Jane Allison LIKE MAGDALENE

Jane Allison
Like Magdalene
Horus Music

Highly Talented and Americana Influenced British Bedsit Country-Folk.

This is odd; I was 99% sure I’d reviewed Jane’s album Just Another Girl, but can’t find it in our archives …… oops, if I didn’t!
Whatever; that was the past and LIKE MAGDALENE is not just the present; but in some ways the future too.
For the uninitiated this young lady from the rather lovely town of Aberystwyth in Wales; seamlessly and charmingly straddles the Folk and Americana spheres with ease, with barely a trace of her natural accent in her singing voice; which will surely give songs like the torrid and dour opener Don’t Spill The Water; which has more than a hint of Rust Belt Americana to it; most especially in the breathy and breathless chorus; making it ideal for Roots Radio everywhere.
Like so few of her peers; Jane isn’t afraid to wear her influences on her sleeve; with the emotional Shower of Stars and Kiss of Peace sounding uncannily like adaptations of something Leonard, Joni or RMHQ Favourite, Gretchen Peters may have written; but not actually released ….. but; no … these are from the pen of Ms. Allison herself.
Alonza Bevan’s production make’s Jane’s crystal clear voice and fascinating songs shine throughout; dipping in and out of 60’s bedsit melancholia that relationships of all types can bring; with ease on If I Was Famous, Banks of the Landwehrkanal and Summer Wind; but never allowing this album to sound even the merest hint of depressing; these songs will appeal to anyone and everyone who knows what ‘darkness’ feels like; but there will always be light at the end of that particular tunnel; and here it’s in the shape of the powerful title track Like Magdalene, the delightful Shower of Stars and especially High Road (when the shadow of Joni circa Blue encapsulates every word).
Then, there is one other song that captured not just my imagination when I first heard it; but my heart too.
It’s been a tough old 18 months for everyone; and I’ve not been immune to my own ‘black clouds’ especially recently; and while I’ve tried to blank them out somewhat with Tamla Motown and/or loud Indie Music; nothing speaks to more than a song from someone who ‘has been there’ and I can only presume Jane Allison has; as Frayed with its massive peaks and troughs will touch many another soul as it has mine; therefore making it my Favourite Song on a rather exceptional album.
I guess if I were to ‘pick at the seams’ I would hear the Celtic influences of Jane’s roots; but to me this is quite simply as good British take on ‘Americana’ (which knows no boundaries!) as I’ve heard in years; in fact it’s so damn good, you would be mistaken for thinking Jane Allison was Canadian!

Released June 12th 2021
https://janeallison.net/

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https://janeallison.bandcamp.com/

Mary Hott DEVIL IN THE HILLS

Mary Hott
Devil in The Hill
Self-Release

A History Lesson from the West Virginia Coalfields That Needs To Be Heard By the Nation At Large.

As the last child of a generation of Coal and Tin Miners I’m a sucker for a song about the coalfields, be that my local community in the NE of England or further afield in Nottinghamshire or even Olde Americae.
This particular group of songs and stories come from a tiny spec in West Virginia called Fayette County; that 99% of Virginians couldn’t find on a map ……. but need to be told for the generations that follow.
Even the background to the original concept is fascinating; with an old Coal Mining store being bought and restored to become a museum; only for ex-employees to make pilgrimages and tell their own dark and torrid tales,
These stories from the Whipple Company Store and similarly bleak recollections of coal mining and railroading life from other parts of West Virginia have been suppressed for too long.
At first, the people themselves kept silent and hid the stories out of fear and indignity.
When they finally shared their tales, their validity was often doubted, shaming them into believing that silence may have been the better choice.
And now the people who shared these stories are gone.
It is up to us to remember and continue sharing our history from the perspective of the people who lived it.

