Roger Chapman LIFE IN THE POND

Roger Chapman
Life in the Pond
Ruf Records

Still Fearless and Providing Family Entertainment From Somewhere Downtown, Americana.

The adage ‘legendary’ is well over used when it comes to reviewing anything by an act over 40 years old these days; but how else to describe Roger Chapman; one of the British forefathers of Rock and indeed; Prog in his days with The Family?
While not as prolific these days; he’s never stopped touring and recording in the near half century since that band split; and in my humble opinion has never stopped being at the very least ‘interesting’.
Opening track Dark Side of The Stairs is a rather sensuous and sleazy late night New Orleansy type stomp (or should that be Romp?). There sure ain’t nothing wrong with ‘that voice’ that’s for sure; and Roger sounds as salacious as ever if a little bit ragged around the edges ….. but then again; didn’t he always?
Like anyone and everyone with a scrap of common sense these days, our man is using his well used and very distinctive voice to his best advantage; slowing things down and dipping his toe into the Americana pond throughout; with that ‘knowing’ snarl and growl at it’s glorious best on Nightmare #5 and After The Rain which both may or may not be a man’s thoughts on the aging process ….. or just crinkly love songs …. who knows?
Because the title is slightly different from the versions I recognise, Snake took me not just by surprise but a few minutes for the penny to drop. Al Wilson’s Northern Soul floor filler, The Snake gets slowed down to now become a dirty ole Blues song, that sounds like it was recorded on a Friday night in a run down Honky Tonk on the bad side of town.
Obviously Roger can’t still do what he did in the 70’s; but he can still ‘Rock the House’ better than most folk his age; give Collar Turned Up and The Playtime is Over to hear what I’m talking about ……. and Sir Rodney Stewart should take note; you really can still be an authentic Rocker at this age, if you know what you’re doing ….. and Roger Chapman does!
There ain’t no filler here by the way; every song is well worth it’s place; but there are a couple that show Roger Chapman still has a twinkle in his eye and an eye for a great song; with Rabbit Got a Gun being a primo example and that harmonica blast ain’t too shabby wither.
I’m simply adoring the slow and romantic On Lavender Heights which I wasn’t expecting at all; but then again I too am still a silly old romantic at my age.
Having Us a Honeymoon, courtesy of the rinky-dinky piano and Cajun fiddler is another bit of a New Orleansy Romp; with more than a nod to the good Doctor but so many others in that vein too ……. perfect for a Saturday night BBQ.
Which brings me to the album closer and my Favourite Song on a rather exceptional album; Naughty Child.
Dark and slow burning; it sounds very much like Chappo has deliberately kept the best ’til last; with the one song here that sort of reminds me of The Streetwalkers circa Downtown Flyers, with not a note or word wasted on a claustrophobic look back on his and perhaps our own younger days.
It’s been a blast listening to this album over the last few weeks; rediscovering a talent that, while I hadn’t forgot about …. but perhaps the industry just might have ….. and hopefully this album will put right that wrong, across the Post-Pandemic Summer of ’21.

Released June 25th 2021
Fan Site



BDM Music

A Limpid Honesty and Beauty in Her Prose That Shines Through Every Song

Brigitte DeMeyer has been making music for over 20 years. Originally based in California, she moved to Nashville and succeeded in developing not just a career in music but in forging some very strong and tight friendships.
However, a family situation has meant that she needed to re-locate back to San Francisco and break away from Music City.
But through the wonders of modern technology, her conducive friendships somehow became stronger and tighter, continuing to function effectively, despite the distance.

Seeker will be her 8th. album since “Another Thousand Miles” debuted in 2001.
Having previously toured and worked with The Wood Brothers it was a no-brainer to not just involve them but co-write all but one of the songs with their multi-talented, multi-instrumentalist Jano Rix, who also took on the additional production duties.
Of course Oliver and Chris Wood join Mr. Rix on some of the tracks and Brigitte’s best friend and Godmother to her son; sister Alfreda McCrary can be heard on the backing vocals.

