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https://www.thedailyripple.org/index.php/art-music/music-reviews-all-reviewers 2025-05-07T12:30:20+00:00 The Daily Ripple Joomla! - Open Source Content Management 2023-04-17T13:01:53+00:00 2023-04-17T13:01:53+00:00 https://www.thedailyripple.org/index.php/art-music/cat-blog-reviews-david-masciotra/68-music-review-murder-of-songs-by-grant-peeples-dm Terry Ryan

5 April 2023   Grant Peeples has no time for nonsense. The veteran singer/songwriter and poet has released a passionate new protest record, A Murder of Songs, that confronts the grim threats facing American democracy with sadness, rage, defiance, and even a dose of dark humor. His country and folk music delivery extracts emotional investment from the listener, and pays homage to the familiar sounds of Willie Nelson and Emmylou Harris. Peeples is at his best when acting as a creative composer of music as well as a poet. There are songs that, like Springsteen’s The Ghost of Tom Joad, have so little musical accompaniment that they sound and feel more like spoken word exercises than music. But, also like Springsteen, Peeples is a lyric-forward songwriter. Whether it is a beautiful fiddle leading Peeples through the bouncy, “Revolutionary Reel,” or the Irish march, “Insurrection Song (January 6),” the thoughtful and tough lyrics benefit from the corresponding jolt of crafty music. The latter is one of the highlights of the record – a fiery condemnation of the January 6th insurrectionists and their leaders. Peeples offers a clever paraphrase of Kris Kristofferson’s most famous lyric when he sing, “Freedom’s just another word for all we have to lose,” and concludes, “Let the sons of bitches rot in jail for what they tried to do.” Anyone who believes in American democracy will reply with a hearty “amen.”   “Liberal with a Gun” allows Peeples to showcase his dark sense of humor, warning right wing extremists that “liberals too have guns,” and that they are prepared to fight for justice, equality, and their own rights. “Let’s Start Killing Each Other” is another amusing, but sharp treatment of the cultural divide. Peeples offers his titular advice with a sardonic grin, but at the same time, makes the listener think about where the hatred will finally end – certainly, nowhere healthy.   Peeples’ A Murder of Songs is a clear-eyed, rough and tumble response to the dangers facing American democracy. It is not only good music, but relevant art.         David Masciotra (www.davidmasciotra.com) is the author of four books, including Barack Obama: Invisible Man (Eyewear Publishing, 2017) and Mellencamp: American Troubadour (University Press of Kentucky, 2015). To read all of David's reviews, click here          

5 April 2023   Grant Peeples has no time for nonsense. The veteran singer/songwriter and poet has released a passionate new protest record, A Murder of Songs, that confronts the grim threats facing American democracy with sadness, rage, defiance, and even a dose of dark humor. His country and folk music delivery extracts emotional investment from the listener, and pays homage to the familiar sounds of Willie Nelson and Emmylou Harris. Peeples is at his best when acting as a creative composer of music as well as a poet. There are songs that, like Springsteen’s The Ghost of Tom Joad, have so little musical accompaniment that they sound and feel more like spoken word exercises than music. But, also like Springsteen, Peeples is a lyric-forward songwriter. Whether it is a beautiful fiddle leading Peeples through the bouncy, “Revolutionary Reel,” or the Irish march, “Insurrection Song (January 6),” the thoughtful and tough lyrics benefit from the corresponding jolt of crafty music. The latter is one of the highlights of the record – a fiery condemnation of the January 6th insurrectionists and their leaders. Peeples offers a clever paraphrase of Kris Kristofferson’s most famous lyric when he sing, “Freedom’s just another word for all we have to lose,” and concludes, “Let the sons of bitches rot in jail for what they tried to do.” Anyone who believes in American democracy will reply with a hearty “amen.”   “Liberal with a Gun” allows Peeples to showcase his dark sense of humor, warning right wing extremists that “liberals too have guns,” and that they are prepared to fight for justice, equality, and their own rights. “Let’s Start Killing Each Other” is another amusing, but sharp treatment of the cultural divide. Peeples offers his titular advice with a sardonic grin, but at the same time, makes the listener think about where the hatred will finally end – certainly, nowhere healthy.   Peeples’ A Murder of Songs is a clear-eyed, rough and tumble response to the dangers facing American democracy. It is not only good music, but relevant art.         David Masciotra (www.davidmasciotra.com) is the author of four books, including Barack Obama: Invisible Man (Eyewear Publishing, 2017) and Mellencamp: American Troubadour (University Press of Kentucky, 2015). To read all of David's reviews, click here           2023-04-21T13:28:22+00:00 2023-04-21T13:28:22+00:00 https://www.thedailyripple.org/index.php/art-music/cat-blog-reviews-david-masciotra/69-music-review-car-crash-life-by-shoebox-letters-dm Terry Ryan

7 March 2023   Lynyrd Skynyrd titled their third record, Nuthin’ Fancy. Even if Skynyrd is a Southern Rock band, the same description fits the new album from country band, Shoebox Letters. With their memorably-named collection of songs, Shoebox Letters delivers straightforward, no frills country. It is a refreshing break from the gimmicky and slick production that has come to dominate contemporary country radio. Most of the songs are the creation of lead vocalist and guitarist, Dennis Winslow. He shows a deft range of lyricism and country composition, but the success of Car Crash Life is far from his alone. Stephanie Cox often takes lead vocals, bringing an enjoyable tenderness to Winslow’s Dan Baird-like growl. The guitar work is honky tonk authentic, while the rhythm section – Dave Stricker on bass, Brian David Willis on drums – keeps a steady, and sometimes raucous, beat. The songs range from the hardboiled confessions of classic country territory – “Drinking Till I Can’t Walk Straight,” “Car Crash Life” – to more romantic fare. “Under the Same Roof” is a mature love song, celebrating the bond of matrimony and the ways that affection grows, rather than diminishes, with time. “If I Can’t Have You,” an effective duet from Winslow and Cox, speeds through the desirous end of unrequited love. The eight song record clocks in at 25 minutes. It is direct, and despite its brevity, feels like a full album experience. With most song ending under three minutes, Shoebox Letters is still able to not only demonstrate musical skill, but also explore various emotional facets of life.       David Masciotra (www.davidmasciotra.com) is the author of four books, including Barack Obama: Invisible Man (Eyewear Publishing, 2017) and Mellencamp: American Troubadour (University Press of Kentucky, 2015). To read all of David's reviews, click here         

