Doug Hoekstra
The Day Deserved

Intricate and Articulate Lo-Fi Americana That’s Perfect For the Big League

A lot of thought has gone into selecting this album for review as a) it’s my birthday today and b) it’s our 100th Album review of 2021; so I wanted something special ….. and this ticks every box in that respect.
Doug Hoekstra (pr: Hoke-Stra) is something of a modern Renaissance Man; singer, songwriter, performer, poet, writer and most other things within the Arts and, it appears quite succesful in all modes.
With all that, this is his first album in ten years; so ….. was the the wait worth it?
For me? Yep ….. defin-ately !
As is oft the case the song title, Seaside Town intrigued me enough to play this above a few more ‘high profile’ releases a few weeks ago; and within 30 seconds I was absolutely smitten. Doug conjures up some incredibly sepia toned images in his dark and universal tale; and for a song steeped in hallmarked Americana gold; there’s also more than a hint of post-punk irony in the way the singer tells the story.
Perhaps; and this happens several times here; Hoekstra’s worn and weary voice reminds me more than a little of Buzzcock, Pete Shelley; which is a damn fine thing at RMHQ.
This lo-fi tone continues on track #2, the 7 minute + opus Higher Ground; which is the total antithesis of the Stevie Wonder song of the same name; as it’s dark, brooding, brittle and wearily beautiful in equal measures.
Now I’m ‘into it’ Hoekstra’s songs and story telling are in a similar style to Elliot Smith and oddly enough; PJ Harvey; although less edgy and pissy than the latter.
This isn’t entirely ‘easy listening’; songs like Late Night Ramble, Keeper of the World and Unseen Undetected (with some spookily wonderful cello playing btw) all need the listener’s time and patience; but as we are all grown ups I’m sure those who get that far anyway will be mature enough to do just that; and will benefit as the stories unravel like sudden silver strike in the Yukon.
It’s obvious, early on that Doug Hoekstra has given up on chart success; but that plays right into our hands, doesn’t it? You, like me prefer our music to be deeply personal and articulate too; both of which our man does with great ease and grace too; not least on Wintertime or Carry Me and album finale Outside Looking In too; which may have been a perfect alternative title for this collection of gorgeous songs.
Two songs in particular stand out for me; the David Olney inspired (I’m sure) Gandy Dancer being the most commercial sounding song here; is actually far from it when you listen carefully. I had to Google said title; and it then made the song make complete sense as the man Hoekstra is singing about goes to work on the railroads; doing raw manual labour ‘that is close to slavery‘ and only lasts barely a week; before returning home, tail between his legs; only to find …… cue a twist in the tale.
Somehow this stonker is a weird Olney/Buzzcocks/Velvets/Zappa hybrid and well worth hunting out for your listening pleasures.
The other; and now my Favourite Song is the delightful Grace; which is scintillating and tragically beautiful …… again sounding like Pete Shelly fronting a Velvet Underground offshoot; and will send a shiver down your back.
Doug Hoekstra is not just a mighty fine singer, songwriter and storyteller; but the way this is sequenced and indeed; produced put it right up there with the Big League.