All the Blue” kicks off the proceedings with Jano Rix on his special shuitar, plus guests JP Ruggieri on pedal steel & acoustic guitars and Viktor Krauss on upright bass.
Brigitte takes both the lead and background vocals and tells the tale of a hardworking cowboy friend, with a haunting chorus of “but when the night comes, that’s when your soul hums, a poorboy looking at that rich mans run”.
Alfreda McCrary provides the backing vocals to the slinky “Cat Man Do” whilst Jano contributes more shuitar plus sublime piano and organ.

Just the 2 main protagonists feature on the bluesy protestations of “Calamity Gone”, whilst they are again joined by Ruggieri on serene acoustic guitar for the love song ‘Already In” touchingly dedicated to Brigitte’s husband, including the lyrics
We could be anywhere or nowhere,
I could be alone,
But if you’re there on the square
I call it home,
You’ll never know how to,
no need to convince,
but a heart that wants you,
you’re already in”.
Viktor Krauss returns on the jazzy “Ain’t No Mister” with further superb keys from Rix.

Poignantly dedicated to DeMeyers’ son, without being anyway near piteous, “Roots and Wings and Bones” is all about mothers who sacrifice everything for the well-being of filials.

The ambrosial title track “Seeker” was written when she had returned to California reflecting on missing all her buddies, some 2,000 miles to the East.

It was so difficult trying to select a favourite track. Nevertheless, in a close second place on this glorious new release that undoubtedly straddles so many genres whilst never falling into any is “Louisiana” apparently DeMeyers favourite US City (and mine too btw).
Amazingly, she and I also agree on our overall favourite song, “Salt of the Earth” which is all about trust and connectivity, featuring the full contingent of The Wood Brothers plus Kris Donegan on electric guitar and once again Alfreda, just one of a choir of backing vocalists.

In summary, I thought very highly of her previous release “Mockingbird Soul” with long-term collaborator and another seriously multi-talented musician in Will Kimbrough. However, Seeker elevates Brigitte DeMeyer into the upper echelons of my all-time favourite female lyricists and singers.
There is a limpid honesty and beauty in her prose that shines through the ever indelible, magical music of Jano Rix; and means I need to revisit not just her earlier work but that of The Wood Brothers, as well.

Review by Jack Kidd (Broadcaster Extraordinaire) – “Messin’ with the Kidd” on

Released on 26th. March 2021


Lorenzo Wolff – Down Where the Valleys Are Low: Another Otherworld for Judee Sill

Lorenzo Wolff
Down Where the Valleys Are Low: Another Otherworld for Judee Sill
StorySound Records

Avant-Garde Interpretations of Bedsit Heartbreakers.

