RMHQ Radio Show Ep:7 Nova Radio NE Newcastle 26th June 2022
Just when I thought I’d figured out the Starship Enterprise control deck; that masquerades as the Nova Radio knobs, sliders and whizz bangs …. I missed another cue last night; mercifully not the first link of the evening. Purely by accident it wasn’t/isn’t the cheeriest of programmes; but that was probably my psyche working overtime when I was selecting the songs to play. Plus; for once …. not a lot of Blues … which I will put right next week. Anyways; thanks for listening especially as I introduced a couple of fabulous newish singer songwriters and bands to the RMHQ playlists …. and if by chance you know a North East based singer-songwriter that may fit in …. tell them to drop me a line on the Twitter @rockingmagie
‘Good Old Fashioned’ Train Songs With a Contemporary Makeover
Only a couple of weeks ago I had a deep and meaningful conversation with a couple of friends regarding the lack of ‘good old fashioned’ Cowboy and Train songs in modern Country and Americana. We could all name a couple from a few years ago …. but nothing in recent years; well … it appears that Carla Olson and husband Saul Davis had been having similar thoughts about the latter subject; trains and corralled a number of their friends to record this rather marvelous compilation. In advance I have to tell you that my copy bares very little information about the songs apart from the artist singing them; so I can look like a smart-arse dropping in the name of the album that they were originally released on …. so let’s treat the majority as new songs; if only to make me look like I know what I’m doing. The first song here is Carla herself alongside Stephen McCarthy on lead vocals. delighting us with a melodious and contemporary slice of Twang infused Alt. Country with Here Comes That Train Again; which may or may not be a metaphor for a love affair ‘on the rails.’ There are a handful of songs and singers I recognise; namely Rocky Burnette with his 90mph Honky-Tonky arrangement of Mystery Train; Dustbowl Revival who retain the original harmonies but still turn Marrakesh Express into something of a ‘Border Country’ dance tune and John Fogerty sounds like he was born to sing the All American Classic; City of New Orleans; the other is Peter Case giving us his best rendition of a modern Woody Guthrie passionately poring over This Train. Mystery Train oddly enough makes a second appearance further along the line; only this time James Intveld makes it into a sadder than sad heartbreaker….. such is the power of the songwriting. With this in mind there are surprises around every corner; Paul Burch and Fats Kaplan had me grinning like a ninny the first time I heard the slide guitar in Waiting For a Train and the two Rob Waller’s two inclusions the punchy as Hell; The Conductor Wore Black and Midnight Rail from the other end of the musical spectrum are nearly worth the entrance money on their own! On the other hand there are acts here I’ve never heard of singing songs that are staples of my own collection; and it’s fair to say Gary Myrick’s pedal to the metal Americana-Grunge arrangement of Train Kept a ‘Rollin is as edgy as Americana gets these days; and sticks out like a sore thumb among songs like Alice Howe’s 500 miles and Deborah Poppink’s beautiful rendition of People Get Ready (which is only tenuously linked to the railroad theme ….. but hey; it’s a winner). I’d not heard of either Kai Clark or John York before hearing them here, singing Train Leaves Here in The Morning and Runaway Train respectively; but I’ve now had to research both with a view to getting on their mailing lists for future releases; which is why I love VA albums like this …. there’s always someone new to discover. Plus there are some quite famous names tucked away in the shadows too; Dom Flemon’s Steel Pony Blues will certainly be a song radio stations pick up on; and I don’t think I’ve heard Dave Alvin sing South West Chief before; but it’s the type of song me and my friends were pining for in that conversation. This now brings me to the difficult choice of Favourite Song; and I’ve gone for a tie between two ….. one by Carla Olson & Brian Ray; the sizzling Whisky Train which rocks like a Mail Train going around a tight corner and the other is from another new act to me; AJ of The Seratones which is majestically different from everything here; almost nursery rhymeish ….. but stunning nonetheless in a delightfully Lo-Fi fashion. I’ve thoroughly enjoyed this album; even though some of the songs are only tenuously linked to actual railways and trains; but hey ….. we all have vivid imaginations and Carla Olson has done a fabulous job pulling everything together in this fashion.
Michael McDermott St Paul’s Boulevard Pauper Sky Records
A Brave and Varied Musical Journey Which Holds its Head Up Optimistically and Boldly
I first got wind of Michael McDermott from friends who’d seen his incendiary performances at a pre-COVID Kilkenny Roots Festival – unfortunately a pandemic got in the way of the ability to consolidate that impact, but now MM is back with “St. Paul’s Boulevard” an album thematically linked by place and character, recorded with a stellar cast including Will Kimbrough, David Grissom and Grant Tye – who for many years was a staple of Robbie Fulks’ band.