Released April 30th 2021



Neilson Hubbard
Digging up the scars

Mature, Gentle and Powerful Release From a Musical and Artistic Polymath

Known for his production work for artists such as Mary Gauthier, Amy Speace, Rod Picott and Kim Richey, Neilson Hubbard is very much a performer in his own right as a solo artist and only recently, a key member in the Orphan Brigade.
That list of names is a good benchmark for the music contained on “Digging Up Scars” – it’s warmly produced, intelligent songwriting.
The difference here with his previous work is the addition of textures – most notably pedal steel, some brass and strings, which sees Hubbard exploring similar sonic territory to Ireland’s Declan O’Rourke.
“Our DNA” the opening track, is an exploration of connection and hope and it’s this examination of the universal and the personal and emotional which pervades the whole album. Sweeps of pedal steel and orchestral strings give the song even greater dignity and scale – and this is seen in even more grandiose style on second track “Where You Been?”
Title track “Digging Up The Scars” is a discussion of self-revelation – both individually and in a relationship – but the core to this revelation has to be an acceptance of “who we are”.
“Love Will Drown You in the Wake?” claims
you keep looking back over the shoulder
and is a late night rumination on time, nostalgia and love.
“The End of the Road” skirts with similar notions of mortality and is musically more minor key but with a tonal and lyrical loving acceptance of that same mortality.
“Fall Into My Arms” offers emotional consolation and is musically more upbeat too, whereas “Wide Eyed S” is an acceptance of a friend/lover’s need to spread their wings – again, the uses of strings add scale and scope to underscore the message.
The most musically cheery number “Don’t Make Me Beg” is a good-humoured request for connection and support and its vibrant chorus supports message and mood.
The musical and lyrical tone becomes more reflective on “Nobody Was Home” with its refrain of “lately I’ve been feeling alone” – the gentle but insistently catchy melody creates a beautifully melancholic mood.  
“Before the Moment’s Gone” is a carpe diem celebration, of living in the moment before the final track “Slipping Away” takes things out with quieter musings on the transient nature of things, backed by distant strings and warm, close-mic-ed vocals.
Forthright confession here – on a first listen, this album didn’t immediately grab me, but with repeated listens, just like people used to say in the old days; it’s one that you have to “get into.”
Neilson Hubbard is a detailed artistic observer and participant as his music, photography and production all show – horses for courses and for me, this is ideally best heard with a glass of your favourite tipple in a warm, candlelit room  in order to explore the spaces between the dark and the light.
There’s a lot of interesting sonic detail and the close, warm vocals act as the voice of a conversation with a close friend.

Review by Nick Barber

Released April 23rd 2021


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



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.



Lauren Housley
Girl From The North
Lovebird Recordings

A Dusty Springfield for the 21st Century?

A long time coming, but worth the wait.
2021 has seen Lauren Housley not only become a Mum, but she’s also managed to squeeze in recording her next album.
The field of Americana, with which Lauren has mostly been associated is a wide one, and on this release, she reaches out to the edges of that genre and many places beyond and in between too. This musical magpie-ery is far from fragmented though; as this album sees Lauren formulating a mature body of Country-Soul drenched Americana loveliness.
“Bless His Soul” starts things off with pedal steel and twangy reverb-drenched guitar in reflective mode – perhaps an unusual comparison to make, but it is reminiscent of Sheridan Smith’s extremely underrated “A Northern Soul” album of a couple of years back, in both tone and musical style.
The catchily and jangily “Guaranteed Sunshine,” accelerates the album and is everything its title suggests – it’s a West Coast top-down driving anthem that Stevie Nicks would be proud of.
“What’s Troubling You Child” – straight outta South Yorkshire – is deep South of the States Southern Soul; and not for the last time here, the Dusty Springfield influences can be heard here; muted brass and soulful rhythm guitar give it that “Dusty in Memphis” feel, set off by Lauren’s very own gloriously rich voice.
“Sing To Me” which follows, starts with delicate Spanish flavoured guitar and is a song which evokes warm nights and tender romanticism – with Lauren’s vocal delivery being beautifully pitched on this – other singers might have been tempted to a degree of emotional exaggeration, but this is firmly on the side of sincerity and S.O.U.L.
“Breakdown” is of a similar tempo and is a tender homage to coming through the other side of life’s difficulties.
“Two Lovers Lost In Space” takes a trippier approach musically; and fans of the spacy style of Erin Rae (i.e. me) will love it.
There’s a cornucopia of melody on this album, but for me, the one that screams “HIT!!” is “This Ain’t The Life” – a 60’s stop-start beat, layered vocals and a BIG chorus that will work equally well in a club, a large concert hall or just in front of the mirror with a hairbrush – mix them all up and it’s a sonic delight.
“Why Are We Making It So Hard” then takes a turn towards late night reflection , wrapped up in rhetoric and girl group melody. Things stay deep and soulful on “Stay Awake to Dream” – Memphis soaked guitar and keys with washes of pedal steel, provide terrific backing to yet another classy – and classic – vocal.
The album ends on a more up-tempo note with “We’re Not Backing Down” is a Fleetwood Mac/Tom Petty union, via the American Sound Studio.
It’s absolutely amazing that this album was largely recorded in a Rotherham basement studio – it has the genuine feel of the American South throughout; from the musicians who know this sound and Lauren – who puts a very considerable vocal cherry on top of it all.
There is absolutely no reason at all why this album shouldn’t sell millions, quite honestly – forget limiting labels – it’s a timeless, classic album that puts forward Lauren Housley as a Dusty Springfield for the 21st century.

