Self-released [usr 3.5] Irish Gaelic roots singer-songwriter expands her horizons A native of Tipperary, Paula Ryan has drawn on her Irish Gaelic roots whilst exploring the influences and unusual instruments of other cultures. She has come up with an album that is ‘solo’ in the true sense of the word. As well as writing all but one of the songs, Paula has single-handedly crafted the arrangements whilst playing an amazing variety of instruments: Marimba, bouzouki, guitar, bodhrán , saxophone, tin whistle, djembe, and darbuka. The result is an eclectic mix of finely constructed numbers drawn from a wide variety of sources. Lion In A Cage celebrates the release of Nelson Mandela whilst the title track, Let Me Fly, is a catchy tribute to aviator Amy Johnson. Suantrai Donnacha, a beautiful melodic ballad, emphasises the artist’s roots but for me the highlights were Black Swan and Castaway; not a tale of a desert island but rather how to ‘cast away your worries’. The final two songs are listed as ‘bonus tracks’; not sure why but both are among the most listenable on the album. Song For Conor clearly has a family connection whilst Donnacha’s Lullaby will send the most ardent of listeners into the land of nod. I really enjoyed the album and Paula is undoubtedly an extremely talented musician, although at times I felt her vocals were just a fraction off key. One for the discerning folkie! John Roffey www.paularyan.co

  Self-released **** A concept album that isn’t really Pack away your preconceptions for this is no prog-rock double album that goes on for approximately 15 weeks with no discernable difference between each track. No and definitely no, this is an album of beautifully crafted songs that could all stand alone quite comfortably, and the context of where each song fits is not something that you necessarily need to know in order to enjoy the offering. For the sake of completeness it should be said that the concept for this album comes purely from the mind of Rita Hosking while she was drawing, in her own words “I realised I was illustrating a hero’s journey, and that I would love to write a collection of songs inspired by those drawings.” So she has and these 12 songs are the result. To my mind they are a splendid bunch, particular stand outs being Magic Carpet aided by the glorious violin of Andy Lentz, and the banjo led Power Moving In. For those who know the work of Rita Hosking it will be a case of the same but different and better, for those who don’t do check out her previous five albums and you’ll be treated to a whole bunch of old time modern West coast Americana full of heartfelt songs, personal and universal, tunes that you think you know and more authenticity and integrity than you can shake a stick at. As well as all that, the final three songs bring this album to a fantastic close. The story does have a thoughtful and uplifting conclusion but I’m not sure that this tale can really have an end, and I will leave you to ponder that enigma. Ian Ambrose www.ritahosking.com

Learpholl Recordings **** Ian Prowse makes a welcome return with his second solo album, Compañeros. Compañeros, Ian Prowse’s latest album, isn’t the easiest to rate out of five. I’ve not given it a perfect score as it didn’t blow me away, but it’s a very listenable 50 minutes of material that I can’t really fault (I’ll admit that the press release also says ‘listenable,’ but it’s a very suitable adjective). From jaunty soft-rock opener Town And Country Blues, all the way to the very enjoyable closer, Name & Number 2016, Compañeros doesn’t fail in its bid to entertain. This is a good selection of varied tracks, all delivered with a trademark Merseyside/Celtic tinge. Prowse may well be in his 50s now, but with the abundance of energy and pace on offer here, it’s evident that he harbours no plans of slowing down. His material is all the better for it, with songs like Derry Gaol and Spare Change providing further proof that Prowse remains an artist with fresh ideas and a cutting edge. The name of the album – in case you were wondering – derives from the fact that these are all songs that Prowse has heard on his travels as a musician. Compañeros gives these songs a new and welcome lease of life, and in that respect, the album also serves as a fitting reflection on Prowse’s career to date. This is an easy album to recommend. It perhaps fails to provide any breathtaking moments, but it’s a very solid production with absolutely no filler. Much like a good spread of sandwiches with no cucumber thrown in (unless, of course, you enjoy the ubiquitous crunchy aqueous space-waster). Ian Horne www.amsterdam-music.com

  Woodburner *** A medley of musical influences and brutally honest observations. Clever creativity Self-penned and self-produced, in collaboration with Tansay Omar (the mind behind works by the likes of Bjork and Boy George), Theo Bard’s YOU GIVE EP is an unusual and intriguing production. Never Alone is a strong opening track that shows off Bard’s distinctly British voice, fused with a Deep South sound that wouldn’t sound out of place in a New Orleans or Memphis back street bar. As the song displays a sense of claustrophobia, there’s something infectious about the sometimes-frenzied instrumentals and vocals, which offer a House Of The Rising Sun feel. You Give, which is the EP’s namesake, yearns for old times and relationships. Bard sings ‘I know those times are gone but the friendships still live on/ ‘Cause you give and you give’. A friendship anthem for school leavers and graduating classes, or friends who let life get in the way. Musically, this is the song Ed Sheeran would look to for inspiration if he ever dabbled in country or jazz. A fine example of how well the two can blend. With both reggae and folk undertones, Evil Eyes is a darker track in which you can hear the East London influence on Bard’s life and musical style. Though not necessarily a favourite, this is a unique track where you can appreciate what he’s done. The autobiographical Burning Wood Tonight and encouraging Time To Live are two very different tracks; one looking at Bard’s real life on London’s music scene, specifically his popular Woodburner events, and the other offering advice on life and love set to classic guitar. Yes, if this EP is anything to go by, there’s no doubt Theo Bard will become a more familiar name (and voice) across various UK music scenes – and what an apt name it is. Amy Jones www.theobard.com