The album opens with an aural sound-city scape “Aram Cara” before leaping into the “Dancing in the Dark” paced and styled “Where the Light Gets In”. The tempo remains pacy on “Our Little Secret” which has the soulful feel of Danny and the Champs, as does the following track “Sick of This Town” where McDermott bemoans the rotting banality of small-town America.
“The Arsonist” takes things down a notch to ballad tempo, a setting where McDermott is at his most affecting – I’ve avoided mentioning Bruce Springsteen up until this point, (he’s often a reference point in reviews of Michael McDermott) but this track conjures up the feel of epic Bruce, with its exploration of personal doubt and mix of dark and light, set against a dynamic mix of guitars and keys – heck, vocally this also verges near to Prince territory in places too.
“New Year’s Day” – one of many songs with this title, sits astride U2 and Slaid Cleaves in its sound over a tale of personal emotional symbolic rebirth. “Meet Me Halfway” takes the exploration of relationships further and tackles issues of communication over a Bon Jovi-type vocal and arrangement (but with far more incisive lyricism than 80’s hair-rock).
“The Outer Drive”, driven (sic) by drums and banjo namechecks “Wonderwall”, but that aside, it’s a song of cars, a girl and escape “with just a hint of holy”. Classic themes are also seen on “Marlowe”, but in a literary and cultural/historical sense, where everyone from Moses to Michelangelo gets in on the act as touchstones to compare to the effect of a loved one.
Fast strummed guitar kicks in “All That We Have Lost” and it’s soon joined by kick drum and percussion for a stomping and rollocking roll-call of “all that we have lost” from Lincoln to Kennedy and several in between. This observation on death is shadowed by “Dead By Dawn” with its carpe diem call to embrace a loving moment, to preserve the transient and fleeting bits of goodness that we have.
Title track “St Paul’s Boulevard” is a reflective ode to finding meaning amongst the chaos of life on the eponymous/figurative boulevard, whereas “Pack The Car” again seeks refuge in escape and its myriad possibilities before “Peace, Love and Brilliant Colours” takes an early Steve Earle swerve musically with a rallying cry for community and strength. “Paris” closes the album out with a sentimental, romantic wish for escape that brings in strings and piano to underscore those rose-tinted, hopefully desires.
On “St Paul’s Boulevard” Michael McDermott has certainly viewed the world in widescreen and technicolour too, on a brave and varied journey which holds its head up optimistically and boldly. Last time McDermott toured in the UK he was a solo act – here’s hoping that he can bring the band next time to do justice to these broad soundscapes.
Tony Baltimore Let’s All Go Insane Conch Town Records
Genre-Fluid Americana; From Folk to Country Via New Orleans on a Saturday Night
Growing up in Maryland to working class parents gave Tony Baltimore a strong work ethic, which served him well when he began playing up to eight shows a week in Key West. Three albums later and Baltimore has his most accessible collection of songs yet, while doing a good job of checking off all of the requisite Americana check boxes: gospel-tinged backing vocals, funky backbeat drums, snappy Tele-style guitar, and plenty of Hammond B3, but that doesn’t mean he’s a one-trick pony. Co-produced by Ian Shaw, Let’s All Go Insane, is a mix of traditional New Orleans style, alt-country, indie rock, and good old Country-Folk music, making Baltimore a definite genre-fluid artist. The kick off title song, along with “Seaside Blues,” are pure New Orleans flavored fun, along with “Loot the Joint” which amps up the exuberance considerably. When Baltimore aims for a party atmosphere he definitely succeeds—and those punchy horns don’t hurt, either! “Fly Alone” is not your typical love song, rather a one-sided love of patience, hope, and waiting, the violin throughout adding to the quiet desolation. “Window Pane” gives off Gordon Lightfoot vibes, a story of time passing by, while “Postcard” is a 60’s pastiche of letting go no matter the consequences, making your own way with love at your side. “Storm the Beach” is the closest Baltimore gets here to protest, yet it’s a doozy, taking both politicians and the media for sowing discord for their own gain. “That Girl’s Got Eyes” is the album’s pop song and my personal pick for favorite on the album. Contemporary rock guitars and pounding drums, mixed with an extra-catchy chorus, and a vibrant and surprising violin solo. “What Kind of World” ends the album on a hopeful note, full of triumph and the knowledge that one can always find a way to get by. Recorded both before, during, and after the pandemic, Let’s All Go Insane is Baltimore’s paen to love and individuality.
