delivery styling the Cowboy Junkies’ Margot Timmons.

Less sawdust-covered floors and canned beer and more tasteful rugs crafted by indigenous peoples and a nice Chablis, the folky-Americana sound of Sometymes Why displays a DIY aesthetic of making music they feel in their soul. The sound and production (a la José Ayerve) is warm and even a cover of Concrete Blonde’s Joey works well (and I’m not a fan of the original.)

The blessing and curse of the Americana genre is that the tent tends to be so big that it’s hard to pin down what it is but that is only a result of contemporary marketing trickery. Many of those various musical strains share a common ancestry of American immigrants and many are reflected and synthesized here to great effect. At 35 minutes Your Heart Is a Glorious Machine is a brief example of what it’s like when the cutting edge is both brave and beatific.

Official Site | Buy

[youtube]http://www.youtube.com/watch?v=ggk_u3t6V6I&feature=related[/youtube]

Record Review – Betse Ellis Don’t You Want to Go? – Free Dirt Records

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Fiddle fans prepare for a diaper change. Betse Elles first solo outing is a humdinger, yeah you heard me. My dinger was hummed….

Ms. Elles, best known as fiddler and vocalist Kansas City MO. roots band The Wilders, and Don’t You Want To Go is here first solo outing and it shows a level of skill and bravado only within reach of an accomplished musician. The type of musicians that can move between genres with grace…sometimes within the same song, and make it all cohesive and shimmer with beauty. Old time Ozark mountain music, smokey-hussy blues, classical…all here and seamless.

White River is  a traditional Ozark fiddle piece that would nicely set the mood for a Kenneth Burns sepia-soaked documentary. The traditional ode to that “The Steel Driving Man” John Henry is an impassioned voice and fiddle piece that swerves and dives at you like a jay bird. Run is a Elles original instrumental that you can imagine sparks flying off the gut strings and Looking The World Over is a Memphis Minnie sourced pout-and-swagger blues wailer that is unfortunately void of any fiddle (!). Bear Creek Sally Goodin‘ makes up for the lack of fsawin‘ in the previous piece by taking me back into the Mountains for some stompin‘ and some ‘shine. Another Night is and original Elles alt.folk piece that sounds like it could have been written for Cat Powers.

The rustic vibe is broken with Jean Gabriel Marie composition La Cinquantaine and we are taken to the  drawing room for some tasteful chamber music,chamber but then we are shooed out the back and into a barn dance with the taditional Walk Along John.

This a fine solo outing for an already accomplished musician. Let’s hope it’s not the last.

MySpace | Buy

[youtube]http://www.youtube.com/watch?v=Y0nIF_fXZFk[/youtube]

MUSIC REVIEW – Star Anna and the Laughing Dogs – The Only Thing That Matters (self-released)

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Remember that girl you met at the bowling alley? The one that chews gum, drinks several pitchers of beer, wears painted on jeans and tells you about French philosophy then winks at you as she gets strike after strike? She later on she goes and breaks your heart but you don’t care, you’re just glade to have been there to enjoy the time you had with her. No? Well Star Anna reminds me of that girl.

Well maybe not Star Anna personally but her music. It’s equal parts trashy Americana-laced rock mixed with sophisticated storytelling and charm that raises Anna and her  band, The Laughing Dogs, to the a gritty level of greatness. It’s a gazing at the starts from the gutter kind of thing…

All the above qualities are on display in the opener Sleep My Darling. A woman sings to her lover to leave the world behind and to take refuge in her arms. The gentle solo guitar gives way to full band and then all comes head before calm returns and is then is again ditched. With this aural bi-polarism I’m left wondering if the woman’s arms are a sanctuary or a prison, but the song is so good you know you’re going to stay either way.