7 March 2023   Lynyrd Skynyrd titled their third record, Nuthin’ Fancy. Even if Skynyrd is a Southern Rock band, the same description fits the new album from country band, Shoebox Letters. With their memorably-named collection of songs, Shoebox Letters delivers straightforward, no frills country. It is a refreshing break from the gimmicky and slick production that has come to dominate contemporary country radio. Most of the songs are the creation of lead vocalist and guitarist, Dennis Winslow. He shows a deft range of lyricism and country composition, but the success of Car Crash Life is far from his alone. Stephanie Cox often takes lead vocals, bringing an enjoyable tenderness to Winslow’s Dan Baird-like growl. The guitar work is honky tonk authentic, while the rhythm section – Dave Stricker on bass, Brian David Willis on drums – keeps a steady, and sometimes raucous, beat. The songs range from the hardboiled confessions of classic country territory – “Drinking Till I Can’t Walk Straight,” “Car Crash Life” – to more romantic fare. “Under the Same Roof” is a mature love song, celebrating the bond of matrimony and the ways that affection grows, rather than diminishes, with time. “If I Can’t Have You,” an effective duet from Winslow and Cox, speeds through the desirous end of unrequited love. The eight song record clocks in at 25 minutes. It is direct, and despite its brevity, feels like a full album experience. With most song ending under three minutes, Shoebox Letters is still able to not only demonstrate musical skill, but also explore various emotional facets of life.       David Masciotra (www.davidmasciotra.com) is the author of four books, including Barack Obama: Invisible Man (Eyewear Publishing, 2017) and Mellencamp: American Troubadour (University Press of Kentucky, 2015). To read all of David's reviews, click here          2023-04-21T13:30:44+00:00 2023-04-21T13:30:44+00:00 https://www.thedailyripple.org/index.php/art-music/cat-blog-reviews-david-masciotra/70-music-review-gratitude-by-dan-imhoff-dm Terry Ryan

5 October 2022   Dan Imhoff demonstrates delightful dexterity and variety on his new record, Gratitude. Aptly titled, given that he composed and recorded it at the height of the pandemic, the album showcases a light, soulful touch as Imhoff and his adept crew of supportive musicians move through gospel, folk, pop, and jazz. Imhoff’s knack for melody, composition, and arrangement emerge most clearly and colorfully on the lighter material. “Coming Into View” sounds like a soulful-pop hit, and it leads into, perhaps, the album’s highlight, “So Good To Be a Dog.” Showing an effective sense of humor, Imhoff sings about the pleasures of the canine life, and the endless enjoyment of having humans cater to one’s every need. The song moves into a jazzy shuffle after each chorus, occasionally slowing down for drawn out verses. Imhoff has ample skills as a guitarist, playing with a rock and roll rhythm on the opening title track, and even picking with a southern rock meets jazz fusion hybridity on the innovative, “Accidentally Valencia.” A mini-choir of backup vocalists provide a gospel punch, but never overwhelm the arrangements. The production choices are always tasteful and element, allowing the songs to shine no matter how virtuosic the instrumentation. Another triumph, “Factory of Tangled Dreams,” exemplifies a Steely Dan style understanding of how jazz can meet pop/rock, along with richly emotional and detailed lyrics about the small frustrations of the blue collar grind. Forgive such an on-the-nose and predictable closing, but Gratitude offers an auditory of pleasure. Give it a spin, and prepare to feel grateful.          David Masciotra (www.davidmasciotra.com) is the author of four books, including Barack Obama: Invisible Man (Eyewear Publishing, 2017) and Mellencamp: American Troubadour (University Press of Kentucky, 2015). To read all of David's reviews, click here         

5 October 2022   Dan Imhoff demonstrates delightful dexterity and variety on his new record, Gratitude. Aptly titled, given that he composed and recorded it at the height of the pandemic, the album showcases a light, soulful touch as Imhoff and his adept crew of supportive musicians move through gospel, folk, pop, and jazz. Imhoff’s knack for melody, composition, and arrangement emerge most clearly and colorfully on the lighter material. “Coming Into View” sounds like a soulful-pop hit, and it leads into, perhaps, the album’s highlight, “So Good To Be a Dog.” Showing an effective sense of humor, Imhoff sings about the pleasures of the canine life, and the endless enjoyment of having humans cater to one’s every need. The song moves into a jazzy shuffle after each chorus, occasionally slowing down for drawn out verses. Imhoff has ample skills as a guitarist, playing with a rock and roll rhythm on the opening title track, and even picking with a southern rock meets jazz fusion hybridity on the innovative, “Accidentally Valencia.” A mini-choir of backup vocalists provide a gospel punch, but never overwhelm the arrangements. The production choices are always tasteful and element, allowing the songs to shine no matter how virtuosic the instrumentation. Another triumph, “Factory of Tangled Dreams,” exemplifies a Steely Dan style understanding of how jazz can meet pop/rock, along with richly emotional and detailed lyrics about the small frustrations of the blue collar grind. Forgive such an on-the-nose and predictable closing, but Gratitude offers an auditory of pleasure. Give it a spin, and prepare to feel grateful.          David Masciotra (www.davidmasciotra.com) is the author of four books, including Barack Obama: Invisible Man (Eyewear Publishing, 2017) and Mellencamp: American Troubadour (University Press of Kentucky, 2015). To read all of David's reviews, click here          2024-02-15T13:01:53+00:00 2024-02-15T13:01:53+00:00 https://www.thedailyripple.org/index.php/art-music/cat-blog-reviews-david-masciotra/129-music-review-sparrow-by-jeff-talmadge-dm Terry Ryan

February 15 2024   “The Sound of Falling Snow” is a beautiful song in the second half of seasoned singer/songwriter, Jeff Talmadge’s new record, Sparrow. The gentle tune captures the quiet moments of life – those seconds that it is so quiet that it is possible to hear “the sound of falling snow.” It is a fitting summary of Sparrow’s appeal. Talmadge’s songs are tailor made for silent mornings or evenings when one is in the mood for contemplation of the subtle highs and lows of life. Talmadge has a Kris Kristofferson-like vocal delivery, leading a small Americana band through his reflective stories of beleaguered protagonists staring at the crossroads: Young men, for good or ill, unable to control their passion, ghosts on European trains, and those with hope in their hearts for more romance, more peace, and more abundance. Talmadge’s melodic turns are subtle – sometimes too subtle as a few of the songs closely resemble each other. However, he and his band’s measured delivery is also effective. The slight lift in Talmadge’s voice, or the short flare from one of the instrumentalists, underlines the emotional depth and resonance of Talmadge’s lyrical material. Sparrow flies into the pain of life, but always with hope and love. Talmadge’s authentic and honest songwriting is worthy of time and attention.           David Masciotra (www.davidmasciotra.com) is the author of four books, including Barack Obama: Invisible Man (Eyewear Publishing, 2017) and Mellencamp: American Troubadour (University Press of Kentucky, 2015). To read all of David's reviews, click here      

