Tag Archives: folk

Reflecting on: John Prine’s Self-Titled Debut

Yes, many of you know that John Prine, one of the most beloved songwriters of our time, is currently on his ninth day in the ICU, critically ill and being treated for COVID-19. It is true that like so many, during the past week, I have been compelled to offer my love and support to him by playing his music, and that has sent me on a journey through his entire discography, to rediscover old gems and find new ones yet unexplored. But it’s more than that which keeps me replaying Prine records these days; there’s a hope in his songs that brings an unparalleled comfort and which has helped me greatly through this uncertain period. John Prine gives us reasons to smile when we have so few, and so with that in mind, this post goes out to my dear friend Ché Martin and all the others like us who find their smiles in a John Prine song.

Release Date: 1971

Style: folk

People Who Might Like This Album: fans of Jason Isbell, fans of Bob Dylan, fans of Ian Noe, those who value songwriting and clever turns of phrase

Standout Tracks: “Illegal Smile,” “Spanish Pipedream,” “Angel From Montgomery,” “Far From Me,” “Hello in There”

Reflections: It’s a good time to be listening to and writing about new music. Certainly, despite the number of albums being pushed back lately, there have been quite a few notable releases, especially in the past two weeks. Most of us are stuck at home with nowhere to go and no sports to watch and nothing to look forward to, and new music is one of the few remaining bright spots in our lives. AS a reviewer, I’ve got plenty of time on my hands to explore all of it, and yet, the general uncertainty and hopelessness of this strange time in history is often counterproductive; it’s difficult to empty an anxious mind to focus on a piece of art well enough to think critically about that art and lose myself in the analysis. A reflection is an easier task right now because we designed these to be personal accounts of our own musical experience rather than the broader evaluation necessary in a review. This isn’t to say there aren’t some new albums that have captured my attention as a writer and as a music fan, but it’s older, familiar songs that I find myself gravitating toward of late, beacons of certainty in a world where things are changing by the minute. And over and over, especially in the past week since we have learned of his diagnosis, I have found strength and comfort in the music of John Prine. I may do more of these reflections as I wander through his albums, but for now, I’ll start at the beginning with his debut.

It was “Angel from Montgomery” which first drew me to Prine’s music years ago and which remains one of my favorite songs of all time. As a disclaimer, I will say that I actually prefer Bonnie Raitt’s version, as she took this excellent showcase of songwriting and then made it into a soulful vocal masterpiece. But this song made me fall in love with John Prine because of his ability to capture this character, her desperation and regret as she looks back on her life as an old woman. He’s almost painfully perceptive, seeing into the hearts and minds of all of us so thoroughly that there’s peace in the sorrow because it’s so obvious that he understands. WE see that perception here in “Hello in There,” as he explains that “old people just grow lonesome” and allows us all a glimpse into the hearts of so many elderly people who just feel forgotten and ignored by the world. He makes us hurt for the veterans who come home wounded, broken, and forever changed in “Sam Stone,” and gives us insight into the hearts of the Appalachian people whose land has been ravaged by coal mining in the song “Paradise.” It seems that John Prine has a heart for all the disenfranchised, forgotten souls in this world, and there’s something especially comforting about that in a time like this when we’re all hurting together.

And yet somehow, Prine still manages to make us smile with his whimsical lyrics and clever turns of phrase. There is no other songwriter quite like him and may never be after. It’s the poetry of Bob Dylan and the relatability of Merle Haggard with a dose of the magic of Dr. Seuss sprinkled in for good measure. He says in the opener, “Illegal Smile,” when describing his lonely, boring morning, ” a bowl of oatmeal tried to stare me down and won, and it was 12:00 before I realized I was having no fun.” And yes, in case you were wondering, his illegal smile that allows him to go on is indeed marijuana, so there’s that. There’s also some cheeky wisdom in “Spanish Pipedream,” as he advises us all to “blow up your TV, throw away your paper, go to the country, build you a home. Plant a little garden, eat a lot of peaches, try and find Jesus on your own.” Blowing up the TV and throwing away the paper sounds like excellent advice right now, and it’s lyrics like these that put a smile on your face despite everything else. And if you had any doubt about the DR. Seuss part of my analysis, try and unravel this verse from “Quiet Man: “Last Monday night I saw a fight between Wednesday and Thursday over Saturday night. Tuesday asked me what was going on, I said Sunday’s in the meadow, and Friday’s in the corn.”