The album begins with Don Dixon talking about the mining community and how these stories have been passed down orally from Father to son and Mother to daughter for well over a century.
The rest of the album is West Virginian Folk Singer Mary Hott and a band of musicians who sound like they too ‘feel’ each and every one of these songs in their hearts …. and their scarred lungs.
The first song is They Built a Railroad; and proves to be a sad cornerstone for all that is too follow; with the now, romanticised Railway bringing workers in and then take the coal out ……. but the thread that weaves throughout is the way the workers were horrendously treated; most especially when they tried to form a fledgling Trades Union and make their working conditions slightly better.
“Our ancient hills held a rich man’s treasure,
They carried workers from Ellis Island.
They brought freed slaves to work the mines.
They trafficked girls for comfort and pleasure.
Total power over humankind.”
Powerful stuff indeed.
Then there is Annabel Lee, which follows; and this particularly dark tale of a beauteous young woman who is brought in to town; to ‘bring pleasure to the men’ ……. if your heart doesn’t cry out by the last verse; you’re reading the wrong review.
The emotion in Mary Hott’s voice, as she sings her songs is a genuine 8th Wonder of the World; as she has the capacity to go from passionate Honky-Tonker/Murder Ballad one minute, The Spot then grab your heart the next; squeezing out sparks the next with Devil in The Hills; then follow that up with the Gospel Infused Rise Up WV; which mentions all of the creeds and colours that were brought in not just from across the State but the Country to work the mine; and still make them all sound like a cohesive story; and never patronising the listener.
A rather fabulous album comes to a natural close; with Mary slowing things down quite beautifully with the traditional Gospel Ballad, Life’s Railway to Heaven and finally slow and heartfelt version of Take Me Home Country Roads; which couldn’t be any more fitting.
Which only leaves me to select a Favourite Song; which is hardly fair …… but the two songs/tracks that jumped into my head last night were the haunting 48 seconds of Blair Mountain Ballad, which will send a shiver down your back; and then, there is Room of Lost Souls which ….. well …… honestly; this raw tale of a miner who first goes down the pit as an 8 year old then eventually dies when his son is the exact same age; and the circle goes on ……. and sounds like a long lost Bobbie Gentry song; and if it was it would be heralded from the Rolling Stone rafters.
As well as a bunch of amazing yet horrendous songs; wonderfully created and constructed you also get a booklet that details the background (and more) to each and every story …… and this alone should be available in every school across America ……. this is your History; don’t forget it….. like the Authorities want.

Released June 4th 2021
https://maryhott.com/


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Emily Barker, Brennen Leigh & Noel McKay at Jumping Hot Club, Newcastle

Emily Barker, Brennen Leigh & Noel McKay
Jumping Hot Club
Gosforth Civic Theatre
Newcastle
Saturday 29th May 2021.

Wahay!
Live Music is finally back!
Because of all the restrictions surrounding the first gig at this venue in well over a year, I only received conformation of my ‘seat’ an hour before the doors opened …… which initiated an excited drive across the city in the bright Bank Holiday sunshine, with Emily Barker’s A DARK MURMARATION OF WORDS not quite blaring from the speakers.
Once inside the venue it was equally weird and fascinating watching the limited crowd being escorted 2 x 2 to their pre-booked tables then given a full set of instructions, including how to order ‘table service’.
That said; if this is what it takes to get Live Music up and running again …… so be it.
Just to add to the ‘oddness’ of tonight’s event; the support act Brennen Leigh and Noel McKay were actually still in Nashville and being beamed to NE England via an HD Internet connection; which meant that they couldn’t hear or see any response to their songs.
Aha …… onto the music.
Following a nervy introduction Brennen introduced their first song as being a personal request from the Jumpin’ Hot Club promoter Graham Anderson; and what followed was quite extraordinary ….. Intergalactic Shipwreck Blues; a song I wasn’t previously aux fait with; but proved the perfect start to this particular evening.
As the song ended; and totally unknown to the couple; the applause from the 50 strong crowd was rapturous and as loud (per head) as the Beatles at Shea Stadium!
In fairness it took a couple of songs for the act and audience to settle into the scenario; but eventually everyone relaxed and the mix of new songs (Arlene and the divine Prairie Love Letter) with the couple’s standards (The Ballad of Tombstone Poker and Rosine (?) and After The Show) made their 45 minutes fly by.