Through the Winter slinks along with vibrant 70’s Byrds/Stones swagger. Anna’s delivery of personal lyrics make her at once confessional and defiant, vulnerable and brave. Hawks on a Pole booms like a Lone Justice or Melissa Etheridge rollicking rocker and Justin Davis’ guitar especially cooks here. Where I Come From is a lovely, yearning number that takes us back to a more honky-tonk feel that defined much of Anna’s first CD Crooked Path.

In this world of many drinking songs you can now add as one of the best Spinning My Wheels which features the great line “I’m just sitting here spinning my wheels, but I’m not drunk enough to feel like I’m free” Though more rocking like the great Country drinking songs it’s one part pining and three parts I don’t give a shit. Burn is a Pretenders style pop-punk gem, For Now and the dark tale of a serial killer Restless Water, show what Anna can do with a slow moving ballad, her singular voice breaks and swells with aching.

Aside from longing and lost love (or at least the opportunity thereof) if there is a theme to be picked up on The Only Thing That Matters it’s leaving. Nowhere is that more apparent on the Running Man. The languidly jazz tempo thrown down by Frank Johnson’s slinky bass and Travis Yost’s syncopated drums slowly builds and erupts into a declaration of dereliction.

The closer Tripping Wire was a 2AM solo guitar cut and Anna really shines on it. This is the voice that cut through all the previous rockers all but standing on it’s own and shining like a dusty, dark jewel.

As heartbreaking as many of the songs are this is not a sad album, and though there is an element of moving on it’s not a chick therapy album.
It’s a cathartic jubulation that stands as another exceptional release from a master crafter of songs and her great band.

Official Site | MySpace | Buy

[youtube]http://www.youtube.com/watch?v=GBgFx4ahaM4[/youtube]

Album Review – Gretchen Peters With Tom Russell – One to the Heart, One to the Head (Scarlet Letter Records)/Buddy and Julie Miller – Written In Chalk (New West)

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These days duets are more like joint corporate sponsorships than a simpatico union of the heart and mind through song. Great male and female collaborations transcend their individual craft and emerge with something altogether new and remarkable. Kitty Wells and Red Foley, Ferlin Husky and Jean Shepard, George Jones and Tammy Wynette, Johnny and June – they made music that was more than the sum of their already amazing parts.

The Americana world seems to be coming into its own in the duet field. What arguably began with Gram Parsons and Emmylou Harris got a real boost with 2005’s Begonias featuring Whiskeytown and Tres Chicas’ Caitlin Cary and her friend singer/songwriter Thad Cockrell. 2007 saw Robert Plant, Alison Krauss and T. Bone Burnett’s  Raising Sand set a standard for craft as well as sales. Now 2009 has already endowed us with two dazzling releases that build handily on this legacy.

Gretchen Peters is no stranger to the world of Nashville songwriting. Her songs have been recorded by Trisha Yearwood, Pam Tillis, George Strait, Martina McBride, and Patty Loveless who was nominated for a 1996 song of the year Grammy for Peters’ “You Don’t Even Know Who I Am.” for such a prolific songwriter it’s surprising that her seventh solo album, One To The Heart, One To The Head is a covers album. On it she partners with L.A. native, El Paso resident and Renaissance man Tom Russell who penned one song, Guadalupe, co-produced and painted the album cover image of what looks like a stylized dead horse. Russell knows his way around songwriting, his songs have been covered by Johnny Cash, Nanci Griffith, Dave Alvin and Suzy Bogguss as well as 16 solo releases. These are two heavyweights and they bring their considerable collective talents to bare on a great release.

OTTH,OTTH is referred to as a “western album” which Peters tapped into her earlier life in Boulder, Colorado to draw inspiration. The instrumental opener North Platte does set a western landscape with a Elmer Bernstein or Jerome Moross sense of expanse as well as gravity. The landscape contracts just a bit for the stark and beautiful Prairie In The Sky which beautifully highlights Peter’s shimmering trill as she floats over cello and piano accompaniment. Bob Dylan’s Billy 4, from the soundtrack to Sam Peckinpah’s film Pat Garrett & Billy The Kid, gets a serious borderlands infusion with Joel Guzman’s extraordinary Conjunto-style accordion and Russell bringing his silky-graveled voice counter to Peters’.