This has been a bit of a challenge on several levels. Firstly I thought I knew Judee Sill’s work; but apparantly don’t and have never owned a single record of hers; and neither did my brothers, then I thought I saw her once as a ‘support act’ ….. again, this drew a blank ….. but I did recognise the recording she did for OGWT of Jesus Was a Crossmaker.
Then, Producer Lorenzo Wolf’s reimaginings of Judee Sill’s songs have; on occasion stretched my own imagination; but I’ve clung on in there just for you.
With all that in mind this isn’t going to be a ‘compare and contrast’ with the originals, that’s for sure.
Hmmmm; the slightly electro-psychedelic opening to first song Down Where The Valleys are low, made my teeth itch; but Mary Elaine Jenkins’ soulful voice carries a rather dark and lovely song way past where the Electronica backdrop deserves.
This is followed by a contemporary Blues-Rock version of The Pearl, with Batrees Strange (a man btw) sounding like he’s actually living every word and stanza in a Ty Taylor aka Vintage Trouble kinda way; making this a bit of a Soulful Belter.
Only two songs in and you see my dilemma as a Casual Listener; it’s a thematic Various Artist album with each version being entirely different from each other.
That said; there are a couple of absolute beauty’s among these seven songs ……. Emily Holden’s ethereal adaptation of The Kiss feels like something you’d expect from Kate Bush, but Emily’s golden voice is far, far easier on the ear.
Bobby Hawk and Kate Ferber take The Phoenix on a cluttered Alt. Country journey that I certainly wasn’t expecting; but have come back to a couple of times.
Weirdly, I’ve also been drawn to Crayon Angels and technically I shouldn’t as the Avant-Garde and slightly overwhelming backing detracts from Grace McLean’s gorgeous voice …… challenging? You bet!
That leaves two songs; obviously Ms Sill’s epic Jesus Was a Crossmaker is here; and it’s fair to say Michael Cerveris does it justice, but producer Lorenzo Wolff still gets carried away with the electronics; attempting some kind of sub-Krautrock tempo and commotion behind a very passionate singer and song.
Then; there is There’s a Rugged Road …… phew; still sounding nearer to Post-Punk than Bedsit singer-songwriter, this adaptation using Osei Esed’s rich baritone is by far and away the best and most memorable song here; making it my Favourite.
Even now three days and five attempts at playing it all the way through; I’m not sure what Lorenzo Wolff’s intentions are; as I doubt this will appeal to Judee Sill fans and/or casual music fans like my good self. The good thing though is I think I’ve discovered some really interesting sings …… so some good has come out of this.

Released March 12th 2021


Dan Israel LATE AT NIGHT (E.P)

Dan Israel
Late At Night

More ‘Grown Up Pop Music’ For the Alt. Generation.

We rather like Dan Israel around these here parts; and his SOCIAL ANXIETY DISORDER album was not just the coolest title I may ever have encountered; but we still stand by our stance that it was “An Album of ‘Grown Up Pop Music’ For the Alt. Generation.
Now leap forward a year or so and he’s back again, only this time with EP in the truest form; i.e an ‘extended play single’ where we get two really classy ‘Grown Up Pop/Rock Songs’ plus them in demo form and an extra demo for good measure …. plus it’s only available on our Favourite Music distribution site Bandcamp.
In keeping with many of his peers, the last 12 months have taken their toll on him and with the help of on Pandemic Blues he sounds like he’s filtering Righteous anger and bile on behalf of all of us, through a Rock and Roll filter bought on EBay.
I love the ‘Grungy’ feel to it; we need more songs that sound like this.
I’ve purposely avoided a lot of songs on this theme; but one way or another Dan has captured the zeitgeist better than most everyone else:
The pandemic blues, like Groundhog Day, everywhere you look, someone holds your fate,
You read a book, or you make a date, you stay inside, don’t go past the gate,
Oh, oh, the pandemic blues,
Oh, oh, the pandemic blues

The title track; Late At Night follows and while a completely different subject captures the subject of loneliness like a punch to your heart Dan Israel takes this uncomfortable subject and wraps it in crisp cotton leaving you feeling a little bit better about yourself after a break-up.
There are others around the world, looking at the stars just like you are.
Now, as a non-musician I’ve always been in awe of musicians who can turn a song and/or melody upside down and inside out …… this started with hearing Crossroads by the Cream and then discovering it was originally a Robert Johnson song.
Here; I love the rough and ready version of Pandemic Blues perhaps a tad more than the single; but it’s so different with Gripka playing all of the instruments in his basement as to make compare and contrast is futile; but the slide-guitar here certainly makes up for loud electric guitars in the ‘piss n vinegar’ stakes!
Late At Night, on the other hand breathes a little more freely, allowing Dan’s ultra-fine thoughts and words to drift in and out of your consciousness like the very air we suck in Late At Night.
In the last year; because of circumstances I’ve listened to a lot of stripped-back acoustic albums from artists normally associated with the electric format of Americana; some work but many have fallen by the wayside because the act has forgotten how to use the subtleties/nuances of the acoustic format to their advantage.
Dan Israel hasn’t that’s for sure!
The fifth and final track here should be a kind of throwaway or ‘filler’ ….. HECK NO!
Drove So Far/Lose The Plot, with Dan showing what a clever guitarist he is; is actually a real smart snapshot of why I love Americana Music. It follows perfectly well from the other two ‘demos’ but; as they do too …… actually sounds fully formed and ready to make its own way in the world.
Then, I sit back and re-read my words ….. and not for the first time recently, sigh at the thought that while Dan Israel has a dozen or more albums under his belt; but instead of being the cover star of Rolling Stone that his talent deserves; he’s dependent on the likes of RMHQ to get his songs across to the populace at large.
Life isn’t always fair; but you can do the right thing for yourself and Dan; buy the Bandcamp Exclusive this week ….. but it will prove expensive in the long run; as it will mean you will keep dipping into his back catalogue for weeks to come.
You’ve been warned!