February 15 2024   “The Sound of Falling Snow” is a beautiful song in the second half of seasoned singer/songwriter, Jeff Talmadge’s new record, Sparrow. The gentle tune captures the quiet moments of life – those seconds that it is so quiet that it is possible to hear “the sound of falling snow.” It is a fitting summary of Sparrow’s appeal. Talmadge’s songs are tailor made for silent mornings or evenings when one is in the mood for contemplation of the subtle highs and lows of life. Talmadge has a Kris Kristofferson-like vocal delivery, leading a small Americana band through his reflective stories of beleaguered protagonists staring at the crossroads: Young men, for good or ill, unable to control their passion, ghosts on European trains, and those with hope in their hearts for more romance, more peace, and more abundance. Talmadge’s melodic turns are subtle – sometimes too subtle as a few of the songs closely resemble each other. However, he and his band’s measured delivery is also effective. The slight lift in Talmadge’s voice, or the short flare from one of the instrumentalists, underlines the emotional depth and resonance of Talmadge’s lyrical material. Sparrow flies into the pain of life, but always with hope and love. Talmadge’s authentic and honest songwriting is worthy of time and attention.           David Masciotra (www.davidmasciotra.com) is the author of four books, including Barack Obama: Invisible Man (Eyewear Publishing, 2017) and Mellencamp: American Troubadour (University Press of Kentucky, 2015). To read all of David's reviews, click here       2023-04-21T13:56:34+00:00 2023-04-21T13:56:34+00:00 https://www.thedailyripple.org/index.php/art-music/reviews-cat-blog-tom-druckenmiller/83-music-review-by-the-risin-of-the-sea-by-james-kahn-td Terry Ryan

11 December 2022   There is an increased interest in sea shanties in the wake of the popular movie Fisherman's Friends. Performers are finding joy in the powerful harmonies and stirring sentiments of the sea shanty. James Kahn is an American medical specialist concentrating in emergency medicine. He also has become quite well known as a writer of science fiction and the novelization of some very popular movies including Poltergeist, Return of the Jedi and Indiana Jones and the Temple of Doom. He also began to write for television, most notably St. Elsewhere, Star Trek and All My Children. A writer so steeped in the Hollywood scene would not be expected to try yet a third career but James is also a fine composer, singer and instrumentalist. This collection of self-composed sea shanties is primarily a vocal set of songs in traditional harmony with the minimal but essential instrumental backing of guitar, fiddle, accordion, hammered dulcimer, various recorders and bodhran.The strong vocals are mostly from James and his producer and musical mentor David West.   By the Risin' of the Sea is James' third release and features twelve stirring traditional and contemporary-based shanties. The most traditional are “The Vast Infinity” and the title track “The Risin' of the Sea.” Both have the sound of the shanty tradition but with investigation, the lyrics concern contemporary events and problems. The lush harmonies benefit from the use of the modern recording studio. The most contemporary shanty is the obvious “In the Covid Times” (radio programmers beware) concerning observations of 2020 and the pandemic. In another time this would be perhaps considered a traditional tune about a sailor leaving difficult times in his schooner. My favorite selection is the acapella song “Landfall” featuring James and David in close harmony.  By the Risin' of the Sea is a lovely and timely reimagination of the sea shanty by the very talented physician-writer-musician James Kahn.      Tom has a long history with Sing Out! as a writer and regular contributor (for more than a decade) and deep and rich skills as a radio host and programmer of folk and roots music! He's been a folk musician and teacher for over forty years. Tom began playing and singing Bob Dylan and Tom Paxton songs, but fell in love with old-time music and the clawhammer banjo after hearing John McCutcheon at the legendary Bethlehem folk club Godfrey Daniels. He has studied with old-time music greats Dwight Diller, Riley Baugus and Norman and Nancy Blake … and has, himself, taught at many music camps and workshops including The Augusta Heritage Workshops (in Elkins WV), the Pocono Dulcimer Fest (in Stroudsburg PA) and the Maidencreek Old-Time Music Festival (in Blandon PA). Druckemiller’s continuing regular local radio gig “In The Tradition” has aired on WDIY-FM in Allentown PA for the past 16 years, and he also co-hosts the “Sunday Folk” program on the station. TO READ ALL OF TOM'S REVIEWS, CLICK HERE         

11 December 2022   There is an increased interest in sea shanties in the wake of the popular movie Fisherman's Friends. Performers are finding joy in the powerful harmonies and stirring sentiments of the sea shanty. James Kahn is an American medical specialist concentrating in emergency medicine. He also has become quite well known as a writer of science fiction and the novelization of some very popular movies including Poltergeist, Return of the Jedi and Indiana Jones and the Temple of Doom. He also began to write for television, most notably St. Elsewhere, Star Trek and All My Children. A writer so steeped in the Hollywood scene would not be expected to try yet a third career but James is also a fine composer, singer and instrumentalist. This collection of self-composed sea shanties is primarily a vocal set of songs in traditional harmony with the minimal but essential instrumental backing of guitar, fiddle, accordion, hammered dulcimer, various recorders and bodhran.The strong vocals are mostly from James and his producer and musical mentor David West.   By the Risin' of the Sea is James' third release and features twelve stirring traditional and contemporary-based shanties. The most traditional are “The Vast Infinity” and the title track “The Risin' of the Sea.” Both have the sound of the shanty tradition but with investigation, the lyrics concern contemporary events and problems. The lush harmonies benefit from the use of the modern recording studio. The most contemporary shanty is the obvious “In the Covid Times” (radio programmers beware) concerning observations of 2020 and the pandemic. In another time this would be perhaps considered a traditional tune about a sailor leaving difficult times in his schooner. My favorite selection is the acapella song “Landfall” featuring James and David in close harmony.  By the Risin' of the Sea is a lovely and timely reimagination of the sea shanty by the very talented physician-writer-musician James Kahn.      Tom has a long history with Sing Out! as a writer and regular contributor (for more than a decade) and deep and rich skills as a radio host and programmer of folk and roots music! He's been a folk musician and teacher for over forty years. Tom began playing and singing Bob Dylan and Tom Paxton songs, but fell in love with old-time music and the clawhammer banjo after hearing John McCutcheon at the legendary Bethlehem folk club Godfrey Daniels. He has studied with old-time music greats Dwight Diller, Riley Baugus and Norman and Nancy Blake … and has, himself, taught at many music camps and workshops including The Augusta Heritage Workshops (in Elkins WV), the Pocono Dulcimer Fest (in Stroudsburg PA) and the Maidencreek Old-Time Music Festival (in Blandon PA). Druckemiller’s continuing regular local radio gig “In The Tradition” has aired on WDIY-FM in Allentown PA for the past 16 years, and he also co-hosts the “Sunday Folk” program on the station. TO READ ALL OF TOM'S REVIEWS, CLICK HERE          2024-02-17T01:56:34+00:00 2024-02-17T01:56:34+00:00 https://www.thedailyripple.org/index.php/art-music/reviews-cat-blog-tom-druckenmiller/130-music-review-sparrow-by-jeff-talmadge-td Terry Ryan