I’d encourage any of you anytime to check out the music of John Prine, but now is an especially perfect opportunity. He can empathize with the struggle and provide a moment of levity in almost the same breath, and we need both more than ever these days. If you’re new to Prine, send him your love and support by playing his records, and I promise that you’ll find love and support of your own coming from his timeless words.

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Album Review: Colter Wall–Songs of the Plains

Rating: 6/10

Colter Wall could be a timeless voice of this generation, and I believe he will be. When I first heard his voice, coming straight out of the past and echoing the ghost of Johnny Cash, I got chills. And his stories match his voice; he weaves tales of hopping trains and plowing fields with a natural ease, and not dated by his language but rather enhanced by it, for his turns of phrase would seem more forced if he modernized them, a direct contrast to so many of his peers who seem to choose their words carefully and intentionally to evoke days gone by. But unlike so many of these–Joshua Hedley and Zephaniah O’Hora come to mind immediately–Colter’s not trying to revive classic country. He’s not trying to bring back the outlaw era, an exercise so worn out by now that the effort to be an outlaw has become a cliché. Rather, Colter Wall goes even beyond that, seeking to keep alive the oldest forms of country and folk music, going back to the days of Wooddy Guthrie and Roger Miller for his inspiration and preserving those primitive styles and traditions in his songwriting.

Songs of the Plains seems like a natural progression for Wall, an album made in tribute to his prairie homeland in Canada and featuring some traditional tunes from his home country as well as Colter’s originals. The idea is fresh as well, keeping Colter firmly within the parameters of what he does best while also dispelling the notion created for some by his last album that he could only sing about these things for so long and in so many ways before it became stale and uninteresting. Perhaps it is the power and magic of his voice, or perhaps it’s because people have been so starved for this sound and in some cases have never been exposed to it at all, but there’s no doubt that Colter Wall’s music is resonating with many and opening windows to the past. There was the concern that he’d be a niche performer, but that niche has made him unique and seems to be what many have been longing to hear, even if they didn’t quite know it themselves. Songs of the Plains doubles down on all of it, more sparse and primitive in numerous places than Wall’s previous efforts, and it should have been a fantastic listen.

Indeed, it could have been a fantastic listen. Certainly the opener, “Plain to See Plainsman,” stands out as a brilliant ode to the prairie and starts off the record in fine fashion. Colter Wall’s love for his homeland is on full display here, and it’s one of the highlights of the whole album. “Thinkin’ on a Woman” is an excellent moment as well, a classic country heartbreak song that should have been written fifty years ago when it would have been a mainstream hit. As for the covers, “Calgary Round-Up” was a great choice, and “Night Herding Song” fits in well after it, almost like an outro. It’s hard even to distinguish these as covers given how naturally they work on this album. And then there’s “Manitoba Man,” an original which comes out of nowhere near the end of the record to remind us all that Colter Wall’s voice is not just special for its timbre but also for its ability to capture raw emotion. I think this one may be overlooked among the other songs, and that would be a shame, for it’s definitely a standout here and in Wall’s young discography.

But too often, this album is just a scattershot, frustrating listen. “Wild Dogs” is the worst misstep, and although not Colter’s original work, it was a terrible choice for a cover and just makes for a very weird, unnecessary moment. The song itself is just awful and strange, but it’s not fair to dwell on the writing as much as the choice by Wall to cover it here. AS for Colter’s own writing, the lyrics are mostly strong, although some songs feel underdeveloped. “The Trains are Gone” is just boring and forgettable, and “John Beyers (Camaro Song”) just feels too short, as if Colter stopped writing in the middle of the story. Also, you can find the same melodic line in “saskatchewan in 1881” that was present in “Bald Butte” on his debut record. I enjoy both these songs, and this might be more easily excused if the same melodic line didn’t come up again in “The Trains are Gone.” It just seems like such a lazy songwriting decision and one which Colter Wall is better than making.