Chastity Brown Sing To the Walls Red House Records
Heartfelt and Gutsily Crafted Soul That’s Guaranteed to Make Your World Shine That Bit Brighter.
Very occasionally, when listening to an artist for the first time, just one particular song has the capability to deliver an almighty gut punch, which in that very moment, is the gateway to connecting with the album and indeed their whole world………. today it has happened courtesy of Minneapolis born Chastity Brown.
Digging deep in the vaults of RMHQ, I am aware there is a lot of ground to cover with regards to Ms Brown and her own contemporary twist on a tapestry woven with threads of Americana Soul, Blues, Gospel and a smattering of Funk: her previous release, Silhouette Of Sirens, was way back in 2017 making Sing to The Walls her first musical offering since Pandemic times. I was half expecting the album to be ladened with Lockdown frustrations and anxieties, but delighted to discover it simply beams out a joyful positivity, a loving groove which most definitely keeps the glass half full for the duration.
The album swoops in with the first two singles, Wonderment and Backseat, the former kicking off with Chastity’s surging, distinctive rich vocals ringing out, powerfully honest. Musically softly lapping in at the start, with rhythmic plucking adding a spiritual Indian echo. The current gradually gathers pace to a rising driving beat of guitars, explosive drums leading to a swirl of Hammond keys. Wow by the end of the track I already feel like I’ve been on one hell of a journey, one where we have perhaps witnessed the artist allowing herself to be gradually released from shackles to embrace new experiences: “letting go.”
Neatly rooted in that same spot, Backseat’s exquisite chant of “I never felt so free” introduces us to a contemporary funk groove pulsing with a strong hooky drum beat, the engine of the track which just screams out to be played on the open road. Oh, so it makes sense, when I skim the press pack, to discover that Ms Brown nurtured her cool rhythmic vibes by teaming up with two drummers, Brady Black in Stockholm and Greg Schutte at her home studio to work on the album.
Perhaps, because I have just returned from Boston (!), another standout track for me is one bearing same name, making me just want to turn around and head straight back out! Immediately whisking us to Chastity’s blissful happy zone, it lyrically hangs basking in the first flush of a new romance. With smooth sensual vocals, rolling casual drums and sweet melodic layers, it leads us to a charmingly exhilarating guitar solo, making it one of the happiest peaks on the album for me. It does not sit all alone though, there are 10 stunning songs to discover here, and transforming Lockdown into writing time resulted in Chastity Brown having a huge pile of new material at her fingertips.
Golden is the heavyweight track of the album and demands our undivided attention. It’s the only song steeped in, but not dominated by rage and angst: “Why have I got to be angry?”, this is Chastity boldly laying down her reaction to the racial tensions and riots she has witnessed, some being virtually on her doorstep. She hits us with the hefty, raw emotional force of her uplifting words, a calling to remain strong and steadfast in the face of adversity. It’s a message we cannot help but take positive inspiration from, as her exceptional vocal delivery booms out: “Does this black woman’s voice have too much power Would it go down sweetly if I sang softer?”
This album is so seriously good that I’m hopping through the title track Sing to the Walls, a piano driven beautifully crafted tribute to breaking through barriers and the rousing Like A Sun which really does what it says on the tin (!) to finally arrive at that aforementioned killer track which started this whole journey off for me……
Curiosity is an instant smash to my ears, another piano led empowering ballad: heartfelt words to a lost love but not wallowing in self-pity, instead flooded with mature emotions that are full of longing yet uplifting and releasing. Chastity Brown flips heartbreak spelling out that we have to sometimes endure emotional pain to set us on a path to a happier place.
“It’s Curiosity setting into motion, I was a stranger to myself, when I knew ya I should say thank you, for loving and leaving me”
These sentiments sum up the very essence of an album which causes spirits to be raised a little bit higher with every play. In her own words: “What matters to me is my survival – and for my survival, it has been necessary to try and embrace some joy”. I cannot imagine there has ever been a better moment than this to catch Chastity’s wave of positivity with Sing To The Walls, as we all try and put our best foot forward again.
A Clever Left of Centre Selection of Re-Imagined Songs That Influenced This Talented Singer-Songwriter.