Review by Nick Barber
Released 23rd April 2021


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

Alex Roberts LIVE AT THE VIC INN (Colchester)

Alex Roberts
Live at the Victoria Inn, Colchester (Feb 2020)

Exciting, Intriguing and Very Intimate Contemporay Folk Music.

I’m not sure why; perhaps it’s an age thing, or a rare side effect from the AstraZeneca anti-Covid jab; but I’m being drawn to Folk Music at the moment.
Mercifully not the ‘finger in the ear’ type about fair maidens and flagons of ale; but rather some really exciting and innovative music by the likes of Alex Roberts.
This is his ninth album and because I don’t move in the same circles, I’d never heard of him before he sent me a very polite e-mail a few weeks back about this release; but I’ve had a couple of days when this is all I’ve played at home.
For a Live Album recorded in a pub; the sound quality is exceptional; adding a warm texture to Robert’s well rounded and expressive voice, but oddly making his acoustic guitar playing sound as sharp as a cutthroat razor; right from the opening track Wandering Aengus.
I don’t want to put off my regular readers when I tell you that this is a re-working of a WB Yeats poem; fear not …… this is actually a darkly beautiful tale; accompanied by bouzouki playing so intricate, I swear at least two strings must have become entwined by the end.
Yes; of course this is Folk Music; but the universal kind that you ‘get’ where Alex Roberts is coming from when you hear his plaintive rendering of Leadbelly’s In The Pines …….. woah…… woah and thrice woah; while this is stark and brooding; you can not only hear a pin drop in the room; but I guess the audience were afraid to breathe out for fear of spoiling the hypnotic mood coming from the small stage.
If you’re still not convinced; Roberts’ almost reinvents Richard Thompson’s Modern Classic; Vincent Black Lightning, slowing it down to a snail’s pace which allows each word and note to hover above you before fading into the ether.
Strangely with those two songs here it’s actually Alex’s own songs that are why this is album is worth taking a punt on.
Love Too Strong is exactly what you would hope a song of that title would suggest; only better; and the oddly titled Petrichor is just as quietly stunning even if you weren’t to know that it is a love song to the singer’s wife.
Personally I love the way Robert’s generally doesn’t start singing straight away on his songs; allowing his dexterity on the guitar enough room to guide you towards the words like a flickering candle; nowhere better than the biting Carry Me and The Pyramid too.
Even though this is a Live Album, most of the extraneous bits have been edited out; leaving the music to have the frisson of a live setting; but no boring whooping and wailing to get in the way of future plays.
Now; selecting a Favourite Song has been difficult; as so much here is well worthy of your valuable time; yet easy as who among us doesn’t like a song about a Peregrine Falcon?
Seriously I was smitten with Hacking Back to The Wild the first time I heard it; not realising what the subject matter was. But; the more I’ve heard it it, the more this particularly moving song has stayed with me.
It’s songs like this one which leave me standing in awe at the skill and imagination that musicians have and use to paint pictures with words and music alone, in a way I can’t even dream about, especially when they are as delicate as the instrumental, Durdle Door.
For the uninitiated like myself Alex Roberts comes from the school of Folk musicians that spawned John Martyn, Richard Thompson, Bert Jansch and arguably; the young Tom Waits and that’s not too much of a stretch; trust me.

