Ted Russell Kamp SOLITAIRE

Ted Russell Kamp
Solitaire
PoMo Records

File Under: Classy and Classic Modern Americana/Country-Rock With West Coast Overtones and Folk Undertones

We’ve been late to the party with Ted Russell Kamp; only discovering his multi-talents and great voice three years ago with his 11th solo album, WALKIN’ SHOES, which we loved to bits; as we did with the follow up, in 2020 DOWN IN THE DEN …… and without spoiling your surprise; SOLITAIRE is very much in the same laid back, West Coast Country Rock Singer-Songwriter vein and it’s held a special place lately in the Magmobile on weekend journeys around the highways and by-ways of the Kingdom of Northumbria.
Opening track My Girl Now is real toe-tapper and actually a bit faster than you think it is ….. try singing along ….. it’s nearly impossible without gasping for breath half way through. Kamp’s slightly raspy voice is almost perfect for this tale of winning a heart after a long and troubled courtship of sorts …… and very much sets the tone for what is to follow.
Probably best known as the bass player in Shooter Jennings’ Band; Ted is also a Producer of some repute too; but IMHO he is also one of the finest songwriters in the idiom as I’ve heard since the heydays of Country Rock in the 1970’s. .
Birds That Sing at Dawn finds Kamp’s already husky voice dropping down a key or two as he sings about a beautiful if flawed love affair……. ‘the one that got away’ ….. and I bet you don’t pout; as I did the first time you hear the chorus;
I’ll just sit here drinking whisky
Waiting for the birds that sing at dawn
.”
Like so many other songwriters; these songs came to Kamp as he was housebound during Lockdown I in 2020; and there’s a claustrophobic feel to a couple because of that; Be Your Man and Exception to The Rule are prime examples; with sparse arrangements that enable the singer to sound as profound and heartbroken as music allows.
While most of these songs are from the Country Love Song playbook; i.e. lost love and broken hearts are the threads that hold everything together; what else would you expect from titles like Only a Broken Heart and/or A Rose or Two? and they both live up to the billing; but don’t worry …… Ted Russell Kamp has a special way with his words and arrangements that will tug at your heartstrings while still allowing you a ‘knowing smile’ at the same time …. the intricate title track Solitaire, being the type of song we’d normally associate with someone like JJ Cale and again later on The Spark too.
We need to go back to the beginning for my Favourite Song on this rather fine album; and even then it’s a coin toss between two …… the intricate and articulate Path of Least Resistance being ‘one of those songs’ where I’ve been left thinking ‘where did that come from’? The use of imagery and metaphor is simply outstanding; more so from someone best known as a side-kick!!
The other follows immediatly after and is by far the most up-tempo track here; bordering on actual Country Rock and if you were to hear it on the radio you would presume it was a killer tune from Poco or The Eagles or maybe even The Pure Prairie League; but no sirree You Can Go To Hell; I’m Going to Texas is 100% Ted Russell Kamp and you need to hear this song ASAP.
One of music’s problems these days is that too many musicians get pigeonholed for lazy fans on streaming sites; which has to be a dilemma for someone like Ted Russell Kamp as I doubt there’s a genre called Classy and Classic Modern Americana/Country-Rock With West Coast Overtones and Roadhouse Undertones ….. but I could be wrong of course.

Released May 7th 2021
https://tedrussellkamp.com/

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RMHQ Music Hour Ep:21

RMHQ Music Hour
Episode 21
May 21st 2021

Who knows where the time goes …. 5 months and 21 Music hours; phew.
This week features our friend Bobbo Byrnes talking about his Gateway Record; which for the second week running was something I’d never heard before ….. which is what this is all about.
Apart from that I’ve delved deep into my own collection for everything else; so …. nothing new this week, just me being self-indulgent.

Kevin Costner and The Modern West#21 PodcastTop Down
Elizabeth Cook#21 PodcastEl Camino
Bruce Springsteen#21 PodcastSleepy Joes Cafe
Neil Young#21 PodcastUnknown Legend
Lucinda Williams#21 PodcastProve My Love
Willie Nile#21 PodcastLevon Helm
The Band#21 PodcastKing Harvest
Ian McNabb and Crazy Horse#21 PodcastEvangeline
Stone the Crows#21 PodcastPenicilan Blues
Rory Gallagher#21 PodcastDaughter of the Everglades
Bobbo Byrnes#21 PodcastSomewhere Else
Izzy Stradlin (Guns n Roses)#21 PodcastShuffle it All
Rolling Stones#21 PodcastThe Last Time

Jesse Terry WHEN WE WANDER

Jesse Terry
When We Wander
Wander Recordings

Laid Back and Easy Going Americana With Deceptively Killer Lines and Hooks.