February 17 2024   Jeff Talmadge is a Texas songwriter through and through. It's been ten years since Kind of Everything his last album. It's been even longer since he tried his last case as a board certified civil trial attorney.  He's been awarded the Academy of American Poets Award from Duke University and has won a number of accolades as a songwriter. Sparrow is just about a perfect recording. Jeff's style is classic singer songwriter with strong melodies and lyrics that are easy to understand delivered in a relaxed style reminiscent of classic Tom Rush or John Prine. The recording is produced by Jeff along with J. David Leonard and Bradley Kopp who both offer tasty accompaniment to Jeff's fine fingerpicked guitar. The recording opens with “Hurricane” which depicts life on the coastal plain on Texas where Jeff spent his childhood. The tune features gentle backing vocals and guitar from Koop. The song that lends the title to the CD “If I Was A Sparrow” is a classic singer/songwriter piece with a timeless quality to the tune and the lyric. The subject is a lost love and a relationship that despite the ending he would “do it all again”. I found myself listening to this track more than any other.  “Devil's Highway” is a is a collaborative effort from Talmadge and Austin songwriters Jim Patton and Steve Brooks. It's the story about a guy who took a wrong turn down the Devil's Highway to leave his family to travel into the unknown. How it turns out we'll never know for sure but by the conclusion of the story “he lives alone and he's down on his luck, life came at him like a semi-truck, he looks in the mirror and doesn't know the man with Halloween eyes and the midnight tan”. We've all been there. “Katie's Got a Locket” is the story of a good girl and maybe her first “true” love. The song describes how she feels today when she thinks of those past days as she looks at the locket. It's unclear whether the two of them stayed together but it's clear that both of them have tender feelings for each other. A song for the one that got away. This is just a few of the wonderful offerings on Sparrow by Texas songwriter Jeff Talmadge. Let's just not wait ten years for the next.    Tom has a long history with Sing Out! as a writer and regular contributor (for more than a decade) and deep and rich skills as a radio host and programmer of folk and roots music! He's been a folk musician and teacher for over forty years. Tom began playing and singing Bob Dylan and Tom Paxton songs, but fell in love with old-time music and the clawhammer banjo after hearing John McCutcheon at the legendary Bethlehem folk club Godfrey Daniels. He has studied with old-time music greats Dwight Diller, Riley Baugus and Norman and Nancy Blake … and has, himself, taught at many music camps and workshops including The Augusta Heritage Workshops (in Elkins WV), the Pocono Dulcimer Fest (in Stroudsburg PA) and the Maidencreek Old-Time Music Festival (in Blandon PA). Druckemiller’s continuing regular local radio gig “In The Tradition” has aired on WDIY-FM in Allentown PA for the past 16 years, and he also co-hosts the “Sunday Folk” program on the station. TO READ ALL OF TOM'S REVIEWS, CLICK HERE     

February 17 2024   Jeff Talmadge is a Texas songwriter through and through. It's been ten years since Kind of Everything his last album. It's been even longer since he tried his last case as a board certified civil trial attorney.  He's been awarded the Academy of American Poets Award from Duke University and has won a number of accolades as a songwriter. Sparrow is just about a perfect recording. Jeff's style is classic singer songwriter with strong melodies and lyrics that are easy to understand delivered in a relaxed style reminiscent of classic Tom Rush or John Prine. The recording is produced by Jeff along with J. David Leonard and Bradley Kopp who both offer tasty accompaniment to Jeff's fine fingerpicked guitar. The recording opens with “Hurricane” which depicts life on the coastal plain on Texas where Jeff spent his childhood. The tune features gentle backing vocals and guitar from Koop. The song that lends the title to the CD “If I Was A Sparrow” is a classic singer/songwriter piece with a timeless quality to the tune and the lyric. The subject is a lost love and a relationship that despite the ending he would “do it all again”. I found myself listening to this track more than any other.  “Devil's Highway” is a is a collaborative effort from Talmadge and Austin songwriters Jim Patton and Steve Brooks. It's the story about a guy who took a wrong turn down the Devil's Highway to leave his family to travel into the unknown. How it turns out we'll never know for sure but by the conclusion of the story “he lives alone and he's down on his luck, life came at him like a semi-truck, he looks in the mirror and doesn't know the man with Halloween eyes and the midnight tan”. We've all been there. “Katie's Got a Locket” is the story of a good girl and maybe her first “true” love. The song describes how she feels today when she thinks of those past days as she looks at the locket. It's unclear whether the two of them stayed together but it's clear that both of them have tender feelings for each other. A song for the one that got away. This is just a few of the wonderful offerings on Sparrow by Texas songwriter Jeff Talmadge. Let's just not wait ten years for the next.    Tom has a long history with Sing Out! as a writer and regular contributor (for more than a decade) and deep and rich skills as a radio host and programmer of folk and roots music! He's been a folk musician and teacher for over forty years. Tom began playing and singing Bob Dylan and Tom Paxton songs, but fell in love with old-time music and the clawhammer banjo after hearing John McCutcheon at the legendary Bethlehem folk club Godfrey Daniels. He has studied with old-time music greats Dwight Diller, Riley Baugus and Norman and Nancy Blake … and has, himself, taught at many music camps and workshops including The Augusta Heritage Workshops (in Elkins WV), the Pocono Dulcimer Fest (in Stroudsburg PA) and the Maidencreek Old-Time Music Festival (in Blandon PA). Druckemiller’s continuing regular local radio gig “In The Tradition” has aired on WDIY-FM in Allentown PA for the past 16 years, and he also co-hosts the “Sunday Folk” program on the station. TO READ ALL OF TOM'S REVIEWS, CLICK HERE      2023-04-21T13:35:17+00:00 2023-04-21T13:35:17+00:00 https://www.thedailyripple.org/index.php/art-music/cat-blog-reviews-jim-hynes/71-music-review-murder-of-songs-by-grant-peeples-jh Terry Ryan