Released April 20th 2021



Jason McNiff
Dust of Yesterday
Tombola Records

A Singer-Songwriter Deluxe That Transcends Simple Genrefication

I was rather smitten by Jason McNiff’s last release, Joy & Independence in 2018; and a lot has happened in his life in the intervening years, most notably his leaving of London and settling in windswept and interesting Hastings on the South Coast.
While that last release was stark and basic in construction; here McNiff has upped the ante right from opening song For The First Time, which sets the tone quite beautifully, with the singer’s silky voice and dextrous finger-picked guitar styling complimented by (producer) Roger Askew, Beth Porter and Basia Bartz who add not just musical accompaniment; but a touch of class too, albeit in the shadows.
Sometimes I find myself having to think carefully about the words I use (not that you would notice!) as some can be taken ‘the wrong way’; and here I want to use ‘charming’ to describe the overall feeling that Jason’s songs leave on me; but I don’t want you to think for a second that they are ‘twee’ in any shape or form.
Far from it; the title track Dust of Yesterday and Wherever I Choose too; are beautifully constructed and eloquent modern Folk Songs; but have a sharp Americana ‘edge’ to the words and the way McNiff plays with imagery; yet they still sound quite ‘lovely’ ….. which is quite a trick to pull off.
Many years ago, when he first moved to London it coincided with Bert Jansch’s final weekly residency at the 12 Bar Club; and McNiff was at first entranced watching the Master Craftsman at work, then the two became friends ……. and Jansch’s legacy lives on through McNiff and the Folk Cognoscenti will be thrilled to hear the guitar playing on songs like Mary Jane and A Load Along; but the younger man’s vocal styling owes a lot more to the likes of Mark Knopfler, Paul Simon and Jackson Browne; and it’s no stretch to think his songwriting is in a similar vein too.
While intrinsically set in the world of English Folk Music; Jason McNiff’s song construction has more than a whiff of Americana in it too as Try For The Sky and the tragically beautiful If You Could See Me Now prove every time I hear them.
If you accidentally caught him at a Songwriter’s night somewhere you’d be left puzzled whether he was an American trying to sound English; or vice versa; and that’s meant as a compliment as he will fit in both well on both sides of the Atlantic.
As I say many times; this is an old fashioned long playing record and will be best served by you sitting comfortably and letting the music seep in; but there are two very notable songs that deserve special mention and therefore tie for the accolade of RMHQ Favourite Song.
Damaged Woman is both claustrophobic and fascinating; is it a story? A poem? A fantasy? Each of us will draw our own conclusion and; again …. that’s quite a trick to pull off.
Then; there is Tom; a gentle tale that weaves in between being a love story for a long lost friend; and perhaps even something of a ghost story ……. quintessentially English in style; but will tug on heartstrings all around the world.
There’s much to like about this album; and Jason McNiff himself; not least the richness to his voice, which makes these songs quite timeless yet contemporary at the same time and especially the way the guitar interludes within the songs; allow the stories to breathe and develop; allowing the listen to really envelope themselves with the music.
. Although I’ve said Jason McNiff is probably most at home on the Folk Circuit; don’t pigeon-hole him; judging by this album he is a Singer-Songwriter Deluxe that transcends simple genrefication; try him ….. you’ll like him.

Released April 16th 2021


Mary Karlzen SHINE

Mary Karlzen
Y&T Records

Back To Where It All Started For an Alternative to Traditional Country Music.