Released February 12th 2021


Anna Elizabeth Laube ANNAMANIA

Anna Elizabeth Laube
Ah……. Pockets!

A Captivating Career Retrospective Plus a Couple of Unmissable Rarities.

With only four albums to show for a career that has spanned nigh on twenty years, this retrospective is quite startling in the quality of Ms. Laube’s songwriting and singing right from very first song, Sweet Boy From Minnesota.
Taken from the 2015 album Anna Laube, we are swept along the charming side of Country that we would normally associate with Nanci Griffith, Laura Cantrell or perhaps even Linda Ronstadt; and it’s fair to say Anna stands shoulder to shoulder with all three of those icons of my record collection.
What a way to start a Collection!
The mood drops somewhat for Track #II, Tom Petty’s Time To Move On; a haunting slow burner with only a piano and French Horn as backing. If you’re already a fan of Anna’s; this song is worth the entrance fee alone, and if you’re new to the songwriter, you will instantly be as smitten as I am.
The songs flit carelessly between Anna’s three albums and like that previous song, there are a couple of rarities thrown in too…… and while there’s an element of ‘moving on’ in direction; Anna Elizabeth Laube’s pearlescent voice and insightful songwriting weave a golden thread that pulls everything together as ‘one’.
Of the songs I know from the 2016 album TREE, Please Let It Rain in California Tonight and the title track Tree, itself still sound extraordinary in the way Anna captures your imagination with her words and music in a way I still haven’t heard since the first time I heard Joni’s BLUE many moons ago and Sunny Days is the perfect lead into a new song to me, Hippie Boyfriend with its San Francisco circa ’68 vibe.
With the divergent songs and tunes on offer I can only imagine an Anna Elizabeth Laube concert will be quite the event, with All My Running, If You Build It and I’m Gone being completely different in theme and construction; but sure to be highlights.
When you come back to this album for the second or third time, you will also get the feeling that Anna has been quite brave with her changes of direction throughout her career. Even the earlier acoustic based Singer-songwriter fayre aren’t always ‘obvious’ in the way many of her contemporaries would build a song; with Already There being a prime example. But that theory is even more prescient with the previously unreleased song Jardim de Estrela, with her now breathy vocals over an almost Classical guitar and accordion that wouldn’t be out of place on a Tom Russell song.
For a Favourite Track I’ve deliberately missed the songs from TREE, and gone for something new that has a) surprised me and b) stuck with me days after first hearing it/them.
Beautiful Boy from OUTTA MY HEAD, is the type of quirky yet lovely song that I love from singer-songwriters, a toe-tapping tune, slick acoustic guitar and words and melody that stick around and come back when you’re least expecting it.
The other is Oh My! (Oh Me Oh Me Oh My); a real oddity here, featuring the legendary Chuck Leavell on organ btw; and is a bit of a Big Easy Honky Tonker that will make you want to shuffle your feet and shake your hind end, as Anna enters into unchartered Maria Muldaur territory and comes out the other side totally unscathed.
With no discernible ‘hits’ to speak of, releasing a Career Retrospective’ may seem odd; but these songs represent 15 years or more of hard work; perhaps now is the time; and hopefully a stepping stone to Part II of a remarkable career.

