// Category Archive for: Americana

Music Review: Julia Jacklin, Don’t Let The Kids Win

By Melissa Bratcher

I’m going to admit this right off the bat: there were a few times in listening to Julia Jacklin’s fascinating debut, Don’t Let The Kids Win, that I couldn’t quite make out what she was saying. On the opening track, “Pool Party,” I was drawn to the languid retro feel, a slow dreamy sway of a song, and the unusual timbre to Jacklin’s voice. I just had no idea what the lyrics were (and to me, as a reviewer, lyrics are important). But it didn’t actually matter, because the feelings are evident; there is a heaviness, a sadness that runs through the Americana-esque song.
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Music Review: Luke Winslow-King, I’m Glad Trouble Don’t Last Always

By Melissa Bratcher

Luke Winslow-King’s new album, I’m Glad Trouble Don’t Last Always, begins like you’d expect one of his albums to begin: killer bottleneck riffing and sonic space. Then, it quickly becomes something unexpected. He’s no longer playing stripped-down, front porch-blues. He’s moved boldly into the realm of contemporary blues players (Gary Clark, Jr. is an apt comparison) with a full band, with any trace of whimsy eradicated, and Winslow-King’s fine voice prominent. It doesn’t sound like him, though. Not the him that we’ve come to expect.
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Music Review: Amanda Shires, My Piece Of Land

By Melissa Bratcher

Some pregnant women nest by painting walls, decluttering, pasting photos in albums. Amanda Shires wrote an album. My Piece Of Land was written and recorded as a way of dealing with her pre-motherhood anxiety when she was pregnant and unable to travel. The result is introspective, incredibly honest, and furiously lovely.
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Music Review: Riley Etheridge Jr., Secrets, Hope & Waiting

By Melissa Bratcher

There’s always a trickiness to concept albums. Do the songs work on their own merits, or do they need the framework of the concept to bolster them? Is the concept explicit, or do you need to read copious press materials or liner notes to ferret out a theme? Will I need to take psychedelics to understand this album?
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Music Review: Stewart Eastham, Dancers In The Mansion

By Tyler Hodg

Stewart Eastham’s latest effort, Dancers in the Mansion, is like a wild night in a Nashville bar: the swinging country music encourages you to hit the dance floor, while occasional somber sounds result in moments of reflection. All that’s missing is a little too much bourbon. (more…)

Music Review: Hymn For Her, Drive Til U Die

By Melissa Bratcher

You know what’s easy to love? A two-person band. Do you know what band you’re about to love? Hymn for Her, a nomadic pair who make their home in a ’61 Bambi Airstream trailer (with their daughter) and make the kind of music you can crunch away the miles to.

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Music Review: Tiny Tim, Tiny Tim’s America

By Hanna

The 20-year anniversary of Tiny Tim’s death continues with an absolute treat for fans in the form of Tiny Tim’s America. This release is special because it’s comprised of new material, from recordings Tiny made in 1974 when he was in between recording contracts. Using this demo tape, a number of songs were chosen to compile a vinyl album (plus mp3 download). The original entire demo recording is also included on the mp3 download.

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Music Review: The Honeycutters, On The Ropes

By Melissa Bratcher

Asheville, North Carolina’s The Honeycutters have followed up 2015’s sublime Me Oh My with the completely wonderful On The Ropes. It’s good to have them back with such strong, satisfying material. Vocalist and songwriter Amanda Anne Platt’s voice is a treat: maybe older and wiser (by a year), but still hopeful. Hearts have been broken and mistakes have been made, but she’s not giving up. Ever.

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Music Review: Gregg Martinez, Soul Of The Bayou

By Melissa Bratcher

Louisiana Swamp Pop king Gregg Martinez has the kind of powerhouse voice that seems to grow slow and deep, like the roots of an ancient tree, straight up from the earth. It’s an incredible voice, and Martinez has a gift for adding an extra lagniappe of soul to everything he sings.

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Music Review: The Blind Boys Of Alabama, Higher Ground

By Melissa Bratcher

It’s difficult to listen to The Blind Boys Of Alabama’s Higher Ground (2002) and not compare it to its predecessor, Spirit Of The Century (2001). Both are Grammy-winning collaborations with producers John Chelew and Chris Goldsmith and both feature bold, spiritual covers of songs by contemporary artists, with the Blind Boys Of Alabama being backed by a band in “musical conversation.”

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