As I’ve said many times over the years; “If I was aimlessly flicking through the racks of a record shop and stumbled on this; the cover alone would grab my attention and lead me to asking the person behind the counter if I could hear a couple of tracks.”
(Remember those days kids?)
The cool pic of a handsome young man in a Rough Rider jacket, looking straight at you, effortlessly leads you into the the laid back and easy going songs that follow …….. but; in the best TV Detective manner; there’s a glint in them there eyes that hides the fact that he’s more than capable of delivering a killer line or couplet when you’re least expecting it.
To begin with, the title track When We Wander gently squeezes your heart until you can’t breathe for fear of missing a note or sepia tinged image …… phwoar!
Jesse Terry has a such a lovely and yet deceptive voice that you would be forgiven for putting this album on as ‘background music’ ….. but; trust me here …… something will catch your ear and you won’t be able to stop yourself jumping up and taking said song back to the beginning; be it the sumptuously reflective Hymn of a Summer Night, the Honky Tonk delights of Pretty Good Hand or even the bittersweet love song, In Spite of You; all have something that will pique your interest and maybe even look back on your own life.
Seven albums in and 150+ shows a year don’t necessarily make for an apprenticeship that makes a songwriter this good; but Jesse Terry uses every single experience in his life to create his Art; and in many ways his songs are Art.
Our new friend Neilson Hubbard’s gentle production gives this a bit of a West Coast/Laurel Canyon vibe; with Ghost Stories and the punchy Little Fires sounding as if Terry had overdosed on Jackson Browne and David Gates for 72 hours solid and wanted to tip his hat in that direction; and the world is a better place for it.
While a wholly gorgeous and slightly edgy album from start to finish; on any other album the title track would be my Favourite Track; no question but such is the quality and class on offer it doesn’t even make the Top 3!
Little Fires, with its searing pedal-steel spine, has an easy going melody that lulls you in until the story unravels and you find you unconsciously have a tear in the corner of each eye and your bottom lip is puffed up ….. yup; it’s a bonafide heartbreaker.
Jesse Terry can also Rock It Up when he wants to too; and the powerful Hanging the Stars effortlessly straddles Classic Country Rock and the new fangled Alt. Country with ease and is just perfect for the radio on a hot and stifling Saturday night.
Then, there is the overall winner …….. cue drum roll …… the Springsteen inspired Strangers In Our Town.
Like all great songs it will appeal to listeners on different levels; but to me this claustrophobic love song had me looking at Mrs. Magpie and thinking; ‘come on ……. let’s us be strangers in our town‘ i.e. let’s look at our lives from a whole new angle … we’re never too old to Rock & Roll; are we?
All that’s left for me to say is to tell you about the Press Release; as is my won’t I skimmed down to see if my name was included (it isn’t) and then I saw a quote from a radio DJ.
Mercifully for once it wasn’t Bob Harris; but someone you’ve never heard of but has been a huge influence on my listening taste and hopefully broadcasting skills over the las 50 years ……. one Paddy MacDee from my local BBC Radio Newcastle.
At one stage Paddy had three very different shows running 7 days a week and wholeheartedly supported ‘proper music’ and especially the local scene, not just on radio but turning up to gigs on his nights off too.
So; if Jesse Terry is good enough for Paddy MacDee, he’s certainly good enough for the likes of me and you!!

Released May 14th 2021
https://www.jesseterrymusic.com/

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Annie Keating BRISTOL COUNTY TIDES

Annie Keating
Bristol County Tides
Self-Release

A Pandora’s Box of Americana Introspective and Imagination.