26 February 2023    If you feel, like this writer has in recent years, that the outspoken folk singer has disappeared, then you’d best listen to the latest, A Murder of Songs, from Grant Peeples. His is a brutal commentary on our country’s divisive, troubled state. If only Peeples had recorded this album after learning that the Fox News hosts knew they were lying about the 2020 election, and that Speaker McCarthy turned over 40,000 hours of Jan 6 footage to Tucker Carlson, of all people, it would be even a stronger gut punch. Nonetheless, Peeples shines a light on the absurdity of our current situation. Welcome back to protest music that we’ve dearly missed. But Peeples is the exception. He’s been writing substantive songs for over two decades now through eleven albums, three books of poetry, live albums, and multi-media videos made during the pandemic called Clay Tablets. He opens in soft, acoustic style with the only non-original song, a spare rendering of Mark Knopfler’s classic anti-war anthem, informed by the Falklands War “Brothers in Arms” likely with Jan 6 and possibly Ukraine in mind- “That we’re fools to make war on our brothers in arms.” He continues in a pensive state with the co-write with co-producer Danny Goddard, “This Is the Good News,” explaining that we must stay vigilant and on-guard because – “Anything is possible, nothing is for sure, anyone can do these things, things never done before. This is the good news, this is the bad news.”  With the Pete Seeger-like banjo (Scott Anderson) and fiddle (Christian Ward) driven “Revolutionary Reel” the style and tempo go upbeat. These various changes trace to the album being recorded in ten different studios and a couple of dozen musicians and engineers over a two-year span (yes, the pandemic). “Revolutionary Reel!” was written shortly after the death of George Floyd and calls us to action with these words – “Though I’m not here to say I know what a dead man feels/ Might be time to abandon caution, a little action instead of talking/Play a little revolutionary reel. Peeples sound as if he’s fronting the rebel Irish band The Wolfe Tones or the Pogues on his tongue in cheek but still searing “Insurrection Song (January 6).” He cleverly repurposes one of Kristofferson’s indelible lines - It was an insurrection, so patriots must stand/And heed the call for justice and let leniency be damned/Cause freedom’s just another word for all we have to lose/Let the sonsabitches rot in jail for what they tried to do.” Some of these, however, are not flat-out protest songs. “Dear Sadie” is a lullaby of sorts written for his grandniece, reflecting on ancestry, and the choices one must make for a better future. Peeples considers it one of the best he has ever written. ”Elisabeth” speaks to comforting a close friend. Another standout is the autobiographical and identifiable “The Restless Ones,” where Peeples expresses his solidarity with like-minded rebellious types. The first verse is read by Scottish poet Lorna Simes, which complements the feel and raw emotion of the song. Landon Gay’s pedal steel gives the requisite gravitas to these lyrics - Artists; rebels who will pick a fight/I keep’ um close, don’t let ‘um slip away/Cause they got ‘it’ and it’s the only thing/The only thing I ever count on, cause…/I’ve always run with the restless ones. Peeples angst comes to the fore on his 2007 reworked “Liberal With a Gun” where he makes it clear it’s not just the liberals who hold the guns. We are living in a frightful culture of gun violence that has only worsened 15 years later. He closes, using his humor, wit, and sarcasm with jaunty, vaudeville-like music to share the ominous message “Let’s Start Killing Each Other” – “Got your leftwing, rightwing, your black and white/Conservatives and Liberals just itching for a fight/When you know they’re wrong and they swear they’re right/You can bet there’s gonna be trouble/So, just whip out a switchblade, pull out a gun/Pistol whip some sumbitch just for fun/And don’t stop dealing till the dealing’s done./Till we start killing each other.” Peeples is not shy about speaking his mind and has commendably put his thoughts across with an enjoyable, varied musical palette. His rather plain singing voice is emblematic of who he is – an honest, no-holds barred, rebel folk singer. He’s here to remind us that his kind is still offering vital messages.       Jim Hynes is an independent contributor on music for several magazines, including Elmore and Country Standard Time. He has also written for Variety. He was a listener-supported public station(s) radio host for 25 years in CT, MI, NJ and PA. He is also a Live music host/Emcee at several national and regional venues. To Read All of Jim's Reviews, Click Here        

26 February 2023    If you feel, like this writer has in recent years, that the outspoken folk singer has disappeared, then you’d best listen to the latest, A Murder of Songs, from Grant Peeples. His is a brutal commentary on our country’s divisive, troubled state. If only Peeples had recorded this album after learning that the Fox News hosts knew they were lying about the 2020 election, and that Speaker McCarthy turned over 40,000 hours of Jan 6 footage to Tucker Carlson, of all people, it would be even a stronger gut punch. Nonetheless, Peeples shines a light on the absurdity of our current situation. Welcome back to protest music that we’ve dearly missed. But Peeples is the exception. He’s been writing substantive songs for over two decades now through eleven albums, three books of poetry, live albums, and multi-media videos made during the pandemic called Clay Tablets. He opens in soft, acoustic style with the only non-original song, a spare rendering of Mark Knopfler’s classic anti-war anthem, informed by the Falklands War “Brothers in Arms” likely with Jan 6 and possibly Ukraine in mind- “That we’re fools to make war on our brothers in arms.” He continues in a pensive state with the co-write with co-producer Danny Goddard, “This Is the Good News,” explaining that we must stay vigilant and on-guard because – “Anything is possible, nothing is for sure, anyone can do these things, things never done before. This is the good news, this is the bad news.”  With the Pete Seeger-like banjo (Scott Anderson) and fiddle (Christian Ward) driven “Revolutionary Reel” the style and tempo go upbeat. These various changes trace to the album being recorded in ten different studios and a couple of dozen musicians and engineers over a two-year span (yes, the pandemic). “Revolutionary Reel!” was written shortly after the death of George Floyd and calls us to action with these words – “Though I’m not here to say I know what a dead man feels/ Might be time to abandon caution, a little action instead of talking/Play a little revolutionary reel. Peeples sound as if he’s fronting the rebel Irish band The Wolfe Tones or the Pogues on his tongue in cheek but still searing “Insurrection Song (January 6).” He cleverly repurposes one of Kristofferson’s indelible lines - It was an insurrection, so patriots must stand/And heed the call for justice and let leniency be damned/Cause freedom’s just another word for all we have to lose/Let the sonsabitches rot in jail for what they tried to do.” Some of these, however, are not flat-out protest songs. “Dear Sadie” is a lullaby of sorts written for his grandniece, reflecting on ancestry, and the choices one must make for a better future. Peeples considers it one of the best he has ever written. ”Elisabeth” speaks to comforting a close friend. Another standout is the autobiographical and identifiable “The Restless Ones,” where Peeples expresses his solidarity with like-minded rebellious types. The first verse is read by Scottish poet Lorna Simes, which complements the feel and raw emotion of the song. Landon Gay’s pedal steel gives the requisite gravitas to these lyrics - Artists; rebels who will pick a fight/I keep’ um close, don’t let ‘um slip away/Cause they got ‘it’ and it’s the only thing/The only thing I ever count on, cause…/I’ve always run with the restless ones. Peeples angst comes to the fore on his 2007 reworked “Liberal With a Gun” where he makes it clear it’s not just the liberals who hold the guns. We are living in a frightful culture of gun violence that has only worsened 15 years later. He closes, using his humor, wit, and sarcasm with jaunty, vaudeville-like music to share the ominous message “Let’s Start Killing Each Other” – “Got your leftwing, rightwing, your black and white/Conservatives and Liberals just itching for a fight/When you know they’re wrong and they swear they’re right/You can bet there’s gonna be trouble/So, just whip out a switchblade, pull out a gun/Pistol whip some sumbitch just for fun/And don’t stop dealing till the dealing’s done./Till we start killing each other.” Peeples is not shy about speaking his mind and has commendably put his thoughts across with an enjoyable, varied musical palette. His rather plain singing voice is emblematic of who he is – an honest, no-holds barred, rebel folk singer. He’s here to remind us that his kind is still offering vital messages.       Jim Hynes is an independent contributor on music for several magazines, including Elmore and Country Standard Time. He has also written for Variety. He was a listener-supported public station(s) radio host for 25 years in CT, MI, NJ and PA. He is also a Live music host/Emcee at several national and regional venues. To Read All of Jim's Reviews, Click Here         2023-04-21T13:37:24+00:00 2023-04-21T13:37:24+00:00 https://www.thedailyripple.org/index.php/art-music/cat-blog-reviews-jim-hynes/72-music-review-gratitude-by-dan-imhoff-jh Terry Ryan