The oddest thing for me was seeing the couple three times their normal size; and finally realizing what a scary look Noel McKay has when not singing ……. staring straight down the camera lens with cold beady eyes; and daring the audience not to appreciate Brennen Leigh’s singing voice.
The highlight was when Brennen introduced a fan favourite song; by saying she did understand the irony involved by them singing a song about the romantic idealism of Analog in Nashville, Tennessee and then High Tech beaming it thousands of miles to Newcastle, England.
The twenty minute break had regular Club attendees who hadn’t seen each other for a year or more, waving to each other and miming various ailments …… which could easily become a Saturday Night TV Game Show.
Then Emily Barker made her appearance; noticeably giggling with excitement as she and husband Luke Drinkwater set up their gear; then taking to the mic to welcome everyone and apologising in advance if she started crying at any time in the evening; as “getting back on stage after 14 months, meant so much to her.”
Although several friends in the hall had seen Emily Barker a dozen or more times over the years; this was my first time …… and even a minute or so into first song Geography made me see and hear why her fans are so loyal. Her voice (and songwriting) simply transcends what I know as Folk Music ……. as the night rolled on I heard elements and essences of Carole King, Emmylou Harris and Sandy Denny in the way Ms Barker sings and evolves her songs plus at one stage Emily and Luke embarked on the gentlest guitar duel I’ve ever witnessed.
The couple performed three or for songs from the recent album alongside a wonderful new single called Bound For Home; written and originally performed with Frank Turner; but tonight this lovely sad song was 95% Emily herself with Luke adding harmonies and an extra doze of melancholia by bowing his double bass ……. all of which sent the hair on the back of my head on end.
One of the joys of seeing a live concert is that there are no overdubs or any other jiggery-pokery; this is high-wire stuff; and Emily made a couple of mistakes mid song; starting again once and the second time simply raising her eyebrows, smiling and getting on with it …… that’s Rock and Roll kids.

As a newcomer to the delights of Emily Barker I obviously didn’t recognise several songs; but that mattered not a jot as this was a total joy from start to finish with Where Have The Sparrows Gone? when Emily’s crystal clear voice soared and swooped like the bird itself and then there was The Woman Who Planted Trees ….. phwoar what a powerful song and the story Emily told of the woman who inspired it was tear inducing to even an old soak like me.
The main set ended with Emily taking to a piano; and there was an effortless grace to both Sister Goodbye and Sonogram that to some degree totally unexpected if no surprise; judging by what had gone before.
For the obligatory Encores, Emily returned to her Folk Club roots with Billowing Sea and The Blackwood which brought another round of very noisy applause and a race between Emily and her fans to get to the Merch Table in the foyer!
For me, this was a really lovely way to get back into Concert going; seeing one act that was previously relatively unknown to me and catching up with a couple I’ve loved and admired for a few years now …….. Long Live Rock & Roll (in all its forms).

The Rocking Magpie.



Steve Goodman IT SURE LOOKED GOOD ON PAPER

Steve Goodman
It Sure Looked Good On Paper
Omnivore Records

Keeping The Flame Alive.

For a man who died so very young; Steve Godman appears to have left a fabulous legacy and goldmine of songs in his back catalogue.
This latest release from those fine folks at Omnivore Records is a rather loving look at a bunch of demos, rarities and oddities long forgot by even his most ardent fans.