Released 22nd January 2021

Download & Stream only ……. and you should know which one makes the most sense!!!

Steve Earle and The Dukes JT

Steve Earle & The Dukes
New West Records

There Is a Light That Will Never Go Out …….

The record is called J.T. because Justin was never called anything else until he was nearly grown.
Well, when he was little, I called him Cowboy,”
“For better or worse, right or wrong, I loved Justin Townes Earle more than anything else on this earth.
That being said, I made this record, like every other record I’ve ever made… for me.
It was the only way I knew to say goodbye.

explains Steve Earle

This is an album I knew that I was going to love before ever hearing the first note; and it’s also an album that I’ve kinda fantasized about over the years; but today feel so desperately sad that it has actually been made.
If you’re reading this it’s safe to presume that you are already a Justin Townes Earle fan or, more likely one of Steve Earle, whichever; you are going to find such warmth and solace in these songs you will surely come out the other end a huge fan of both.

It’s absolutely pointless going into this tempestuous Father/Son relationship, apart from Steve must have felt that he’d had his heart ripped out on that August morning when he heard that his child had died.

No more tears; onto the music ……….
When you hear this for the first time, especially if you don’t know Justin’s songs, this is very much a modern, Folky/Americana Steve Earle album; and easily one of his most accessible in recent years; but the deeper you delve the more Justin’s spiky and almost punk influenced words get new life breathed into them via this new format; but by that same token, words that somehow breathe new life into Steve’s singing and arranging.
Opening track I Don’t Care sounds like a back porch Hillbilly Saturday night family hoedown; with a sparkling banjo alongside some razor sharp fiddle playing being the lead instruments as Steve rocks the socks off a song from Justin’s debut EP Yuma.
This is followed by a similarly celebratory rendition of Ain’t Glad I’m Leaving from the same year, 2007 and while it’s all too easy to re-write history with this choice of song; it’s actually just another superb piece of songwriting from one of Americana’s young shining lights.

They Killed John Henry is an age old theme played out many times over the last century in American Folk music; but when Justin included it on Midnight At The Movies it was considered quite the Agit-Folk piece of work; with JT going where his contempories feared to tread …….. and; if ever there was a song written for Steve Earle to belt out, this is it.
Please, please don’t read too much into the song titles; especially Turn Out My Lights as it’s actually a beautiful and heartfelt love song; just like the haunting Far Away in Another Town which has Steve squeezing ever last drop of pathos out of the songs chilling words.
As you’d expect from both Steve and Justin; there’s no party like an Earle Party and Champagne Corolla and Maria both get an added dollop of adrenaline to make you want to dance your socks off as you cry your heart out; which is quite some feat from both writer and singer/arranger.

Of the 11 songs here, 10 are from the pen of Justin T Earle and certainly show the world what a talent he most certainly was; but the Last Words are left to Steve himself, with a song of the same title which closes the disc and …… and ….. and ……. brittle?

All of the above …….. if you thought you knew and understood heartbreak, just listen to this man mourning his son.
Phew …….. with emotions running so high; absolutely any of those songs could and indeed are among my Favourites but, arguably JT’s most famous song Harlem River Blues takes on a whole new life under his Father’s tutelage and had me crying and punching the air with delight when it was first released as a single; but there is one other here that actually surpasses not just Justin’s songwriting but also; and only by a whisker Steve’s passionate singing and that’s the title track from the young man’s most recent record; The Saint of Lost Causes.
A song that I liked a lot on the original album; but while I said not to use hindsight, with this mysterious and almost Americana Gothic song, you can’t help yourself and ……. wow …….. what a way to be remembered; I never felt it at the time but the words and construction are very Dylanesque and (this isn’t being lazy) but the man he was named after; Townes Van Zandt too; so it’s not too much of a stretch to think that it was going to be the beginning of a whole new and exciting chapter in the life of Justin Townes Earle.
I own all of Justin’s albums, saw him live four times and even interviewed and photographed him and can’t think of a more fitting tribute to a life that didn’t just flicker but burnt as bright as any shooting star; than this album by his grieving Father.