03 October 2022    Gratitude is the fifth solo album for California singer-songwriter Dan Imhoff. Wait, that doesn’t do this creative artist justice. Imhoff is also an activist, a podcaster, and the author of ten nonfiction books about farming, conservation, and eco-design., the latter of which play in just slightly to the uplifting music found here. Most of these songs were written during the pandemic lockdown and even though there’s a distinct roots-rock thread running through them, the album was recorded in Spain with a host of Spanish musicians. As it turns out, Imhoff lives in Spain part-time and often records there. The album was recorded in two separate studios, outside of Valencia and Girona, with two different teams. Imhoff calls his songwriting “cosmic gospel.” Cosmic references the roots of northern California tradition of folk rock, blues, and jazz but performed by Spanish musicians. Gospel indicates that most of the songs have strong background choruses and rich harmonies. Imhoff confesses to the fact that most of these songs took a long time to write as it took a while to get to that place mentally and emotionally when optimism would flow naturally. We could have used these hopeful tunes during those weary pandemic months, but joyous music never arrives too late. The hook in the titular opener is infectious from the outset. “There There” is a snappy mid-tempo tune that alludes perhaps to the struggle in the writing process (“Gotta find a way to keep believing”). “When a Great Tree Falls” employs a great use of echo effects and likely points to his environmental activism, coupling sequoias in his native Northern California with this teeming chorus “Will we be strong enough to fight for what we believe?”)  The lightly strummed, banjo infused “Coming Into View” rings with the insistent chorus “Love is the only game.” The perky, jug band-like “So Good To Be a Dog” hits at a thought most of us have likely had as we admire the oft-relaxed state of our favorite pet. There’s a similar tongue-in-cheek vibe to the piano ballad “Why I Drink The Wine” suggesting it’s “to get closer to Jesus.” Although there are some common threads to Imhoff’s lyrics, no two songs sound alike as he adeptly shifts tempos and instrumentation. Case in point is “Dark Side,” another mostly acoustic tune, but one where the lyrical tone shifts too. He’s being honest. Even the most upbeat people have moments of sadness and frustration. This kind of balancing act, which he turns to again later on “Crazy Town” of course, gives the uplifting tunes even more impact, such as the inspiring, celebratory nature song, “Lie Down With the Wild Things.” He follows with an ode to the comfort of his part-time home in “Accidentally Valencia.” Bassist Jaume Guerra Menue, the co-writer of “Factory of Tangled Dream,” adds a jazzy touch to the carefree tune. Following the bleak “Crazy Town” it’s only fitting that Imhoff end on a high note, and though he points to ultimate satisfaction in “Angel Touching Down” he does so pensively, not with the rollicking hooks heard on some of the tunes, but it is the most vocally expressive tune of the strong dozen he penned. Imhoff paints hope as a goal one must attain. It’s not readily available to those who don’t struggle and aren’t stoic when called for. When earned however, it’s rewarding. As the title suggests, he’s thankful and we should all share in that glee at least for a few moments. We’ve made it through the difficult pandemic months but just the same, we’re living in troubling times and should remain on guard.          Jim Hynes is an independent contributor on music for several magazines, including Elmore and Country Standard Time. He has also written for Variety. He was a listener-supported public station(s) radio host for 25 years in CT, MI, NJ and PA. He is also a Live music host/Emcee at several national and regional venues. To Read All of Jim's Reviews, Click Here      

03 October 2022    Gratitude is the fifth solo album for California singer-songwriter Dan Imhoff. Wait, that doesn’t do this creative artist justice. Imhoff is also an activist, a podcaster, and the author of ten nonfiction books about farming, conservation, and eco-design., the latter of which play in just slightly to the uplifting music found here. Most of these songs were written during the pandemic lockdown and even though there’s a distinct roots-rock thread running through them, the album was recorded in Spain with a host of Spanish musicians. As it turns out, Imhoff lives in Spain part-time and often records there. The album was recorded in two separate studios, outside of Valencia and Girona, with two different teams. Imhoff calls his songwriting “cosmic gospel.” Cosmic references the roots of northern California tradition of folk rock, blues, and jazz but performed by Spanish musicians. Gospel indicates that most of the songs have strong background choruses and rich harmonies. Imhoff confesses to the fact that most of these songs took a long time to write as it took a while to get to that place mentally and emotionally when optimism would flow naturally. We could have used these hopeful tunes during those weary pandemic months, but joyous music never arrives too late. The hook in the titular opener is infectious from the outset. “There There” is a snappy mid-tempo tune that alludes perhaps to the struggle in the writing process (“Gotta find a way to keep believing”). “When a Great Tree Falls” employs a great use of echo effects and likely points to his environmental activism, coupling sequoias in his native Northern California with this teeming chorus “Will we be strong enough to fight for what we believe?”)  The lightly strummed, banjo infused “Coming Into View” rings with the insistent chorus “Love is the only game.” The perky, jug band-like “So Good To Be a Dog” hits at a thought most of us have likely had as we admire the oft-relaxed state of our favorite pet. There’s a similar tongue-in-cheek vibe to the piano ballad “Why I Drink The Wine” suggesting it’s “to get closer to Jesus.” Although there are some common threads to Imhoff’s lyrics, no two songs sound alike as he adeptly shifts tempos and instrumentation. Case in point is “Dark Side,” another mostly acoustic tune, but one where the lyrical tone shifts too. He’s being honest. Even the most upbeat people have moments of sadness and frustration. This kind of balancing act, which he turns to again later on “Crazy Town” of course, gives the uplifting tunes even more impact, such as the inspiring, celebratory nature song, “Lie Down With the Wild Things.” He follows with an ode to the comfort of his part-time home in “Accidentally Valencia.” Bassist Jaume Guerra Menue, the co-writer of “Factory of Tangled Dream,” adds a jazzy touch to the carefree tune. Following the bleak “Crazy Town” it’s only fitting that Imhoff end on a high note, and though he points to ultimate satisfaction in “Angel Touching Down” he does so pensively, not with the rollicking hooks heard on some of the tunes, but it is the most vocally expressive tune of the strong dozen he penned. Imhoff paints hope as a goal one must attain. It’s not readily available to those who don’t struggle and aren’t stoic when called for. When earned however, it’s rewarding. As the title suggests, he’s thankful and we should all share in that glee at least for a few moments. We’ve made it through the difficult pandemic months but just the same, we’re living in troubling times and should remain on guard.          Jim Hynes is an independent contributor on music for several magazines, including Elmore and Country Standard Time. He has also written for Variety. He was a listener-supported public station(s) radio host for 25 years in CT, MI, NJ and PA. He is also a Live music host/Emcee at several national and regional venues. To Read All of Jim's Reviews, Click Here       2023-09-13T20:40:27+00:00 2023-09-13T20:40:27+00:00 https://www.thedailyripple.org/index.php/art-music/cat-blog-reviews-jim-hynes/116-music-review-stranger-in-my-town-by-nick-justice-jh Terry Ryan