  Busted Flat Records **** Canadian singer-songwriter hits mark with third recording Based in Hamilton, Ontario, Duane Rutter looks, and sounds, like he’s lived a life and then some. “A published poet, preacher, gravedigger, hell raiser…” states the CD publicity. On first listening, Duane sounds like he really means it. His voice has a rasp to it while his band, clearly, express an empathy for him and his music. It wasn’t until I watched a Canadian podcast of Duane, with band, that I fully realised he has something special here. Rutter, I gather, has played his share of solo troubadour gigs but his band add dynamics, a sense of colour, and feeling, that it may have needed to bring out the full potential. Crazy Things mixes traditional country and Americana elements with a touch of psychedelia. Indeed opener, Don’t Forget, with its pedal steel, recalls the feel of The Byrds’ Wasn’t Born To Follow. Steve Woods’ steel playing is terrific throughout while Andrew Aldridge’s electric guitar adds tuneful muscle. The lilting Will I Ever Learn sounds like a great live number while the title track reveals Duane’s major strength, his ability to write from the heart. ‘Hearts so strange, make people do crazy things.’ One of the strengths of the record is the great duet singing with JB Reed. Her voice works really well with his. Rutter is a fan of The Band; so it’s a coup to have Garth Hudson appear on two tracks. I particularly like the driving I Found You. Garth’s wife, ‘Sister’ Maud Hudson also sings on closer, Take That Water. This is an enjoyable listen; I’ll leave the final words with Duane Rutter. “The players on the album are absolutely stellar and I simply couldn’t be more proud with what they’ve come up with.” John Brindle www.duanerutter.com

  Reviver Records ** Distinctly average EP where the majority of the tracks get very boring, very quickly After a re-branding and a new record deal, LOCASH released their new EP I LOVE THIS LIFE on October 30. Unfortunately there is a lot of work that needs to be done to this EP for it to really do them justice It’s unfortunate but the overall sound of the track stops you really liking title track I Love This Life. You can tell from the lyrics that this track could be very good if the right choices were made with it but it just fails to impress. Both Preston Brust and Chris Lucas have quite distinctive voices and neither are shown in the best light throughout the track, both feeling a little uncomfortable. A song title of Drunk, Drunk doesn’t particularly fill you with confidence and the track itself does nothing to change that. With a production that is distinctly more annoying than it is catchy and immature lyrics like one long island, two long island, three long island, floor, the track is more likely to make you roll your eyes in exasperation than dance or sing along. EP closer Till The Wheels Fall Off is, without a doubt, the strongest track in the EP and is quite a pleasant surprise after the rest of the EP! With a solid beat behind it the production is very catchy and the lyrics are actually quite sweet. Throughout the EP it sometimes sounds like there is an odd electric effect added to the vocals and this track is no exception to that however you can see past that to find track that does actually make you want to hear it again. With only one track coming close to stopping this EP from being absolutely atrocious it is clear a lot more thought needs to be put into the next release. Disappointing. Kasey Stone, www.locashmusic.com

  Barrelmaker Records *** Write what you know The adage passed from dad Steve to son Justin Townes Earle and thence to friend Brian Ritchey. So he has and BORDEAUX is the result – 11 self-written songs that detail loneliness, depression, loyalty and the birth of his son to name but a few of the subjects to be found here. 11 vignettes of gritty Americana and a fab rock band to beef up the sound of raw emotion, both powerful and vulnerable, pouring from the speakers. Despite the subject matter, an uplifting way to spend an hour or so. From the opening slide of Hello Lonely Friends you know it’s no easy ride – the love is not sweet and forgiving but hard won and rarely unconditional. I’m Not Gone leads you through the search for yourself, only to find that fulfilment comes with companionship. The darkness and depression of Rest My Head leads you a merry dance through your own places of rare dalliance. I’ve probably not oversold this work of exceptional artistry, and if you want the fey whimsical candyfloss of Dolly Parton then you will probably want your money back. But if you find the demons that possess the Earles and Van Zandts more your bag, then this will see you right. Ian Ambrose www.brianritcheymusic.com