There are some lazy production decisions as well. On the surface, the production seems perhaps more interesting than that of his first full album, with harmonica and steel adding color to some of these tracks. Many criticized the production of Wall’s self-titled record as being too plain, too sparse, and even boring. Personally, I felt Dave Cobb did well by getting out of the way and letting the songs speak for themselves, and I enjoy the fact that Colter often needs nothing more than his voice and a guitar to bring those songs to life. But when you’re relying so heavily on a voice and guitar, the guitar work needs to be better. There is noticeable, constant buzzing of the strings in several of these songs, most obviously in “John Beyers (Camaro Song.”) This song, as mentioned, also seems too short, and the whole thing just comes across as unfinished and rushed. The buzzing guitar strings return in “Wild dogs” and in “Thinkin’ on a Woman” and really, in places all over this record. This is something you hear inevitably with acoustic guitars, and hearing it on occasion can even add to the live feel of a song, as the imperfection brings the human touch to the recording. But it is so constant in some of these songs that it becomes distracting, and the obvious question is why did Colter wall accept these recordings as the final versions he wanted to send out to the public? Once again, he is just better than this.

This record is ultimately just not up to the standards Colter Wall has set for himself. The idea behind it was fantastic, and there are some excellent songs on this album. “Plain to See Plainsman,” “Manitoba Man,” and “Thinkin’ on a Woman” particularly stand out as being timeless additions to Wall’s discography. But the album as a whole just feels rushed and underdeveloped. It’s a collection of little things, but all those small decisions add up to a finished product that seems unfinished. Clean this record up a bit, and it improves significantly. Just a little more care was needed to make this album what it could have been. The potential and talent in Colter Wall remain endless, but unfortunately this album as a whole falls short of that potential.

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The Great

The Weird

Album Review: El Coyote (self-titled)

Rating: 7/10

Isn’t country music a beautiful thing? Just in the last three reviews, we’ve found it in Kentucky, (Rhyan Sinclair), Oregon, (Wes Youssi & the County Champs), and Massachusetts (Lori McKenna.) Country music can stir the hearts and minds of anyone from anywhere, and to those who think it can only originate in the American South and West to be considered “authentic,” you’re only limiting yourself and keeping yourself from good music. Country music is not about a place, it’s about a spirit, and sometimes, especially in 2018, we must seek out that spirit all over America and the world in order to find those within whom the passion for country music still lingers.

Today, our search takes us to Montreal, Canada, to a group known as El Coyote, one of the few groups left keeping the country tradition of three-part female harmonies alive. I noted when discussing the Trio record recently that El Coyote, along with many of these current groups, is more a folk effort than a country one, and that especially rings true of the lyrical content here. But the arrangements are definitely more simple and country-leaning than what you’ll find from others, and you’ll hear steel guitar and dobro in healthy amounts on this record. There’s also a little Latin flavor in these guitar licks, giving a bit of context to the name El coyote. The strength, though, is definitely the melodies and the beautiful harmonies of Angela Desveaux, Michelle Tompkins, and Katie Moore. Listening to this album through headphones or stereo speakers where you can more easily hear each element of the harmony is highly recommended; it is flawless, and although each of them takes the lead on certain tracks, none of them seem like a “lead singer” more than the others. Rather, much like the Trio record, which I also happened to be spinning while contemplating this album, it seems to be a case of three great singers making something together that is even better than the sum of their parts or what any of them could have achieved on their own.

The songwriting here is subtle and reveals itself with more listens; in this aspect, the group leans more toward the folk end of the spectrum. But it’s hard not to appreciate a song like “lighten up Diane,” where the narrator is the other woman who’s finally become disenchanted with the facade of her relationship. The song is framed so well with the opening verse speaking of how she always seems to be late for things, and how she’ll have no pictures in her photo album to capture the passing of time. It doesn’t make a lot of sense until we learn she’s the other woman, and then it becomes genius songwriting–she’s too late to have this man in the proper sense, and she won’t have any photos of them together because their love has been a secret, so it won’t even look real to everyone else. The melodies and especially the harmonies draw you in on this record long before the lyrics, but the beauty in the writing continues to reveal itself with each subsequent listen.

