Fisher’s latest release is his most authentic to date, with him writing or co-writing all of the songs, it is both patriotic and passionate. A true outlaw country artist, Fisher isn’t afraid to say it like it is, his gravelly vocals add weight to his statements. ‘Whiskey and the Dog’ is a stand-out, despite it’s sombre tone it is packed full of humour, especially in the list-lyric chorus. In fact there is comedy mixed in throughout the album which gives it a unique flavour. His pride for his country comes out in ‘The Good Ol’ U.S. Of A.’ the former veteran delivers a positive and inspiring message to his listeners, showing his gratitude for the life he leads. He pays homage to the southern lifestyle in ‘Jesus, Haggard & Jones’, the pedal steel and vocal harmonies really making this song complete. A fantastic production supports clever lyrics and catchy melodies, a must have in every country fans collection. 

This record is exactly what it says on the tin; it was recorded over two days in a church in Terlingua, Texas. It was recorded during his break Edrington’s break from The Hoth Brothers but sonically, it is not much of a departure from their Appalachia, Americana sound. I adore the twang and tone of Edrington’s voice as he sings the opening track ‘Ramblin Man’ which paints an image out of a western in the listeners mind, “trouble’s never been that far, all the deals gone bad in the back of the bar.” There is a rawness and authenticity to his sound. ‘Shut the Screen Door’ is more of a country ballad with the pedal steel swirling around, doubling up at times with a fiddle. It is a particular highlight on the record as is ‘Strange Balloon’ which takes the record sonically in a different direction. It brings a haunting sound as it questions and contemplates whether there’s other life out there and if they perhaps act a little better than us. It’s a fantastic, well-rounded record, a joy to listen to. 

The duo, made up of singer-songwriter Iain Matthews and guitarist/singer-songwriter/producer  BJ Baartmans, came together to find solace in co-writing during the pandemic. The result is this unique collection of colourful songs. It opens with the gentle tones of ‘Sleepwalking’, the slow, soothing tempo matching the lyrical content, laid-back drums keep it moving forward whilst the tone of the electric guitar is lovely. It also tackles topical themes of racism in the aptly titled track ‘Are You a Racist’. The stripped back ‘Here’s Looking At You’ allows the pair to demonstrate how their vocals blend together but there is an element of sadness to the song. To summarise, the soundscapes they create are unique but soothing throughout and their lyrics are sharp. It’s a well-worked record that should make for a good, acoustic live set too. 

The primarily acoustic album from Dutch singer-songwriter Eric Devries is full of passion, humour and in depth storytelling lyrics set to a folky, bluegrass backdrop. Featuring traditional instrumentation, such as banjo and fiddle, Devries tells stories about unrequited love and real people who have resiliently overcome the struggles of everyday life. ‘Jericho Walls’ is a well written track with an interesting fiddle solo and some great lyrics; “I never saw the rose’s thorn could be a poison dart.” There are some lovely harmony vocals from Sophie Janna too which further adds to the record. ‘All I Know How To Do’ sees Devries’ vocals at their very best, they’re warm and soft as he maintains a lovely tone, whilst your toe will automatically start tapping along to ‘Another Round’. The fun loving track is a highlight, I particularly like the backing vocals in the chorus and bridge. To summarise, it’s a tidy offering from Devries, with a nice mix of themes and emotions.    

Upon first listen I recognise that this is Sinclair at her very best. The folk singer’s lyrics are both intricate and inspired as she uses her words to paint vivid imagery in the listeners mind. Her vocals are smooth, Sinclair has a lovely tone to her voice and the production gives them space to linger. ‘Blankets and Stones’ is a stand-out track, an arpeggiated acoustic guitar lays the foundations as a slide guitar swirls around the vocal melody. The chorus welcomes some lovely harmonies on the lead vocal, helping to reinforce the impact of the lyrics, which are superb; “No redemption when a blindfold has holes.” The title track sees Sinclair’s vocals develop a slight edge to them, a more haunting sound dominates the verses. Meanwhile, we experience a shift, sonically, in the final track ‘The Sail’ as drums and electric guitars dominate a more up-beat track. I’m impressed with the production throughout the whole album, it is well arranged to compliment both Sinclair’s vocal style and be reflective of the lyrical content. It is designed to serve the song. It’s an outstanding effort from Sinclair who is back to her best on ‘Ghost Bones’. 

After the dissolution of his band, The Scheme and following a number of popular single releases, James stamps his authority in the Pop world with the release of his self-titled debut album. On first listen the record is cohesive, James is clear of his direction and intentions both sonically and lyrically. The production is dramatic especially in the focus single, the anthemic ‘Dreamer’. The song is a heart-wrenching song about never quite getting over a lover, going through the memories again. Other standout tracks include the opening number, ‘Naive’ which first introduces us to James’ sound. A melodic guitar can be heard in the intro and an upbeat horn arrangement sets the tone of a new beginning as his rich vocals tell the story. Whilst ‘Nine Lives’ is full of catchy melodies. The whole record boasts a positive vibe. James sits firmly within the mainstream pop landscape here in the UK, and the album would be right at home on the official UK charts. 

What this record does is highlight just what an illustrious career Reba McEntire has had. All three parts to the record are littered with hits from various points of Reba’s career. A different version of signature tune ‘Fancy’ features on each of the records with the ‘Revived’ edition feeling like you hear it in beautiful technicolour, the arrangement and production sounding so vibrant! Another standout on the first instalment is ‘Is There Life Out There’ it’s also interesting to hear how Reba has matured over the years, her vocals have never been stronger, that distinct tone to her voice superb in its delivery. The remixed part of the record is perhaps the most intriguing, for those of us who adored the original versions of hits such as ‘Turn On The Radio’ it takes some getting used to, though it is great to hear how adaptable and versatile Reba and her songs can be, perhaps they shall help to reach a new audience. On Revisited the highlight is ‘Does He Love You’ which features Dolly Parton putting her own stamp on the classic originally released with Linda Davis in 1993. The pair really tell the story through the emotion in their voices. An outstanding collection from an outstanding artist. 

Accompanied by a live Jazz band, Sarah Reeves brings a touch of festive cheer with a collection of originals and classic Christmas tunes on ‘More The Merrier’. Reeves warm and soft vocals are the real highlight of this record as she brings each track to life. It begins with the title track, a self penned up-beat number that gets you ringing in the yuletide straight away. Her nostalgic rendition of ‘Holly Jolly Christmas’ transports you back in time, though she puts her own unique stamp on it. Her duet with Clark Beckham on ‘Winter Wonderland’ is also a standout, the orchestration is lovely on this classic and throughout the whole record. My favourite track however is ‘Sentimental’ another penned by Reeves herself. The ballad features a beautiful string arrangement and her vocals are at her very best, she exhibits so much control. To conclude, there is a good balance of traditional and original songs, the Jazz band is a wonderful touch and helps it soar to new heights whilst Reeves vocals are warm and inviting. 

I had the pleasure of seeing Fine Lines perform just recently at the British Country Music Festival in Blackpool and was impressed by the 7-piece band from Cheshire, they were tight-knit with good songs and vocal harmonies. With this record they prove to me they’re not just a good live band. From the soothing yet delicate sounds of ‘Out on the Shore’ to the driving tempo of ‘The Island’, there is a high level of musicianship on display. ‘First Light’ is a favourite of mine on the record, I love the swirling sounds of the lap steel and the way the song slowly builds up, growing all the time. It’s very well produced. There is a versatility within their writing and production, with a good balance of ballads and high energy numbers, but there’s also a cohesiveness to their outfit – their vision is clear. It’s a must have album in any Americana fans collection.