I forget when I first encountered Annie Keating; perhaps at a gig or most likely via the album FOR KEEPS that I reviewed for Maverick Magazine; but it’s fair to say she has accompanied me on many of my darker moments over the last few years …… and she didn’t even know it.
Music touches people in a million different ways of course; and while you’d not think of Ms Keating as a purveyor of ‘sad songs’ (she isn’t) but she can not just tell but sell a ‘sad song’ and make it sound ever so personal to the person on the other end of radio tubes.
Here; the opening track Third Street took me by surprise the first time I heard it as it’s a lot ‘heavier’ than I’d expected …… in a damn good way too; as the Bass pushes down on your chest as the swirling electric piano sounds like the wheels are coming off and then, on top of that, Annie spits out her weary tale with a squint in her eyes …… I can only dream that one day you will idly be driving along in your car and this comes on the radio!
Like most every singer-songwriter these days; Annie used the claustrophobic time enforced on her and her family during the recent Pandemic to write …… and write she has; as this album has 15 tracks on it; and not a single note or word should be edited out.
While tucked away in the family home Annie has been forced to delve deep into her imagination; and once that Pandora’s Box was opened the likes of High Tide, Marigold, Shades of Blue and the enigmatically titled Bittersweet sound like they must have poured out in the middle of the night and into the daybreak with only coffee as a friend.
There’s a clever mix of light and shade across these songs; with many coming from Annie and her Band; but then of course she decides to dip back into solo singer-songwriter mode for the brittle and bewitching Song For a Friend and Half Mast too.
While Annie has always been a sharp and canny songwriter; there’s a feeling of maturity and even sageness that comes with ageing across this album; and which makes choosing a singular Favourite Song excruciatingly difficult …… but that also meant I had to play it an extra couple of times to help decide; which was no hardship whatsoever.
Eventually I’ve narrowed it down to three very different tracks; Track #2 Kindred Spirit sounds like the type of song Lucinda has been trying to write this last 15 years or so; and the cracked world of the love lorn is a lot better place for Annie actually doing so; here’s the opening verse …….:
There’s a Grace in the way you walk/a lazy kind of way you talk
I like the way my name rolls off your tongue
There’s a sadness about where you’ve been/I feel it coming off your skin
A look behind your eyes like you’ve been stung.


Good? Huh?
The metaphoric Lucky 13 on the other hand, opens with a beautiful guitar solo; and eventually Annie slurring the chorus will make you clench your teeth and hope for a happy/happier ending;
Slot machines, Kings and Queens / I’m betting on Lucky 13
Just what you like/a little thrill ride/ losing inhibitions by midnight
.”
will she have the happy ending she craves?
Only keen eared listeners will ever know.
Tucked away in the middle is the charming Doris; a gorgeous introspective tale of a strong woman who arrived in America circa 1959, drinks Johnnie Walker red – straight, smoked a Dunhill pipe, and is now 83 and getting younger every day. Doris just happens to be Annie’s Mother btw. Americana/Folk Music at its very best methinks.
Then’ of course there is the slow and seedy Hank’s Saloon …….. imagine, if you will Bruce and Lucinda being locked in a Motel room with no air con and not being allowed out until they had written a bonafide Hit Country Song for George Jones …… then it might sound a bit like this.
Not an easy choice; but Hell ……. Hank’s Saloon has to be my Favourite …… it’s cooler than a penguins bum!
After 7 previous albums it’s probably unfair of my to still compare Annie Keating to anyone else; but I feel that’s the best way I can to explain the high quality of not just the songwriting here; but the consummate light and shade in the way Annie has constructed and helped produce these songs ………. there’s a lot to appreciate here; but most of all BRISTOL COUNTY TIDES is an album from an artist at the top of her game and something you can allow yourself to settle back and just wallow in.

Released May 7th 2021
https://www.anniekeating.com/

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RELEASED UK May 7th 2021
RELEASED US June 4th 2021

RMHQ Music Hour Ep 19

RMHQ Music Hour
Episode 19th
7th May 2021

Jack Mack and the Heart Attack Horns#19 PodcastServes Me Right
Kinky Freidman#19 PodcastCircus of Life
Jason Ringenberg#19 PodcastEddie Rode the Orphan Train
Holy Moly and the Crackerslocal#19 PodcastCold Comfort Lane
The Persecuted#19 PodcastI’m Sorry for Everything I’ve Ever Done
Hitman Blues BandGateway#19 PodcastThe Time’s They are a Changin’
Louis Speginer#19 PodcastLouis’ Guitar Boogie
Maia Sharp#19 PodcastJunkyard Dog
Steve Grozier#19 PodcastWhen The Darkness Comes
Sarah Jaroszr#19 PodcastRun Away
Karl Brodie#19 PodcastMoonshine Dancing
Steve Goodman#19 PodcastCity of New Orleans
Ashleigh Flynn and the Rivetters#19 PodcastTiger by The Tail
Kris Kristofferson#19 PodcastFrom Here to Forever

Ashleigh Flynn & The Riveters

Ashleigh Flynn & The Riveters
Live From The Blue Moon
Home Perm Records

A Live Set That Leaps Out of the Speakers and Grabs Your Attention from the Git Go.