The biggest criticism people will have for this is that it can be sleepy. Ironically, the album’s only lively tune, “Tip Jar,” really draws attention to this. Their voices are so suited for the softer, more introspective stuff that it’s almost a surprise when “Tip Jar’ makes its appearance as the sixth track, and the group sings about being tired of life “sleepin’ when everyone’s workin’, workin’ when everyone’s livin’ it up.” drums are also a rare occurrence on this album, so when they come in here, they provide a nice moment of energy. “Tip Jar” is an album highlight and proves they can pull off more upbeat songs very well. Consequently, it makes me wish they’d have gone this direction a bit more; I like the songs here, but the main thing that keeps this album a good one instead of a great one is just that it’s too sleepy, a bit too safe. It’s a debut, and I’d like to see them up the tempo some on a future record.

As it is, though, this is one of those albums that’s perfect on a lazy, rainy Sunday afternoon. It’s a mood record, and if you’re a fan of the softer, more relaxed stuff like this, you’ll really enjoy it, probably more so than me. And if you are starved for the sounds of three-part female harmony backed by more country-sounding instrumentation, this is certainly a good place to turn. It will be sleepy for some, but it’s a good, solid foundation for El Coyote to build on, especially in an area of country which is currently so underappreciated.

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Album Review: John Prine–The Tree of Forgiveness

Rating: 7/10

How can I actually find a way to properly introduce the great John Prine. If background info seemed superfluous with Willie Nelson, it seems almost ridiculous with John Prine, as that name should be an introduction in and of itself, carrying the legend of the incredible songwriting that has marked his career. Indeed, he wrote one of my favorite songs in “Angel From Montgomery,” and I am nothing but glad to see that with this resurgence of his popularity at this point in his life, new generations are coming around to the fact that Prine is a songwriting genius.

John Prine was never an especially remarkable singer, and time and especially cancer can be cruel to a voice, but that’s not why anyone ever listened to Prine in the first place. If it was a great voice you were looking for, it’s your loss because it’s wisdom and passion which outlast even time and circumstance, and Prine displays both in his songwriting. Anyone looking to become better at this craft should study this album and the music of John Prine, for the man is a world-class wordsmith, and no one can pen songs quite like him.

It’s not just his choice of words or the unique way he can empathize with the world, either. It’s the way he can make death seem like a party in “When I Get to Heaven”–in fact, the very name of this album comes from the name of a nightclub he plans to open in the afterlife. He speaks of starting a band and smoking cigarettes that are nine miles long and makes it all seem like an adventure, all but eliminating the fear of death with this picture of it. He can make us all feel at once sympathetic with the forgotten, lonesome narrator of “Knockin’ on Your Screen Door” and guilty for not helping the less fortunate. With the pictures he paints, he lets us know it’s our business to be more compassionate to people, to understand their circumstances and put ourselves in their place. It’s not preachy because John Prine is not a preacher–he’s a storyteller, and this is a story of the downtrodden that needs to be told. He can even humanize “poor planet Pluto,” as he does in the album highlight, “Lonesome Friends of Science,” the once majestic planet which has now been demoted.

It’s also in that song that he speaks of actually “living” in a place deep inside his mind while collecting his mail in Tennessee. It’s an interesting perspective and one that is common among songwriters and other creative souls, as they interpret the world with deeper emotion and unique insight, feeling things from deep within and letting their imaginations run free. It’s certainly from a place like that where songs like “Egg & Daughter Nite, Lincoln Nebraska, 1967, (crazy Bone)” originate; yes, that’s a real title here on this album, and yes, the song is about as strange as that title would imply. But it’s a cheerful reminder for us all to stay weird if nothing else.

Dave Cobb was, for the most part, a good producer for this because he knows how to get out of the way of an artist and let their lyrics be the focal point. This is pretty minimalist in its approach, and usually, that serves Prine well. There’s some upbeat, cheerful acoustic guitar in “Knockin’ on Your Screen door” which helps to give that track some life, and some lively drums and more energetic production to help the humorous “Crazy Bone.” The piano adds to “Lonesome Friends of Science” as well, creating a nice interlude in the middle of that track. There are some collaborators, most notably Jason Isbell, Amanda Shires, and Brandi Carlile, and they do their part to enhance, rather than take away from, the lyrics. Prine and his words are always the main focus.