As most of you will know by now; I trust my own judgement about music over everyone else’s; hence the website’s Mantra …. that ‘all albums are listened to from start to finish several times before putting pen to paper’ …. but last week I stumbled on a review of this album by someone I admire. To say I was both shocked and disappointed at their words would be an understatement; but then I got to thinking; had they actually ‘listened’ to the songs at all …. or; God Forbid …. just looked at the track titles (it is a covers album after all) and wrote the script from that? Sadly it wouldn’t be the first time that happened … trust me! I on the other hand have played this 5 times before today; in a variety of circumstances and ….. Jason McNiff has exemplary taste in music and I can now see where his ‘style’ has evolved from. Bert Jansch’s Running From Home is a spectacularly odd choice to start the album; as sadly Jansch and his catalogue have nearly disappeared from view in 2022; but as a young man, Jason sat at the feet of Jansch in the mid 1990’s learning from the Master; and here pays homage by taking a gruff old Folk song; dusting it down; slightly re-arranging it to suit his own voice and (if I’m not mistaken) has increased the tempo a touch; which really showcases his own stunning technique on the acoustic guitar. This then virtually bleeds into a left of centre Townes Van Zandt song; My Proud Mountains. Not an obvious choice; but a clever one as Jason again re-arranges it until it sounds very little like the original; but now a contemporary Americana tale for a completely new audience. That’s actually why I really like this album; it’s the way this young Yorkshire man has taken some wonderful songs from across a variety of singer-songwriter idioms and made them more suited to the 21st Century. I’ve always raised my eyebrows when either songwriters or music fans say proudly like they ‘only like one particular type of music’ …. I can’t think of anything sadder! McNiff has selected a wide range of songwriters to cover here; and really does justice to Bob Dylan’s One Too Many Mornings and another song of his that I wasn’t aware of; Precious Angel as he also does with Dear Leonard’s gentle Moving On; which I too have always been fond of. As with the Townes song; McNiff never takes the obvious route ….. there’s a Beatles song here; Tomorrow Never Knows, which now becomes a Modern Folk song and a million miles away from the original; as is his rendition of the Dire Straits multi-platinum hit single; Tunnel of Love which tooK me two plays for the penny to drop as to what it was! It was only while playing this version that I remembered what a great yet underappreciated songwriter and guitarist Mark Knopfler was and is. Perhaps my friend who wrote the other review thought Jason was being vain including two of his own creations here; but why the Hell not? Especially as Shadow Ships of Dartford sits in especially well; with its’ hints of Van Zandt and Jansch in every line. I Remember You, features some stunning guitar playing; perhaps the best here; and the story could easily be another Dylan B-Side from the 70’s. This now brings me to the search for a single Favourite Track ….. yegads, that’s not been easy. I was instantly drawn to the relaxed; yet still passionate rendition of Tom Russell’s ‘signature tune’ Tonight We Ride; it’s been a Top 10 song of mine for many years, and young Jason really does it justice in the way he sings the chorus while adding his own signature Country-Folk guitar picking to proceedings. Then of course there’s another forgotten Modern Classic, The Waterboy’s Fisherman’s Blues which now sounds as if it was written and recorded somewhere South of the Mississippi by a third generation immigrant. But there is one other; and possibly because it’s a case of ‘right place/right time’ Stephen Foster’s Hard Times, which we would normally associate with Woody Guthrie; and here Jason takes that pathos, doubles it and via his lovely breathy voice; now lets it loose on an unsuspecting but hopefully grateful nation. Hence this be my Favourite Song on a really special album.
We’re getting there, 6 episodes and the mistakes are getting fewer and further between. Sadly I was blighted with croaky voice and nagging cough courtesy Hayfever …. but that just focussed my mind for playing ‘more music and less talking’. As you will see and hear there is a heady mix of old and new songs across the myriad of genres that make up what we know as Roots Music and Americana …. hopefully ‘something for everyone’ …. thanks for listening.
Black Deer Festival 2022 Eridge Park, Royal Tunbridge Wells
A successful return for the UK’s biggest Americana focused festival
Initial disclaimer – I’ve never been a big fan of outdoor festivals ever since the time my tent flooded at Reading Festival in the late 80s, but this time I’d got a lovely AirBnB to retire to of an evening, so I thought I’d give Black Deer a go – its lineup of largely Roots and Americana acts, with a sprinkle of more populist acts like James and Imelda May promised a fine weekend’s entertainment.