If you -like many of us, have been missing live music of late, then Ashleigh Flynn & The Riveters has a special treat for you.
Recorded live on the Blue Moon Stage at the Oregon Country Fair during the summer of 2019, this set of country and Americana tunes literally leaps out of the speakers and grabs your attention from the git go.
Ashleigh Flynn and The Riveters initially formed in 2018, releasing a fantastic debut album, and this live set is full of songs from that album as well as a few fun others and definitely bears repeated listens.
Guitarist Nancy Luca, some wonderfully fun accordion by Jenny Conlee, a tight rhythm section in bassist Carmen Paradise and drummer Jolie Clausen, and backing vocalist Samantha Montanaro all perform with Rock ‘n’ Roll abandon; while staying true to the Alt-Country formula of Flynn’s songs and a couple of well chosen covers.
Check out the first track; “How the West Was Won,” which retells all of those Cowboy tales from a more feminine point of view, and “Fly Away” which is pop country sweetness to die for!
There’s even a Jump ‘n Jiving Country Stomp on “Deep River Hollow” (which also has some sweet harmonies!) and their lively cover of Buck Owens’ “Tiger by the Tail,” sounds like they are really ripping up the stage.
“Big Hat, No Cattle” has a deceptively light-hearted approach while it skewers most likely a third of the audience that was probably in attendance the day it was recorded.
Fearlessness is a true sign of a great songwriter, and Flynn delivers in spades; while her top-notch band takes no prisoners at all.
You can call this music Country, Americana, or whatever you want, but the way the guitars bite, the drums pound, and the bass drives, I will say that this is some of the finest Rocking ‘n’ Rolling ensemble playing I’ve heard since the New York band Girls on Grass.
Add to that some delicious accordion and fun and catty background vocals and this whole 45 minute set goes by way too fast.
Ending the set is an exciting rave up of the Tom Petty classic “American Girl,” right after which Flynn ends the show by telling the crowd to come see them later ” …on the main stage!” and I guarantee if I was there I would have helped the band set up just to speed the act along, ready for more.

Review by the Legendary Roy Peak
Released May 18th 2021

https://www.ashleighflynnandtheriveters.com/

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Vanessa Peters MODERN AGE

Vanessa Peters
Modern Age
Idol Records

A Fantastic Change of Direction That Took in 4 Different Countries!

I am not sure if it has been just the luck of the draw; but I have had quite a few female artists to review in recent months. If it is, I should maybe consider doing the National Lottery as I seem to be striking oil with every one of them.

Splitting her time between Texas and Italy, singer/songwriter Vanessa, has taken 12 months to write, record and produce her latest album; and she can rightly be proud of ‘Modern Age;’ an album that has managed to overcome the numerous problems encountered during the pandemic.
At the same time I certainly feel this a fantastic change of direction (and a successful one) making full use of her powerful vocals.

The title track bemoans the changes in the ‘Modern Age’ where we find the need to check our mobiles phones constantly; but it was designed too, as a protest song about the move from a relatively modern baseball stadium to a brand new one for The Texas Rangers!
You live and learn.

Anyone who has bothered to read previous reviews will know I hate having to shoe-horn an artist into a genre; but with this change I feel Vanessa has entered, what I loosely refer to as ‘Indie/Country’ – the ‘Country’ bit could equally cover the fact they recorded this over 4 countries after being caught up in the COVID situation.

‘Crazymaker’ handles a toxic relationship with a strong guitar rock, that dovetails perfectly with Vanessa’s smooth yet powerful vocals; and is the first single from the album with a video shot during their Italy stay.

‘Hood Ornament’ sees her ‘all alone on the stage but she is labelled as the hood ornament’ – if performing was as easy as folks think then surely; ‘anybody could do it;’ while on ‘The Band Played On’ she decides they have to ‘play on’ in the hope the relationship will ‘turn the corner.’
It would seem that using the shipping analogy it was going to sink!!
Probably my favourite track.

There is a jangly guitar feel immediately on ‘Never Really Gone’, a cracking poppy song delivered in a very catchy manner. Definitely a track to demonstrate her move ( on this album) into softer and more modern songs/arrangements that suit her new style perfectly well.