Justin Townes Earle (January 4, 1982 – August 20, 2020)

Released January 4th 2021 (JT’s birthday).
100% of the artist advances and royalties from J.T. will be donated to a trust for Etta St. James Earle, the three-year-old daughter of Justin and Jenn Earle.

Cathy Grier I’M ALL BURN

Cathy Grier & The Troublemakers
I’m All Burn

Imagine You’re Sitting in a Lonely Hotel Lounge One Cold Tuesday Night With Only 2 for 1 Cocktails For Company.

While we try to keep up to date with our reviews; getting them out as near to the release date as is humanly possible; sometime we have to make exceptions.
A few weeks ago Cathy Grier sent an e-mail asking if we’d be interested in listening to her latest album which had been released back in the Summer; and out of courtesy I responded in the affirmative.
Then heard nothing.
Until the postie delivered a package from the US of A with a handwritten note alongside a comprehensive Press Release and a cool looking CD.
So far; so good …… but with so much going on in November and now December I wasn’t sure when I could listen to it.
Then, yesterday morning I managed to squeeze in a ‘morning constitutional’ walk in the park; so played this as an accompaniment. Now; what I heard was nothing like what I expected from the imagery and artwork!

But Far Far Better, baring in mind it was a cold and grey morning and the rains came half-way round.
The title track, I’m All Burn opens with an intense horn section serenading us before Cathy glides in with a sultry ode to the feminist movement; but don’t let that put you off guys; as what Ms. Grier sings from her pumping heart is pretty much what my Mother preached to her sons half a century ago and my wife and I have passed on to our sons; and still stands upright today in 2020 …….. to paraphrase;
why does a woman have to work twice as hard as a man; to be treated as his equal?
I’m with you sister!
The sentiments that follow are pretty much dyed in the wool standard fayre; but boy oh boy can Cathy Grier not just sing a soulful Blues ballad but write a belter too.
There’s a wonderful ‘groove’ from start to finish that sent a shiver down my back while making me hold my breath at the same time; if that’s possible? Well; that’s how Roots Run Deep and Easy Come Easy Go; especially Larry Byrne’s swirling organ solos have; and still make me feel today.
Cathy dabbles her toe in Ma Rainey territory with the saucy Backroad Blues; which features some absolutely scorching harmonica from Steve Cohen as well as some slide from the legendary Greg Koch, to seal a very contemporary Classic Juke Joint love song.
I’ve quickly fallen in love with the bodacious Key To My Survival and What Fools Do; as they just somehow ‘speak to me’ in a way only The Blues can.
For a laid back style of album; there’s an awful lot going on behind Cathy Grier when she sings and plays guitar; and boy can she play a guitar …….. try listening to her solo runs on the slow and simmering Happiness Blues or Cool Trick and tell me you’re not hearing a Mastercraftsman; (or should that be Mastercraftswoman) at work and play?
While Cathy Grier has a very distinctive and smooth singing voice; she can still get low down and funky when she wants; most notably on Down On My Knees and Keep You Out, which both sound like they could have been recorded at Muscle Shoals back in the early 80’s.
There’s even a bit of a curve ball with the final track; Cathy’s Bike Song; which finds our heroine going solo and playing a Cigar-Box guitar; and it’s a lot darker than the ‘piece of whimsy’ that the title first suggested; and I’d sure like to hear a whole album in this particular style.
As is my won’t I’ve played this four times now before actually digesting the Press Release; and apparantly this is Cathy Grier’s 14th Album! FOURTEEN? And yet she looks so young and pretty.
Plus, she’s very proud that this has been recorded in Wisconsin using pretty much local musicians, and is her tribute to her new found home in Sturgeon Bay.
This is very much the type of album you will get the best from late at night when you are feeling very sorry for yourself; or sitting in a lonely Hotel Jazz Lounge one cold Tuesday night, with only 2 for 1 cocktails for company; therefore picking out one individual song to be my Favourite Track hasn’t been easy at all; but I’m going to take a punt on the Rhythm and Blues delight of Question Of Desire; but then again Protecting My Heart; which precedes it probably sounds like the single track that might sum up Cathy Grier’s ‘style’ …… oh this isn’t easy at all!
By the way, there’s one cover song here; and when I tell you that Cathy has put her own individual twist on Bobbie Gentry’s iconic Ode To Billy Joe you will hopefully what a brave risk taker Ms Grier is and, as it’s in keeping with everything else here, why I’m totally smitten with I’M ALL BURN.