Friday, the first day, somewhat overdid things on the weather front – temperatures in the mid-thirties Centigrade meant that acts in shadier environments became more appealing – on that score, I caught the songwriters’ circle in the Ridge tent at the start of the day, where Irish Mythen set a personal benchmark with an effervescent and lively performance: Emily Barker and Caroline Spence contributed acute observational songwriting on ecology and relationships before Imelda May, delayed in traffic and rounded things off with a poem about the female orgasm!
Caroline Spence made a solo appearance with CJ Hillman, immediately afterwards and her summery voice and acoustic arrangements won over many. The Felice Brothers, over on the main stage produced a fiery, rebel rousing set before the polish of Imelda May – after that I decamped to the Ridge tent for reasons of self-preservation and musical choice to see well-received sets from Israel Nash and Shovels & Rope, whose boisterous performances fired up the crowds. Highlight of the day for me though was the “Ozark Holler Hootenanny” over in the smaller Haley’s Bar – a collection of artists based around the trio of Dylan Earl, Jude Brothers and Will Carlisle with a guest appearance from Lady Nade, who delivered a hugely entertaining collection of songs from Arkansas. A fine end to day one.
Day two and while less sunny, was incredibly humid. Early performances by Lady Nade in Haley’s bar and slide-blues maestro Jack Broadbent did nothing to lower the temperatures and provided fine evidence of the breadth of UK roots talent. The much anticipated (not least by me) appearance of Courtney Marie Andrews on the main stage was a brave set, with four as of yet officially unreleased songs taking their place amongst CMA’s strong back catalogue. Wilco’s only UK appearance on their current tour followed immediately after and a festival pleasing set including personal faves like “Impossible Germany” went down well – and Courtney Marie Andrews and band were invited back on to join on the band’s performance of “California Stars”. Things started to take a turn towards the apocalyptic near the end of an energetic set from the Waterboys when the decision was taken by the organisers to evacuate the arena due to rapidly approaching electrical storms – and a correct decision it was too, as the festival site was battered by one of the worst storms I’d seen outside of travels in the US and mainland Europe. It took over an hour to get off the car park but at least in our case there was dry accommodation at the end of our escape.
Incredibly, Sunday saw the site looking as though nothing had happened – a combination of fortunate geology and hard work meant that, other than a last minute pull-out by The War & Treaty, things were unaffected. Irish Mythen continued her plan for world domination to a supportive crowd on the main stage, whereas Hiss Golden Messenger drew a rapidly growing audience in the Ridge tent – as did John Smith, in trio format with the core of Lauren Housley’s band. At the end of the day, the Americana punter was faced with a stark choice – the Dead South on the main stage or the Drive-By Truckers in the Ridge Tent – this reviewer stuck with the guitar assault of the DBTs and enjoyed it greatly, right up to the emotional denouement by Patterson Hood, dedicating the final song of their set to his terminally ill father-in-law who he would be rushing home to see post gig (and tour).
All in all, this was an entertaining and enjoyable weekend. Audience numbers were good enough to pack the different stages, but not too full to make movement around the site difficult and there was a pleasingly varied mix of people in attendance. Black Deer isn’t perfect by any means – there were logistical issues for audience, performers and press that could be tightened up – but such is the friendliness of the whole affair, that you’ll struggle to find anything else that succeeds in bringing Roots and Americana to a mass audience in such a successful way. Other festivals with a similar musical focus are often preaching to the musically converted – Black Deer is bringing new and younger ears to the herd.
Paul Thompson Lone Star (album and book) Self-Release
A Celestial Dreamscape of Folk-Pop Weaving a Spellbinding Story Defying Time and Space.
The end of the world as we know it! Humanity reborn. Finding love across time dimensions? WOW … this is a powerful new world that RMHQ has dropped me in! Okay let me explain…. whilst lyrics are the icing on the cake for me, whether reviewing or purely listening to new music, to be handed an accompanying book with each song transformed into a fictional short chapter amounting to an apocalyptic, thought-provoking, imaginative and emotive story … is the cherry on top! An old school concept album for our post pandemic era! My hand is up and I’m taking the trip on this Norfolk based troubadour’s 5th album release.
The title track Lone Star charmingly launches the album. Without any prior knowledge of this artist, Paul Thompson’s vocals are instantly soothing, a touch fragile and underpinned in sensitivity. The hypnotic waltz melody of a bright pickin’ guitar welcomes us in like we’ve always been together, evoking the delightful simplicity of Folk-Pop songs of yesteryear but with a serenely relaxed timeless feel and pace. Lyrically it establishes the recurrent album themes of loss and separation, preserving hope and never abandoning the quest for happiness: the lone star being the symbolic beacon of connectivity.