It’s obviously no surprise that City of New Orleans opens the album; only as a band demo; not that you would know it, as it sounds fully formed and staggering in its beautiful complexity and observational detail; and its no wonder that it has become a timeless American Classic as the years have gone by.
OK there will be some pedant reading this who will tsk at my next sentence; but what follows; including a bunch of demos is all new to me and therefore; I can and will treat this as a brand new album ….. which it is.
While fundamentally ‘of his time’, Goodman’s style is genuinely timeless and if you didn’t know better Yellow Coat, Kiss Me Goodbye Again and The Water Is Wide are all as astute and sharply observed as anything I hear from Millennial songwriters that grace the RMHQ turntable, yet were written and recorded over 40 years ago.
Of the oddities here, the charming Face on The Cutting Room Floor was written, but not used in the film Dead Men Don’t Wear Plaid; and that title track is here too; plus there’s the stupendously atmospheric Six Pack, originally cited for a Kurt Russell film but has remained hidden until now …… and the world is a better place because of it; and if you are an Alt. Country Band looking for a ‘hit’ ….. look no further my friends.
As there are 20 songs here I can’t discuss each and every one; but Climb the Hills to The Dale, The Dutchman and The Auctioneer certainly deserve to mentioned ‘in despatches’.
This then brings me to my choice of Favourite Song.
The class and quality that Steve Goodman brings to everything here; even the demos makes this quite difficult, but I’ve narrowed it down to three; the title track alone ‘tickled me’ and the half-baked song itself lives up to the title; and the band ‘demo’ Hands On Time, yet again surpasses many songs of a similar ilk I’ve heard from so called ‘stars’ of more recent years.
Then; there is the song that I played first simply because the title appealed to me … Eight Ball Blues; and (again) it not just lived up to; but surpassed its billing.
Phew; why was this not a #1 hit? It’s every inch as good as anything I’ve heard from the same period (Paxton? Chapin? Ochs? Rush?) or beyond; and better than most, with Goodman’s articulate observations and use of metaphor as good as anything his peers ever managed in their homes on Millionaires Row.
As I said earlier there’s a lot here that today’s singer-songwriters can learn from and for bands to dip into and utilise for their own nefarious gains; but also to keep the Steve Goodman memory alive and well in the 21st Century.

Released May 14th 2021
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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

Merrym’n MORE FROM MERRYM’N

Merrym’n
More from Merrym’n
Self-released

Quirky, Catchy and Lovable Folk Tales From the Wilds of North Staffordshire.

Is there a market for idiosyncratic musical tales of North Staffordshire life?” is a question you might not ask yourself very often, if at all.
But it’s an essential one when confronting the works of Bob Moston aka Merrym’n who’s building a musical portfolio based around that very notion.
Well, if it worked for Frank Sidebottom and Timperley, there’s an argument that it can work elsewhere too. Although somewhat less surreal than Half Man Half Biscuit, there’s also a link there too; as the song titles are often as entertaining as what’s contained within them.
“Anthea Turner Blew Up” (about the TV presenter who came from the Staffordshire Moorlands); “In His Sid Kirkham Scarf;” about a local artist of idealised and somewhat sentimental Potteries scenes and my favourite, “Community Project Vandal” which could easily have been the title of a Fall B-side.
Musically, it’s one man and his guitar at the core of this, but accompanied by whatever instrumentation suits. On “The Toerag of Smallthorne Bank” the tale of this unpleasant chap is set to a Spaghetti Western/Calexico widescreen score, and “Jenny Greenteeth” tells a tale of adolescent romance played out against a Jonathan Richman/Tommy Larkins rhythm.
Whereas “The Hartshill Mile” adopts a scuttling train beat about a well-known pub-crawl in Newcastle-under-Lyme. Football and its culture is never too far away either; “A boy named Frank Soo” is a long-overdue tribute to the first player of Chinese origin “to play for Eng-er-land;” whereas “Nello the Clown” uses a kazoo “Ring of Fire” riff for this homage to Neil Baldwin whose life was dramatized in the TV film “*Marvellous;” and “Lads and Dads” takes an early 60’s doo-wop approach to the holiday scheme which got different generations together on the football pitch. Apocryphal and passed down local stories are given greater mythological weight in songs like the Rockabilly-ish “A Diesel Engine Through the Wall” and the Kinks-like “The Tall Grey Man of the Lido”.
The key to understanding a lot of the 20 track album though is “Statue of Josiah” which explores and celebrates a catalogue of Potteries iconography
nothing stokes the flames like that statue of Josiah
are these the ghosts of better days? Do we yearn to return to the old ways?
but we can see with our own eyes – these are troubling times”.
That’s the core to “More from Merrym’n” its quirky, catchy and lovable folk tales from the wilds of North Staffordshire stay the right side of sentimentality, in that they celebrate the working-class spirit and beauty that’s left in one man’s otherwise neglected and decaying hometown.