On ‘The Weight Of This’ Vanessa delivers another great vocal, a song that could easily have been dropped into albums from any of the current crop of female superstars; while ‘Yes’ is a slow and silky offering to deal with the constant need to say ‘yes’ in situations that probably warranted a different approach.
Her anger comes through as we approach the end with the backing hitting the perfect level to stress the ‘lack of courage to put her real feelings to the test’. Vanessa Peters certainly does not like being treated as a ‘chick singer’!

Considering the trials and tribulations the band encountered at a very difficult time for all of us; and (especially) bands trying to produce an album I feel they should all be proud of their final product.
In many ways this is a set that I would happily pay to see delivered in front of a live audience (remember music gigs? Apparently they are making a comeback!)

The final track ‘Still Got Time’ sees the band stressing that there is always the time to lose your inhibitions and to take control of your own situation.
Something they have managed themselves very well in the production of this album.

Did my run of smashing albums from the female fraternity continue?
Most Definitely!

Great vocals, great songs, great band – what more could you want?

Review courtesy Bill ‘Two Jabs’ Redhead.
Released April 23rd 2021

https://vanessapeters.com/

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Stephen Flatt CUMBERLAND BONES

Stephen Flatt
Cumberland Bones
Flatt Family Music

Using Everything in the Country Music Arsenal to Woo You Into Total Submission

Scanning through my ‘to do’ list the name jumped out me; and sure enough Stephen Flatt actually is related to Lester Flatt, he of Flatt & Scruggs; and yep ……. he’s actually a long lost Great Nephew; but that matters not a jot here, as he is very much his own ‘man’ without ever really drawing on that legacy, no matter how tenuous.
Stephen’s rich and expressive baritone comes at you like a ‘sucker punch’ on opening track Brother. Even the first time you hear this song you will imagine a sepia tinted video with a homestead, a sunset and a beat up old wagon somewhere ‘in shot’; but don’t think that this is Country by Numbers; far, far from it ….. Flatt uses that template exceptionally well; but isn’t afraid to ‘colour outside the lines’ when necessary.
I’m smiling as I type; because to me, this is Good Ole Country Music, the type you want to hear on the car stereo or on a Thursday night at a Roadhouse on the edge of town; before the big hitters come in on the weekend ….. it sure ain’t what you will hear or see on the Awards Programmes.
The pedal-steel cuts through many songs like metaphor for a knife carving out a still beating broken heart; none more so than when Flatt’s voice sounds like it’s on the edge of breaking during Logan Creek; not your ordinary heartbreaker; but one with a delicious twist that slowly unfurls.
Oddly enough, there is a good ole Bluegrass toe-tapper here; White County Shine; and it’s really rather bodacious and I imagine it will come late in the set when played live; as it’s a sure fire floor filler.
The more I’ve played this album; the more I feel that Stephen Flatt sounds and writes a bit like a young Vince Gill; while no doppelganger the Master’s fans are going to love One More Time (based on the moonshine theme, updated to reflect running meth when “the boy’s got a batch cooked” to finance a better life.), Gone Away and the rather swoonsome Hold You Tonight; so if you know a Gill fan …… give them a nudge in this direction.
Like so many of his generation, Stephen has a musical background outside the Country Music world; but he’s finally been drawn into the fold; and to some extent it takes a life of experiences to be able to write a song like Talking Like The Devil and deliver it in a way that makes the listener think …… “We have all been there!!!! “
That song is probably the most commercial here; but I’ve decided to go in a different direction for my actual Favourite Track; it although the judicious use of fiddle and mandolin means El Camino (1965) usually means that the its a Bluegrass tune; which is probably where it started ….. but it builds and builds until it’s nothing short of being a Honky-Tonking, Country and Western song that uses every thing in the arsenal to dance you into total submission ….. and I absolutely love it.
To some greater level; this is a solo album where Stephen Flatt is finding his feet; but none the less it’s a cracker and well worth checking out.

