You Won’t Hear This On Radio: By Trevor J. Leeden

ERIK VINCENT HUEY

APPALACHIAN GOTHIC

Propellor

Whilst not a concept album as such, Huey has drawn upon his family’s four generations of West Virginian coal mining as inspiration for his solo debut. Mixing Classic Country with a hard-edged rock underbelly, there are strong sonic overtones of Copperhead Road-era Steve Earle, another native Virginian. Although several songs such as ‘The Devil Is Here In These Hills’ and ‘Death County’ explore darker themes such as the unfortunate legacy of coal mining and Virginia’s horrendous opioid crisis, Huey can still find room for optimism on songs like ‘Winona’ and the delightful Laura Cantrell duet ‘That’s What Jukeboxes Are For’.

THE INTERNATIONAL SUBMARINE BAND

SAFE AT HOME

Sundazed/Redeye/Planet

If there was ever any doubt that Gram Parsons had a “certain something” then this timely reissue of his first full-length album eradicates it. A precursor to his ground-breaking work with The Byrds, The Flying Burrito Brothers and as a soloist, Safe At Home is the sound of Parsons and company as unadorned, pure country troubadours yet to add the extra R&B and rockier ingredients that lay ahead. Yet, between the tasteful covers lie several songs that would remain amongst Parson’s finest, including ‘Luxury Liner’ and ‘Blue Eyes’. Included is a complete alternate version of the album taken from the original masters.

By Trevor J. Leeden

MEXICO CITY

CLOSER TO HOME

Independent/Bandcamp

The Brisbane quintet’s fourth album manages to pull off a rare feat. Closer To Home distils elements of altcountry, blues and soul into a roughhewn country rock gem, ragged in its glory and yet evoking that uniquely Australian feeling of the wide-open spaces. Joe Cryle’s pedal steel brings a touch of melancholy to tough songs that resonate with tenderness, epitomised by ‘Better Off Alone’, ‘Country Dark’, and the barnstorming opener ‘Broken Heart’. Mexico City charters the parched terrain where The Dingoes once roamed, uncompromisingly evocative artisans of Oz rock; there’s no higher praise than that.

THE JACK MOVES

CRUISERWEIGHT

Everloving Records/Redeye/Planet

Opening track ‘Lionel Richie’ lays out the Newark duo’s stall, lush strings and a big Philly-soul production. Cruiserweight simmers and shimmers, its retro soul dynamics not coming from the Stax template but instead harking back to the orchestrated sweet soul of Curtis Mayfield, Quincy Jones, and dipping into the vocal gymnastics of early 80’s Michael Jackson. Vocalist/guitarist Zee Desmondes showcases a formidable falsetto on the forementioned ‘Lionel Richie’ and the sultry ‘Six Ways’, whilst drummer Teddy Powell’s vocals on ‘Somebody’s Watching You’ are sublime. Overall, a very funky, latenight R&B soul groove.

CROW

CROW MUSIC

Sundazed/Redeye/Planet

Over the course of three albums, it’s fair to conclude that Crow didn’t find their niche. Their debut album was a maelstrom of stabbing organ, surging Blood Sweat & Tears styled brass flourishes, and rough’n’ready garage rock which reached its zenith on the superb ‘Evil Woman’ (later covered by Black Sabbath and Ike & Tina Turner). Their second and third albums, Crow By Crow and Mosaic (both also reissued), added to their blues-rock bedrock by dabbling in funk and country as the Minneapolis quintet fruitlessly sought to build on their early success.

DAVE ALVIN

ELEVEN ELEVEN

Yep Roc/Redeye/Planet

Eleven years after its release seems a perfectly good reason to issue a deluxe remastered edition of what stands as Alvin’s finest album (to date). Alvin has re-sequenced the tracks, including three extra songs, and if that seems unusual it in no way detracts from the package. This is Americana roots rock at its finest, Alvin’s rumbling baritone and searing guitar supported by a who’s who of sidemen including Greg Leisz, Reese Wynans, Bob Glaub, Don Heffington, Gene Taylor, and brother Phil. Incendiary songs like ‘Harlan County Line’, ‘What’s Up With Your Brother’, ’Dirty Nightgown’ and ‘Johnny Ace Is Dead’ now form the core of Alvin’s live shows; Eleven Eleven is simply brilliant.

EMILY NENNI

ON THE RANCH

Normaltown Records/Redeye/Planet

What better place than Nashville for a California girl recording her first album to draw upon good oldtimey Classic Country influences. Channelling the vocal stylings of Loretta, Dolly and Tammy is a sound decision, and the nine original songs (and one somewhat unusual ABBA tune given a country setting!) tell familiar rhinestone encrusted tales of drinking beer, riding broncos, honky-tonks and pick-up trucks. The band is tight-knit, with special mention to Eddy Dunlap’s soaring pedal steel and dobro.

TOWN MOUNTAIN

LINES IN THE LEVEE

New West/Redeye/Planet

Although steeped in the bluegrass tradition of their Asheville, North Carolina heritage, Town Mountain’s latest offering diverts into a more countrified honky-tonk sound with a distinctly rocky edge. Although the subject matter is often heavy (think climate crisis, alcoholism, dead-end lifestyle), the sheer ebullience of their rollicking brand of countrygrass leaves little time for despair. The impact of first-time producer Justin Francis (Joshua Hedley, Kacey Musgraves) is evident, the sextet’s sixth album sounding more polished than previous releases, and the three interchangeable lead vocalists is a luxury few contemporaries are able to emulate; it’s not the only similarity between Town Mountain and The Band.