“I know I’ve done wrong, I’ve done time This love I seek will be mine I’m a lone star, always shines bright Waiting for you, in the night.”
You Never Said follows with upbeat strumming and a shimmering harmonious electric guitar solo, Mr Thompson has the power to musically suspend his audience in a delightfully comforting joyful trance, whilst communicating deep and challenging themes. The words are reflective, full of regret for what has been lost, yet forever optimistic that a better world will be unearthed one day. The sentiments ring true especially when we learn that the whole album was inspired during Lockdown when the artist lived in a rural log cabin. Worth also noting that with the exception of drumming courtesy of Rob Brian, he plays all the instruments on the album, making The Lone Star a very personal creation.
Close on it’s tail follows two irresistible tracks: Darling Will You is a declaration of love, a dreamier slower pace and steeped in the blissful loveliness of ’60s/’70s mystical B/V’s. Paul Thompson’s vocals are gentle and heartfelt, as if just lifting the words fresh off the page and delivering them straight to his intended. Maybe Tomorrow bounces in next with a leisurely, naturally sprightly sweet mandolin beat, it takes us clipping clopping down a lyrical path of going with the flow but still searching for what is important and true in life.
The storytelling binds the album together, each track adding another intriguing layer. Track eight, From Where We Came, is oh so unstoppably catchy, with the singer holding long notes, reinforcing the song’s uplifting take on the passing of time, whilst exploring the theme of destruction and rebirth.
“Watch the colour turn, coat of fallen leaves And I will think of you, will you come again Though we fall, we are one The tapestry of time Fire and rain, earth and sky We return again from where we came.”
My favourite track is actually the opener Lone Star, but a close runner up is Paradise Lost which shifts the mood to one of unrest: the electric guitar echoes with dramatic discord creating a foreboding tone. The words are a warning not to be tempted by dark choices in life.
Paul Thompson immediately returns us to a happy place with Under The Lights, a nostalgic melting pot of Christmas day memories as a child. The song has a charming naivety, a touch of Jonathan Richman for me here too. Finally, the epic 7:12 min long Cloud Dreamer wraps up the adventure, an expressively pleasing conclusion with guitar reverb calling out in unison with the heavenly vocals, emphasising a dreamscape mood: Paradise can be discovered here on Earth if we look hard enough for it.
The accompanying book contains 12 bite size chapters, one representing each song, expanding on Mr Thompson’s imaginative lyrics. It is based on a post- apocalyptic Earth where humanity is starting anew after mankind destroyed the planet. The love story between Daniel from the old world and Arzella many years into the future is guided by the Lone Star. Without giving away spoilers there are multiple parallels that we can all relate to. Preserving Mother Nature, allowing ourselves time to take stock and re-value what is truly important especially hits the mark at this point in time.
“Life is hard, she thought. We don’t always find the things we look for, but we must try”
Although containing some adult themes, the book has a wonderfully playful quality akin to The Little Prince by Antoine de Saint-Exupery, as the author expresses quite deep and poignant messages about the worst vices in our society by describing the greedy/evil behaviour of certain characters we encounter along the way. His clear message being that it is the kind, simple, non-materialistic heart-warming actions in life that are the key to unlocking a brighter world.
Paul’s world of music and stories undoubtably operate splendidly independently, yet together they really create an enchanting place to visit. He is about to hit the road over the coming months to showcase the album, the songs accompanied by reading extracts from his book. Some of the gigs will be from his campervan, complete with it’s own stage: I can’t imagine any nicer way to escape real life than to catch an outdoor show, sit under the stars on a warm Summer’s night and keep an eye out for The Lone Star myself.
RMHQ Radio Show Ep:5 Nova Radio NE Sunday 13th June 2022
Thanks everyone for tuning in; the figures are already 3 x what listened to our first show a month ago; and the ‘Listen Again’ is booming too …. everyone at HQ is over the metaphorical moon. This week’s show was another mix of what we call Roots, Blues and Americana … even pushing the boundaries with a couple of edgy songs. As is becoming ‘usual’ the final tracks I played bore very little resemblance to what I set out to play …. hey ho ….I really enjoyed it all and hope you found something that either intrigued you or made you want to buy a song or too.