Review by Nick Barber (who coincidentally hails from this very area!)

https://linktr.ee/merrymn
Released May 21st 2021

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RMHQ Music Hour Ep:18

RMHQ Music Hour
Episode 18
April 30th 2021

Another eclectic mix of all things Roots orientated; recent releases, Classics including an intriguing Gateway choice from Lauren Housley; and a few new Singles that close the show …… stick in there; as the finale from Maya Lakhani is a very important song about and for women of all ages and IMHO spawns the beginning of a new talent that crosses many genres.

Ted Russell Kamp#18 PodcastYou go to Hell, I’m going to Texas
Texas Martha#18 PodcastBorn to Boogie
Sam Outlaw#18 PodcastJesus Take The Wheel (and Drive)
Archie Brown#18 PodcastBig Girl
Whitehorse#18 PodcastYou Get Older
Rod Picott#18 PodcastBroke Down
Lauren HousleyGateway#18 PodcastStay Awake to Dream
Bonnie RaittGateway#18 PodcastGod Only Knows
James HunterDaytrotter#18 PodcastOne Way Love (2013)
Alex Roberts#18 PodcastHacking Back to the Wild (Peregrine Falcon)
Michael Johnathon#18 PodcastVincent in the Rain
Lady Nade#18 PodcastWilling (single)
The County Affair#18 PodcastEvery Ghost (Single)
Maya Lakhani#18 PodcastWalk Alone (Single)

Michael Johnathon THE PAINTER

Michael Johnathon
The Painter
Poet Man Records/Wood Songs

Portrait of an Artist by an Admiring Artist in a Night Cafe on a Starry Night.

This is a bit of an odd one; and a challenge too.
Earlier this week I got into a bit of a ‘Twitter Spat’ about too many sites/publications sticking religiously to getting reviews out on or about the Date of Release; of which I am not just guilty, but proud M’Lud.
In my defence I spend an inordinate amount of time promoting my reviews from across the years in my more bored moments; too.
Why am I telling you this?
It’s late April and this album was originally released in the US back in February; but as I’ve only just received it; presume it’s getting some kind of European Release soon …… but that doesn’t matter; as I just like it and want to tell you about it. Fair enough?
Something else that would normally be against me spending my time here; is that it’s a tribute/song cycle to the artist Vincent Van Gogh and the effect he has had on the Artist in question. Personally, I’ve never liked Van Gogh’s style of painting; though always admired it; even going as far once, half a century ago as having a blazing row with my 5th Form Art Teacher half a century ago which led to a visit to the headmaster’s office.
The opening track; The Painter openly steals the melody from Don McLean’s own Vincent; but Johnathon is quite open about that in the background story; and even closes the disc with his own rendition of that Classic song; and does it very well indeed.
In between it’s a fascinating journey; with the gentle Folk Singer taking aspects of Van Gogh’s life and work turning them into fascinating songs that stand up on their own; like a beautiful sunflower (groan!).
For instance Blues Tonight is a gorgeous tale that could just as easily be song about a weary love affair; but in context is a cornerstone that the many other layers are built on. Then, there’s the punchy Othello; a lovely song; and presumably about a work that the singer has done in the style of The Master; and yet again ….. Johnathon may be telling us that Artists of all persuasions can and do use, words, music, paints and clay to mask our inner feelings from the world ….. context is everything here.
This is followed by a straight up cover of Harry Chapin’s Cat’s in The Cradle; which confused me at first; but is more than likely the singer’s own tale as told through Chapin’s eyes; and more than any other will make complete sense if used in any form of stage presentation ……. which will be well worth catching btw.
It’s probably best not to take every song as ‘literal’ ……. Michael Johnathon is a Folk Singer after all; but his writing and storytelling is quite intriguing and articulate, that’s for sure; with Sunday Morning and its sublime banjo refrain being the type of song we’d normally associate with the likes of Don McLean himself as well as Don Williams; plus The Statement and The Journey both being in a similar vein; but with much more edge and pathos to the lyrics and annunciation.
Perhaps he discovered it via Adele’s zillion selling version; rather than His Bobness’s original, Johnathon takes Make You Feel My Love on yet another journey of discovery with a lovely string section and delightful piano accompaniment; yet again getting me thinking that this combination is surely destined for some kind of Stage Production; and a successful one at that.
BTW, the sequencing is as exceptional as the songs themselves; with that latter song being followed by a Folk re-invention of Blue Moon; and ending with; what else but Vincent (Starry, Starry Night) which; if nothing else reminded me what a great and undervalued songwriter Don McLean was/is …… and; what a wonderful voice Michael Johnathon has.
I’ve deliberately missed one song; simply because it’s outstanding and therefore my Favourite Song here.
Vincent In The Rain, which comes in at Track #2; and like so many others here, not just stands out as a really good song sung well on its own; but in context makes you want to hear (and feel) what is coming next and next and next; ad infinitum. Obviously a personal story to the writer/singer but one many of us will associate with in our own ways too.
To some degree I’ve rushed this review; but that’s mostly because it has excited me in a strange way. Much like the work of Vincent Van Gogh, I shouldn’t ‘like’ this type of Smooth Folk Music; as I’m far too cool ….. but ….. but …… even the bright Artwork on the cover drew me in and ‘in’ I’ve stayed all morning and now feel I need to hear more of Michael Johnathon’s back catalogue and …….. God Forgive Me …… but buy a book of Van Gogh’s works!