2 Sept 2023  Nick Justice returns with his sixth full-length solo album, following his 2022 duet album, The Sidemen, which did quite well on several Americana charts and yielded almost 100 live gigs for the duo, who since decided to return to solo projects ten months ago. In his past few solo projects Justice has worked with multi-instrumentalist Richard Bredice and guitarist Richard Stekol. While the latter remains in tow, having played on all of Justice’s solo albums, Justice reached out to veterans Joel Rafael who played and produced, as well as consummate string man Greg Leisz on this effort, Stranger in My Town. Mai Leisz plays bass While Lisa Sanders and Karen “Brown Sugar” Hayes sing backup on “Save Somebody.” Note the absence of percussion which makes for a stripped-down sound and one that differs a bit from past efforts due to a new studio, producer, and engineer. The title track opens, a true story about Justice’s return to his hometown on Long Island after a ten year absence, only to find himself feeling out of place, to the extent that a high school friend didn’t even recognize him. Leiz colors the jaunty tune with his dobro and his pedal steel welcomes in “Let the Wind Blow,” about moving on rather than getting too wrapped up in reflection – “The silence below the noise/Creates a stillness in you/I keep hearing these things they couldn’t’ be true.” His true emotional sentiments emerge on “The Night My Heart Caught Fire,” about a chance meeting at McDonald’s no less, where, as a single parent he met his future wife, also a single parent at the time. Again, Leisz’s dobro and pedal steel are the add the gorgeous accompaniment. These autobiographical songs and nuggets of hard-earned wisdom imbue “Don’t You Know,” “Don’t Walk Away,” and “Living in Hard Times,” Justice blows his harmonica on the early Dylan-like “Don’t You Know” and sounds determined, if not totally convincing on “Don’t You Walk Away” – “Saw your eyes staring to stray/Stay with me one more day/Don’t you walk away.” Joel Rafael’s “Thanks for the Smiles” has long been a Justice favorite and he takes the opportunity to record it here, letting the producer play the acoustic guitar and harmonica, one of only two tracks where Justice does not as the final standout track, “America Walking By,” was penned by Stekol, who plays acoustic on the tune which is about parents mourning the death of a son, presumably a casualty to military combat. Justice turns his attention to the homeless in “Dream # 9” and tries his hand at gospel in “Save Somebody.” Although the title conjures Dylan’s song of a similar name, this one doesn’t sound it all similar. Infused by Leisz’s dobro, it’s more in the vein of white southern gospel, inspired by viewing Ken Burns’ documentary on country music. The background vocalists add that gospel touch to what is basically a simple riff. One has to admire both Justice’s perseverance and modesty. He says this, “I’m not a great guitar player, I’m not a great singer, but I am able to observe the human condition and communicate that in song. Fame is fleeting and screws with your mind. It was never my bag. If you love what you do, you do it on any scale or stage. I’ve played in front of 10.000 people, and I’ve more often played to empty houses. The performance never differs.” Spoken like the true troubadour that he is, it’s only a matter of time, given his persistence, that Justice becomes a more familiar name.         Jim Hynes is an independent contributor on music for several magazines, including Elmore and Country Standard Time. He has also written for Variety. He was a listener-supported public station(s) radio host for 25 years in CT, MI, NJ and PA. He is also a Live music host/Emcee at several national and regional venues. To Read All of Jim's Reviews, Click Here      

2 Sept 2023  Nick Justice returns with his sixth full-length solo album, following his 2022 duet album, The Sidemen, which did quite well on several Americana charts and yielded almost 100 live gigs for the duo, who since decided to return to solo projects ten months ago. In his past few solo projects Justice has worked with multi-instrumentalist Richard Bredice and guitarist Richard Stekol. While the latter remains in tow, having played on all of Justice’s solo albums, Justice reached out to veterans Joel Rafael who played and produced, as well as consummate string man Greg Leisz on this effort, Stranger in My Town. Mai Leisz plays bass While Lisa Sanders and Karen “Brown Sugar” Hayes sing backup on “Save Somebody.” Note the absence of percussion which makes for a stripped-down sound and one that differs a bit from past efforts due to a new studio, producer, and engineer. The title track opens, a true story about Justice’s return to his hometown on Long Island after a ten year absence, only to find himself feeling out of place, to the extent that a high school friend didn’t even recognize him. Leiz colors the jaunty tune with his dobro and his pedal steel welcomes in “Let the Wind Blow,” about moving on rather than getting too wrapped up in reflection – “The silence below the noise/Creates a stillness in you/I keep hearing these things they couldn’t’ be true.” His true emotional sentiments emerge on “The Night My Heart Caught Fire,” about a chance meeting at McDonald’s no less, where, as a single parent he met his future wife, also a single parent at the time. Again, Leisz’s dobro and pedal steel are the add the gorgeous accompaniment. These autobiographical songs and nuggets of hard-earned wisdom imbue “Don’t You Know,” “Don’t Walk Away,” and “Living in Hard Times,” Justice blows his harmonica on the early Dylan-like “Don’t You Know” and sounds determined, if not totally convincing on “Don’t You Walk Away” – “Saw your eyes staring to stray/Stay with me one more day/Don’t you walk away.” Joel Rafael’s “Thanks for the Smiles” has long been a Justice favorite and he takes the opportunity to record it here, letting the producer play the acoustic guitar and harmonica, one of only two tracks where Justice does not as the final standout track, “America Walking By,” was penned by Stekol, who plays acoustic on the tune which is about parents mourning the death of a son, presumably a casualty to military combat. Justice turns his attention to the homeless in “Dream # 9” and tries his hand at gospel in “Save Somebody.” Although the title conjures Dylan’s song of a similar name, this one doesn’t sound it all similar. Infused by Leisz’s dobro, it’s more in the vein of white southern gospel, inspired by viewing Ken Burns’ documentary on country music. The background vocalists add that gospel touch to what is basically a simple riff. One has to admire both Justice’s perseverance and modesty. He says this, “I’m not a great guitar player, I’m not a great singer, but I am able to observe the human condition and communicate that in song. Fame is fleeting and screws with your mind. It was never my bag. If you love what you do, you do it on any scale or stage. I’ve played in front of 10.000 people, and I’ve more often played to empty houses. The performance never differs.” Spoken like the true troubadour that he is, it’s only a matter of time, given his persistence, that Justice becomes a more familiar name.         Jim Hynes is an independent contributor on music for several magazines, including Elmore and Country Standard Time. He has also written for Variety. He was a listener-supported public station(s) radio host for 25 years in CT, MI, NJ and PA. He is also a Live music host/Emcee at several national and regional venues. To Read All of Jim's Reviews, Click Here       2023-09-15T14:44:48+00:00 2023-09-15T14:44:48+00:00 https://www.thedailyripple.org/index.php/art-music/cat-blog-reviews-jim-hynes/117-music-review-i-just-cant-call-it-quits-patterson-barrett-jh Terry Ryan