Released July 2020



Anna Lavigne
Angels in Sandshoes

A Cornucopia of Musical Loveliness

While I know Anna Lavigne; as I’ve met her a couple of times; when she’s been with her partner; who is a good friend of mine; I had absolutely no idea she could ‘sing,’; so was surprised when said friend asked if I’d mind having a listen to her new album; which he had produced.
So; out of courtesy I did just that.
Oooooohhhhhhh ….. what a delicious surprise this has been; and nothing like what I’d expected at all.
The opening stanza to Every Kind of Heaven threw a curve ball; as I half expected a reggaeish tune to follow; and what you get is a rather quaint and dreamy pop song that sounds like it falls somewhere between Sandie Shaw and Eddi Reader in her Fairground Attraction days; and the ‘hook’ had me hooked straight away.
Next up; Anna ups the pace on a Twangtastic Country song; Dare to Dream which conjures up memories of Kirsty MacColl at her finest.
Do you get the picture yet? I certainly hope so.
There are no two songs here alike; which is a totally wonderful treat, with the golden thread that is Anna Lavigne’s warm, rich and eloquent songwriting weaving every single element together.
The evocative *duet, Paris in the Rain has a neat Ragtime guitar melody accompanying two voices that were meant to sing together; like a British Folkie Gram and Emmylou; if that’s not too grand.
On Cigarette, we are whisked away to a seedy nightclub; in the exotic part of town where Anna ‘talks’ the story directly to you; as if she’s letting you in on a very dark secret about that woman called; Cigarette.
There’s even a hint of slow, sexy and slightly greasy Rockabilly on the I Love The Way You Move which will have you turning the lights way down low and then shuffling around the kitchen like a teenager on heat.
Speaking of dancing; Dance The Last Goodbye sounds like a great lost ‘Teenage Opera’ from someone like the Shirelles or Shangri-La’s and won’t be out of place on Strictly Come Dancing one Saturday night.
It’s odd how the saxophone has gone out of fashion in recent years; but a judicious use off said instrument at the beginning of A Life of Her Own, which closes the record is a masterstroke as it echoes the darkness in the words and the pathos in Ms Lavigne’s stunning delivery.
Now, dear reader as you will suspect; selecting a Favourite Song has been very difficult indeed; simply because every song here could be a Hit 45, if the music world knew what it was doing.
But; I’ve managed to narrow it down to two; another ‘sexy song’ the Hot Club de Brady Square inspired La Demise de la Bise*; which finds Anna dropping her voice an octave or two as she purrs alternate verses in French and English; which has the capacity to make a man’s heart skip a beat or two.
The other; and initially my first choice, Seashore Roses is an enchanting duet with the man in her life; none other than Martin G Stephenson esq. who knows his place and that’s alongside, if not behind Anna Lavigne’s timeless performance on a song that just cries out to be in a Summertime Blockbuster movie.
I’ve kept Martin’s name to the end; as although he produced the album and co-wrote most of the songs with Anna; this is very much Anna Lavigne’s album and nothing should be allowed to diminish her undoubted talents and …….. rather lovely singing voice.

Released December 22nd 2020

*La Demise De La Bise means that  cheek kissing greeting that the French always use – or used to before covid, so in a way quite unexpectedly relevant! The end of the kissing?