Still, it does feel like sometimes John Prine is left too exposed by the production. “Summer’s End,” for example, could have done with a bit more, especially at the beginning, as it sounds sort of unfinished. “NO Ordinary Blue” could have benefited from some collaboration to support the vocals as well, and “Caravan of Fools” just feels like it needed something else, maybe some strings or piano to add to it. There are some strings which come in at the very end, but they would have served the song better if they’d come in earlier. It’s an odd thing to say because a record usually suffers from the opposite when it comes to production issues, but this one is underproduced in places.

As for John Prine himself, this album proves why he’s become so popular again later in his life, why people are once again taking notice of his songs and his career. It’s because he is a songwriter like no other, and people recognize that wisdom and talent when they hear it. They admire his compassion and love the weirdness and wit which separates him from many of his contemporaries. On a side note, this record is also a great case for the fact that artists don’t magically stop having something relevant or profound to say when they’ve reached a certain age or point in their careers–it’s a lesson Americana knows well but which country needs to learn. Aspiring songwriters and fans of good music, acquaint yourself with Jon Prine. This is just another good place to begin.

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Album Review: The Lost Brothers–Halfway Towards a Healing

Rating: 7/10

Time to take an album off my 2018 back burner while it’s still manageable and not out of control like the back burner of 2017. And first on the list is the latest album from Irish folk duo The lost Brothers, (Oisin Leech and Mark McCausland(, known as Halfway Towards a Healing. The title track of this record made our January playlist, and I’ve also done a reflection on them in the past, but finding words for this album has proven to be difficult.

This is primarily because it’s one of those nice, pleasant listens, very much a mood record. It’s definitely a good album, and the songwriting is strong throughout most of it, but what really holds your attention is the atmosphere surrounding it. Songs like the opener, “Echoes in the Wind,” really capture the peaceful, introspective thing this album was going for. It’s going to be an album a lot of people enjoy just for how relaxing it is; those that love the more polished, stripped back stuff like Sam Outlaw or the Secret Sisters will gravitate toward this. And speaking of the Secret Sisters, the harmonies throughout this are just excellent, definitely another highlight of this record. It’s almost like listening to a modern-day Simon and Garfunkel. All that said, you’ve still got to be in a certain mood to really appreciate this album.

Even still, compared to some of their earlier material, there is more variety in tempo and mood here. The excellent Spanish style instrumental “Rains of Ruin,” paired with the title track which also carries this Spanish flair and speaks about a Spanish church, comprise the most interesting moments of the album musically. The title track also serves to provide some much-needed energy on the album. “Come Tomorrow” stands out a bit on this record as well, as the percussion here really adds some life; this is the third track, and after two introspective, acoustic numbers, some life was certainly in order. It’s also nice to hear textures like the horns happily contributing on “Where the Shadows Go” to make this song fuller. On an album mostly reliant upon acoustic guitar and their flawless harmonies to carry the weight, subtle things like this can really make a difference, and these little nuances serve to add character to this project. Thank you, Lost Brothers, for adding yourselves to the ranks of independent artists actually taking the time to care about your production and instrumentation as much as your lyrics.

The same strengths of this album, however, are also going to be its weaknesses. Some people will find it too slow or sleepy or boring, in varying degrees. Although there’s definite improvement on that front for the group, they could still do with infusing some more life here. There are more moments of variety, but equally, there’s nothing as bright as something like “The Goodbye Kid” from one of their previous records. And I have no idea what the hell “The Ballad of the Lost Brother” thinks it’s supposed to be, but it’s just…weird. I could definitely do without this track completely.

This is an album that’s being criminally overlooked, and one I think many of you will enjoy. As previously mentioned, fans of a more polished, stripped back, singer-songwriter style are going to be more inclined to like this, but stuff like the title track may appeal to everyone. This was one reason it was the song featured in our playlist. It wasn’t easy to write about this group, but this is an album I enjoyed from a band that needs to be on more people’s radar, and they deserved some words. That said, just as I can see the appeal for many people, I can see how some would find this really sleepy/boring. For this listener, it was just peaceful and pleasant. Hopefully, for the right audience, this album and artist will be a cool discovery, just as they have been for me.

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