23 June 2023    Patterson Barrett built his career of playing Americana music long before the term became in vogue. His resume reads like a who’s who of roots legends, past and present, from Jerry Jeff Walker to Nanci Griffith, to Al Kooper to Jim Lauderdale, among many others. In one sense, he was pivotal in building the careers of Buddy and Julie Miller who met him when they lived in Austin, and were members of his band, Partners in Crime. Barrett is a multi-instrumentalist who shows up as sideman on many albums by Austin artists but aside from several solo albums, he generally shuns the limelight. He’s back with a solo album, I Just Can’t Call It Quits, ostensibly contemplating retirement, as stated in the opening twangy track, a string of modest statements mixed with the will to keep moving forward. He proves he can uniquely interpret covers as he takes Sam and Dave’s mega hit “Soul Man” into a sparse back porch guitar and harmonica (played by Doc Simons) boogie, reveling in the choruses and not sounding at all like one pondering hanging it up. Barrett doesn’t have an especially distinctive vocal style but offsets that with a weathered, lived-in style characteristic of many of his fellow Texas singer- songwriters. The warm, undulating “Where Do We Go” exemplifies such. Here as well on most tracks, Barrett plays all the instruments, featuring the mandolin on the idealistic “Dream Geography,” which imagines a world without borders where children of all nationalities can gather in a proverbial backyard and play universal games such as kick the can and circle game. “Who’s Left to Keep the World Turning” similarly pleads for unity as Patterson plays a wide array of stringed instruments as well as keyboards. The album takes a turn with the standout track “Longing for the Sun” where the protagonist is reaching for hope - “I’m as blue as you say, made darker by you, I can’t be saved by the things you do.” Yet, he escapes this morass of despair immediately with the jaunty, Cajun infused “Another Beautiful Day,” imbued by accordion, fiddle and piano. The two longtime pals, Barrett and Buddy Miller, evoke the classic country Louvin Brothers sound on Buddy’s “I’m Pretending,” clearly a top track with Barrett’s weeping pedal steel and lush instrumental accompaniment of electric piano, fiddle, and snappy drums. These two sound as if they’ve been singing together for years, despite a 30-ish year hiatus. The third cover song is Juliann Banks’ “Somewhere in South Austin,” delving slightly into a Doug Sahm vibe with a nostalgic look at South Austin in its heyday of a couple of decades ago, boosted by fine vocal harmonies. The acoustic ballad, “Just a Moment” expresses one of the salient themes of the album, being grateful and marching forward optimistically. With the passing of his heroes and contemporaries such as Billy Joe Shaver and Jerry Jeff Walker, it would seem that Barrett is only casually flirting with the idea of retirement, instead feeling an obligation to carry on the Texas songwriting tradition. Hopefully, that’s his course.     Jim Hynes is an independent contributor on music for several magazines, including Elmore and Country Standard Time. He has also written for Variety. He was a listener-supported public station(s) radio host for 25 years in CT, MI, NJ and PA. He is also a Live music host/Emcee at several national and regional venues. To Read All of Jim's Reviews, Click Here  

23 June 2023    Patterson Barrett built his career of playing Americana music long before the term became in vogue. His resume reads like a who’s who of roots legends, past and present, from Jerry Jeff Walker to Nanci Griffith, to Al Kooper to Jim Lauderdale, among many others. In one sense, he was pivotal in building the careers of Buddy and Julie Miller who met him when they lived in Austin, and were members of his band, Partners in Crime. Barrett is a multi-instrumentalist who shows up as sideman on many albums by Austin artists but aside from several solo albums, he generally shuns the limelight. He’s back with a solo album, I Just Can’t Call It Quits, ostensibly contemplating retirement, as stated in the opening twangy track, a string of modest statements mixed with the will to keep moving forward. He proves he can uniquely interpret covers as he takes Sam and Dave’s mega hit “Soul Man” into a sparse back porch guitar and harmonica (played by Doc Simons) boogie, reveling in the choruses and not sounding at all like one pondering hanging it up. Barrett doesn’t have an especially distinctive vocal style but offsets that with a weathered, lived-in style characteristic of many of his fellow Texas singer- songwriters. The warm, undulating “Where Do We Go” exemplifies such. Here as well on most tracks, Barrett plays all the instruments, featuring the mandolin on the idealistic “Dream Geography,” which imagines a world without borders where children of all nationalities can gather in a proverbial backyard and play universal games such as kick the can and circle game. “Who’s Left to Keep the World Turning” similarly pleads for unity as Patterson plays a wide array of stringed instruments as well as keyboards. The album takes a turn with the standout track “Longing for the Sun” where the protagonist is reaching for hope - “I’m as blue as you say, made darker by you, I can’t be saved by the things you do.” Yet, he escapes this morass of despair immediately with the jaunty, Cajun infused “Another Beautiful Day,” imbued by accordion, fiddle and piano. The two longtime pals, Barrett and Buddy Miller, evoke the classic country Louvin Brothers sound on Buddy’s “I’m Pretending,” clearly a top track with Barrett’s weeping pedal steel and lush instrumental accompaniment of electric piano, fiddle, and snappy drums. These two sound as if they’ve been singing together for years, despite a 30-ish year hiatus. The third cover song is Juliann Banks’ “Somewhere in South Austin,” delving slightly into a Doug Sahm vibe with a nostalgic look at South Austin in its heyday of a couple of decades ago, boosted by fine vocal harmonies. The acoustic ballad, “Just a Moment” expresses one of the salient themes of the album, being grateful and marching forward optimistically. With the passing of his heroes and contemporaries such as Billy Joe Shaver and Jerry Jeff Walker, it would seem that Barrett is only casually flirting with the idea of retirement, instead feeling an obligation to carry on the Texas songwriting tradition. Hopefully, that’s his course.     Jim Hynes is an independent contributor on music for several magazines, including Elmore and Country Standard Time. He has also written for Variety. He was a listener-supported public station(s) radio host for 25 years in CT, MI, NJ and PA. He is also a Live music host/Emcee at several national and regional venues. To Read All of Jim's Reviews, Click Here