The Bob Frank Documentary: Bob Frank Within a Few Degrees

Bob Frank Within a Few Degrees:
Light In The Attic

The best summation of Bob Frank comes from songwriter Jim Dickinson:
The best songwriter you never heard,” he famously said.
I first came across Frank some years ago, while researching murder ballads and discovered the album he made with John Murry, World Without End, which is so full of darkness, senseless death, mayhem, and troubled humanity that most folks who hear it can’t make it all the way through, which—to my mind—makes it one of the most beautiful albums of all time, and one of my absolute very favorites.
Trying to find out more about these two elusive songwriters (Murry had yet to release any other music at this point) I came across the one album Frank recorded in the early seventies for Vanguard and was instantly hooked.
His songs were simple, yet fully realized, there was a sincerity in his singing and he had a rather unique way of fingerpicking the guitar that emphasized his vocal delivery. He was as much Rock ‘n’ Roll, as he was Country and Folk.
With each song I discovered myself falling down that rabbit hole, looking for more of Frank’s music, which was hard to come; by but not impossible to find.
Eventually I reached out to Frank himself and interviewed him via email for my blog on songwriting. Frank was honest, humble, courteous, and very forthcoming about the elusive magic of songwriting.
When I heard that someone was making a documentary about him I was elated.
When I heard that he had died from pancreatic cancer rather suddenly I was devastated.
I had never met the man in person, yet talking with him, and listening to his music, I felt as if I knew him to a certain degree.
I am so grateful to Isaac Pingree for taking the time to sit down with Frank and several of the folks who knew him best and create this film. Bob Frank, telling his version of the events that led to Vanguard Records dropping him are pure gold, as is the footage of Frank playing guitar with calm gusto and singing some of his finest songs.
The cornerstone of the whole thing is the 76-minute long documentary on DVD produced by Isaac Pingree, but the icing on the cake are the two compact discs of demos; some recorded by Frank when he was working as a songwriter for hire in Nashville, and some recorded by Frank himself on a cassette recorder after moving to California and working in the Oakland Parks Department.
So what we get from these 37 demo tracks is a few instances of Frank trying to write a song that would work for any up and coming Country artist. His songs aren’t as generic as some of the “written by committee” Country songs we get nowadays, it seems that Frank still couldn’t completely shed his skin in order to eek out a living.
His songs have a whole lot of Bob Frank himself in them, which ain’t a bad thing if you’re writing songs for yourself, but don’t always work if trying to sell them.
We get songs about songwriting itself (“Wailing Mountain Wind“), a few obligatory love songs, songs about folks searching for that one bit of elusive truth which could change their life.
I don’t know for a fact, but I suppose that Frank wrote many of these off the cuff, just spittin’ them out as they came to him, needing to get them down before he lost them.
A songwriting dynamo that’s for sure!
This entire package is a fantastic entry for anyone interested in learning about one of songwriting’s greatest ever, if slightly unknown, musical geniuses, buy it straight from Light in the Attic.


Release Date: December 11, 2020
Review by Roy Peak

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Emily Zuzik & Ted Russell Kamp THE CHRISTMAS STAR

Emily Zuzik & Ted Russell Kamp
The Christmas Star

It’s Christmas in The New Old Fashioned Way!

What’s not to like after one of the rottnest years of my life?
Our new discovery, the lovely Emily Zuzik and the magnificent Ted Russell Kamp putting the glitter and camp back into our lives …….. your Granny and the kids are gonna love this too!

A great, brand-new Christmas song Zuzik wrote and recorded together with Ted Russell Kamp, the producer of her album, Torch & Trouble. After initially having the idea for the initial chord progression and verse melody, the y got together and wrote the rest of the music very quickly and worked up the lyrics over the next few days.
This song was itself a Christmas gift to us because it came so fast and flowed so freely and naturally.The biggest argument we had through the whole process was deciding if the bridge should go to C# major or C# minor (not that big a conflict!). 
As it’s been a tough year for everyone on the planet, maybe it’s time to have a little levity at this time of the year.