Tom Dundee’s tale of cultural isolation shines as the classic country sound of These Cowboys Born Out Of Their Time and with Russell’s end of the road lament Guadalupe woe never sounded so good. The accordion and barrel house piano that kicks off Bonnie Raitt’s tequila fueled barroom sing-along Sweet & Shiny Eyes sets just the right cantina vibe. It takes guts to cover a Townes Van Zandt song and Snowin’ on Raton is done with delicate beauty and  a proper sense of deference. If I Had a Gun furnishes this album with its title. “If I had a gun you’d be dead. One to the heart, one to the head. If I had a gun I’d wipe it clean, my fingerprints off on these sheets. They’d bury you in the cold hard ground, fist full of dirt would hold you down. They’d bury you in the cold hard ground, it’d be the first night I sleep sound.” Peckinpah would be proud.

Gretchen Peters Site | Tom Russell Site | Buy

Buddy Miller was featured on the cover of the No Depression’s final issue last year. The bible of alt.country/Roots/Americana declared Miller the Americana journeyman the Artist of the Decade and it’s hard to argue he’s not. On top of his great solo work Miller played lead guitar and provided backing vocals for Emmylou Harris’s Spyboy band, performed with Steve Earle on his El Corazon tour, performed on Jimmie Dale Gilmore’s 2000 album Endless Night and appeared on several albums by songwriter/singer Lucinda Williams. Most recently Miller has been busy performing lead guitar and backing vocal duties for Robert Plant and Alison Krauss’ Raising Sand touring band. Julie, his wife of over 20 years, is no slouch either with six solo albums, and three collaborating with Buddy, under her belt. Her songs have been covered by Dixie Chicks, Linda Ronstadt, Lee Ann Womack, Emmylou Harris, Julie Roberts and others.

But as prolific as they are Written In Chalk is their only their third collaboration in their first over six years, and though both Buddy and Julie share vocal duties the real magic comes when Julie’s lyrics are swathed in her world-weary angel vocals and complemented by Buddy’s chameleon-like guitar picking that’s been hewed by years of studio sessions.

Buddy and Julie collaborated on Wide River which was later recorded by Levon Helm and the superb album opener Ellis County, a song aching for the good old/hard days, is cut from the same Steinbeckian gingham. Robert Plant described Gone Gone Gone (Done Moved On) from Raising Sand as “shimmy music” and Gasoline And Matches has the same vibe, swamp mud guitars and bad ass drums. Julie winsomely sings Don’t Say Goodbye which features Patty Griffin who has the good sense to lend only a supporting role to Julie’s already elegant voice.

Robert Plant lends restrained support for Buddy in a backwoods rendition of Mel Tillis’ What You Gonna Do Leroy which is reported to have been recorded in a dressing room at Toronto’s Molson Amphitheatre during the Raising Sand tour. The song sounds like the source material for a thousand rock songs not least of all Eddie Cochran’s Summertime Blues. A Long, Long Time exquisitely shows off Julie’s  smoky jazz side and Patty Griffen makes an appearance on the excellent cut Chalk. As good as she is Griffen is she seems superfluous when you have Julie Miller at your disposal. Hush, Sorrow is a pensive beauty with Buddy accomapnied by Regina McCrary. Agian I say, when you have Julie Miller….

Smooth is another “shimmy” style swampy rocker with Buddy and Julie sharing vocals. Julie show up on another delicate beauty with June which was written and recorded as a tribute the day June Carter Cash died. The song is justly somber and celebratory. The Selfishness Of Man is a slow motion testament on hope featuring Emmylou Harris. I love Emmylou but my earlier comments on Patty Griffin’s appearances still apply. Julie would have been a better choice.

Buddy & Julie Miller Site | Buy