Both Mary Karlzen and her label Y&T Records are new to me; but a cursory glance at both of their bios shows they’ve been around a long time; and our paths should have crossed before now.
The interesting part of the relationship is that Mary was one of Miami labels’ Y&T’s first signings in the 1990’s (alongside The Mavericks!) and after Major League success on Atlantic and Dualtone; Mary has returned to home base for this; and hopefully future releases.
I was still looking at the quaint cover as the first song spooled out of the office speakers; and for some reason the two don’t match. I was expecting something akin to a Folk Songstress; but what we get is a good ole Friday Night Honky Tonker ……. with scorching electric guitar and pedal-steel, while Tennessee Three bass n drums align themselves to a velvety, worldly wise set of female vocals purring out a smashing toe-tapper of a heartbreaker on Slowly Disappear.
I knew that I was in for the long haul after four exquisite minutes!
The mood and pace drops quite dramatically on Track #2; One Step Away From Home, but the class still comes across in every purred word and strummed note.
After four ‘listens’ this is one of those rare albums that will sound just as good on your home stereo as they will in the car on a hot n dusty road trip.
Erring on the side of more Traditional Country Music; Try To Find, You Still Belong To Me and Something That I Missed still manage to sound as edgy and Alt. as many of today’s young ladies in their check shirts, tight Levi’s and cowboy boots can only dream of releasing.
On the other hand; and to my ears Mary excels when she slows things down and goes into introspective singer-songwriter mode; with I’ll Be There and the title track Shine having the ability to not just break your heart, but to melt the shattered parts too.
While this is most certainly a ‘Country Album’ in spirit and in deed; Mary Karlzen isn’t afraid to take risks with her songs; which is where The Burgeoning Road and Left Alone come into play; stopping you dead in your tracks, making you listen to the words more carefully than you might have originally intended ….. but, trust me ….. it’s well worth it.
From start to finish SHINE has been a joy and a surprise in equal measures; and selecting an individual Favourite Track has been a difficult choice; although I’ve now narrowed it down to two rather special songs; the Twangtastic and feisty Try To Find, which conjures up memories of me first discovering Bloodshot singers Lydia Loveless and Sarah Shook.
The other is just as raucous and erudite; Dumb Game is the type of song that you will only hear fleetingly on the car radio and then miss the name of the singer; then haunting you until it comes on again a week or mare later and you ssshh everyone so you can hear the singers name; then when you do ……. it’s off to the Record Shop to buy the album; without stopping at Go or collecting $200!!
Although it’s only April and I already have a dozen or so titles in my Top 20 albums of 2021 file; I’m damned sure SHINE by Mary Karlzen will feature in there somewhere come Christmas …… what a find (after all these years).

Released April 9th 2021

Ltd Edition – first 500 CD’s signed by Mary and include an Art Card too.

RMHQ Music Hour Ep:14

If you’re listening ‘live’ it’s Good Friday – if not, it isn’t!
A belting show this week with more loud R&B than normal …. but that’s the mood I’m in; plus two EXCLUSIVE FIRST PLAYS, singer-songwriter Steve Grozier’s new single AND a first play for a track from the forthcoming Danny and The Champions of The World Live Album, Los Campeones which comes out at the end of April.
The Gateway Record this week comes from Scottish singer Roseanne Reid and it’s a surprise on two level; it’s a lot rockier and grittier than I’d have expected plus it’s our first ‘doubler’ ….. keep listening to hear what it is.

Until next week; thanks for listening.

EASTER Good Friday#14 Podcast
Hitman Blues Band#14 PodcastNot My Circus Not My Monkey
Dr Feelgood#14 PodcastNo more milk and alcohol
Bottle Rockets#14 PodcastBuilding Chryslers
Danny and the Champs#14 PodcastNever in the Moment (live) EXCLUSIVE
LindisfarneLocal#14 PodcastMeet me on the corner
Brigitte DeMeyer#14 PodcastAlready In
Steve Grozier#14 PodcastPower in the Light
Lucinda Williams#14 PodcastPineola
Jarrod Dickenson#14 PodcastYour Heart
Roseanne ReidGateway#14 PodcastYou underestimate me
Steve EarleGateway#14 PodcastJohnny Come Lately
Beth Hart and Joe Bonamassa#14 PodcastSittin on top of the world
New Moon Jelly Roll Rockers#14 PodcastMessin with the kid (ft Jim Dickinson)
Rev’d Peyton#14 PodcastNothin’s easy but you and me