# Now I’ve read the Press Release it appears Michael is actually planning to base a film based around these songs sometime in 2022! Watch this space.

Released USA February 2021
Released Europe April 2021

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Future Folk FRIENDLY FACES DIFFERENT FACES

Future Folk
Friendly Faces Different Spaces
The Slow Music Movement Record Label

An Intriguing Mix That Helps Push The Boundaries of Folk Music.

Folk music has about as many definitions as it does sub-genres and folks involved.
One thing nearly all types of Folk music has in common though, is that it brings people together. Whether to experience it as a listener or as a performer.
Future Folk began as a collaboration of people spread across the globe with the intent of attempting to help push the centuries old tradition of Folk Music into new sonic territories.
Compilation albums can often be scattered in concept, and barely held together in mode; but this one feels neatly tied together from start to finish; a charming thread of musical silver running throughout, weaving it all together.
This could be a modern Folk supergroup, so intertwined are the disparate parts.
A few highlights: The duo of Alula Down – Kate Gathercole and Mark Waters, updates the ancient story of Orpheus and Eurydice with ethereal voice alongside feedback from a mobile phone along with guitar, bass, and percussion in the opening track “Sir Orfeo.”
Bróna McVittie’s “A Pity Beyond All Telling” fuses electric harp and synthesizer, with a mantra-like evocation that touches the soul, making it both haunting AND soothing.
Me Lost Me performs an improvised a Capella song, “Nightingale,” adding touches of digital effects which give the vocals a disconnected quality, adding an unearthly touch to an already beautiful performance.
Listen carefully to “This Is A Robbery,” by Pete Thompson and you will discover it is more than just the guitar loops and lo-fi samples that make up its musical bed.
The disparate vocals seethe, the tension builds, it’s a song about a snapshot in time, a moment that will change life forever for everyone involved.
Several of the tunes here are ambient, droning, a mixture of old instruments and twenty-first century digital manipulations; some work well ….. others?
Less so.
Yet, all are intriguing.
I’m not entirely convinced they’ve yet pushed Folk into entirely new places, but it’s a healthy attempt.
That said; I’m looking forward to hearing more from all of the artists contained on this magical album.

Artists: Jeffrey Silverstein, Andrew Tuttle, Avocet, Bróna McVittie, Ben McElroy, Alula Down, Me Lost Me, El Conejo, Black Brunswicker, Scott William Urquhart, Geir Sundstøl, The Howard Hughes Suite, Tracy Chow, Pete Thompson

The Slow Music Movement is an evolving organism with an ambitious evolutionary plan. It was launched in 2017 as a radio show & daily music recommendation service with a focus on largely laid back, quality music, from independent artists & labels that we’ve dug a bit deeper to discover. We then share that music across the social media landscape.

Every Bit Helps
We donate a percentage of all label /streaming revenue to Client Earth to help mitigate our environmental impact & try and make a difference.



Released 15th April 2021
Review by the Legendary Roy Peak.

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https://theslowmusicmovement.bandcamp.com/album/future-folk-friendly-faces-different-spaces



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