Released April 16th 2021
https://stephenflatt.com/

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*A CD and artist download will follow ASAP



RMHQ Music Hour Ep:16

RMHQ Episode 16
April 16th 2021

Four months in and our aim is still and always will be to bring you the best in new Roots Music and mix in some similar music from across the ages that you may have forgot about.
This week, after Bill Kirchen gets the show on the road with an alternate theme song; it’s all a bit rocky and noisy at the beginning, with a bundle of new songs from Reverend Peyton’s Big Damn Band, Vanessa Peters, Hitman Blues Band, Janet Simpson and Wily Bo and ED Brayshaw.
This week’s Gateway Record comes from local hero Paul Handyside and provides something of a surprise for me (and him too!).
I’ve slid in one of my favourite ever songs courtesy Chris Difford; and we close out with two songs for people everywhere who may have ‘one or two things going on’ that they can’t talk about.
The new songs carry on via Scotland’s Anton & The Colts, and we close out with yet another Alternate Theme song for the show, from Sturgill Simpson.

Bill Kirchen#16 PodcastToo Much Fun
Rev’d Peyton#16 PodcastRattle Can
Hitman Blues Band#16 PodcastAngel In the Shadows (remix)
Vanessa Peters#16 PodcastThe Weight of This
Wily Bo and ED Brayshaw#16 PodcastSINGLE Wild Dogs
Anton and the Colts#16 PodcastSINGLE where art thou April?
Janet Simpson#16 PodcastI’m Wrong
Chris Difford#16 PodcastFat as a Fiddle
Paul Handyside#16 PodcastGoodnight Lover
Bob Dylan#16 PodcastTears of Rage
Leigh Thomas#16 PodcastBeautiful Pain
Gretchen Peters#16 PodcastDancing With The Beast
Sturgill Simpson#16 PodcastLiving the Dream

Bloodkin BLACK MARKET TANGO

Bloodkin
Black Market Tango
COSMO SEX SCHOOL RECORDS

Intense and Emotionally Articulate Rock of the South.

As many of you will know; I’m very judgemental regarding artwork and band names ……. so this Double Album has sat on the side-lines for weeks; as I (wrongly) presumed that the incumbents were some Heavy Metal Death Squad (you’d be surprised what we get sent some weeks!!!); so it was left to my intuitive IPhone; which picked out a track last week that had me zapping back to the beginning; but more of that later.
Revolving around Daniel Hutchens and Eric Carter who first met as 8 year olds in West Virginia; and eventually upped sticks and moved to Athens GA to become Rock Stars, Bloodkin are actually an articulate Southern Rock Band who are more concerned about ‘the songs’ than the ‘boogie’ which is something I really admire; with track #1 Transistor Radio being the type of ‘driving music’ I’ve loved for more years than I care to remember. A catchy riff and a singer who can actually annunciate as he sings about something many of us still romanticise about; and there’s a girl in the mix too.
For a ‘Rock Band’ with ‘that name’ Bloodkin have a remarkably sensitive side to them; with Her Blues being the type of shuffle you’d imagine Jason Isbell ending the night with and Cantina Fever has echoes of a young Dave Alvin in the way they set the scene for a world weary love song that feels like a Spring sunset over the mountains.
Apparently there’s been a ten year hiatus before Hutchens and Carter finally got back in the studio; and perhaps that explains the restrained vibrancy and darkness that fills out Trashy, Speed Freak Highway and the song that started this mission for me; Beneath the Streets of Nashville, which is as haunting as the title suggests.
I’ve said before that I’m no particular lover of Double Albums, as there’s always a few tracks in there that shouldn’t be and judicial editing should always make for an exceptional single album.
Now; it’s not to say that everything here is Grammy potential; but in the modern idiom I’ve played this via my phone in the car and again in the house while ironing (it’s not all Rock and Roll at RMHQ!) and I never felt the need to FF anything, or worse still delete any tracks ……. it all just rolls along nicely, thank you very much.
Phew; for a Favourite Track I’m not 100% sure where to go; Man in Trouble is as feisty and punchy as I like these days; as is Gloryoski …… especially when played LOUD.
Then again I hadn’t realised that the final opus God’s Bar was 12 minutes long …. and it is; but as a stand alone epic ballad in the vein of Tom Petty or perhaps American Aquarium it’s a thing of beauty.
But; I’m going for John Coltrane in Nagasaki; not just because of the great title and back story …….. it’s the best song Chuck Prophet never wrote!
I know I’ve dropped quite a few name-bombs into the mix here, and that probably will not just annoy Daniel Hutchens and Eric Carter but their fans too; but I feel the desperate need to let RMHQ Readers know what to expect; and I’m not a million miles away with my observations; Bloodkin are as articulate as they are musical and they appear to have a sense of humour too; which is sadly missing in Rock and Roll these days.

Released April 16th 2021
https://www.bloodkin.net/

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