The Bluest Sky is the latest incarnation of Chuck Melchin, following his spell of four albums and two EPs as the cornerstone of celebrated Bean Pickers Union. The self-titled album is an attempt to move on from gentler introspective feel of his earlier work to creating “music that will make you want to drive your car faster”. With the nine songs featured here, he’s definitely succeeded; there’s only one slower, more contemplative, song on the album, but more about that later. The Laurel Canyon influence is strong on ‘The Bluest Sky’ with nods to Eagles, Neil Young and maybe even Evan Dando at times. The album was put together using the post-COVID method of musicians recording parts in their own studios before being mixed and mastered by Dave Westner; the results are organic and seamless.

The opening song, ‘Belly to the Bar’ sets the tone for the rest of the album with a country rock feel driven along by a pair of electric guitars under Melchin’s slightly fragile vocal as the story unfolds of a character trying to avoid being pulled into a rebound relationship. Most of the album’s songs are about personal situations although each has a slightly different twist. ‘The Girl It Took the Universe’ is a metaphysical look at the unseen forces moulding and pulling together two people over the aeons until the time is ripe for them to meet ending on a classic sixties sus4/sus2 progression, ‘Amy Jean’ is a straightforward karma and revenge song with a Southern rock feel that hints at the Allman Brothers’ Band’s ‘Jessica’ and ‘I Am James’ is a gentle country rock story of a man too shy to get himself noticed by a woman. ‘Drive Through Confessional’, with its mainly acoustic arrangement before a soaring electric guitar joins the mix, is a powerful piece of hometown nostalgia that turns around with the realisation that that reason for going back is the death of a loved one; it’s a powerful piece of work.

The two songs that step outside the personal may or may not be connected. The slow and melancholy ‘New Berlin’, its sadness punctuated by pedal steel fills, is a snapshot of a smalltown American town destroyed by a world economy that values only profit and scale; things can only get worse. There are a couple of references to classic American songwriters, John Fogerty’s ‘The Old Man Down the Road’ and Townes Van Zandt’s ‘Waiting Round to Die’ in the lyrics. It’s a powerful song with a storyline that could ultimately lead to the apocalyptic vision of ‘Bunkhouse’, the album’s penultimate song. The story of an unspecified rebellion and survival skills is played out over a Crazy Horse-style backing to maximum sinister effect.

Chuck Melchin and his collaborators have achieved the primary aim of making us want to drive faster while creating a bunch of varied and beautifully crafted songs. Job done.

‘The Bluest Sky’ is out now.

This is ‘Bunkhouse’:

Angela Perley isn’t someone who wears her influences lightly; from sixties guitar rock through seventies country rock (Fleetwood Mac perhaps) to jangly eighties bands like The Bangles, The Go Gos and Katrina & The Waves. There’s also a touch of country/Americana thrown in, particularly on the penultimate song, ‘Holding On’, with its over-driven slide guitar and the pedal steel that adds just a tinge of blue to the entire album. Apart from the album’s final song, the solo piece ‘Wreck Me’, the songs are all fairly big productions with guitars facing off against each other, keys adding different textures and, of course, the sad machine pitching in with plaintive fills. To get the best from ‘Turn Me Loose’, you probably need to listen to it on the freeway (which sounds cool in a way that motorway never will) with the electric guitars playin’ way up loud.

From the opening song, ‘Plug Me In’, which channels the country rock of Eagles’ ‘Take It Easy’, adds a middle finger attitude and the urge to be moving which runs through the whole album with references to cars, planes, motorcycles, taxis, planes and even roller skates. Angela Perley’s desperate to be on the move; she needs to go somewhere, anywhere. Maybe it’s the inevitable reaction to a couple of years of movement restrictions after a long career as a touring musician – it’s certainly a theme that permeates the album.

‘Ripple’ is where Seventies glam-rock meets Lynyrd Skynyrd/Allman Brothers boogie; the riff is simple and the song’s driven along by powerhouse drumming as Angela sings about some of the things she wants to escape (including the vampires of the music business). Her influences are very clear musically and lyrically on the Sixties-inspired flower power-evoking ‘Near You’ with the reference to a “mellow fellow” and an almost English intonation in the lead vocal that harks back to the Sixties British invasion era.

‘Turn Me Loose’ is a collection of ten diverse songs pulled together by the combination of clean and over-driven guitars, Angela Perley’s musical influences and an itch to get out there and experience life again. You should listen to it on Route 66 in the summer, but you might have to make do with the M6 in spring. Either way, it’s going to sound great.

‘Turn Me Loose’ is available now from www.angelaperley.com.

Have a listen to the foot-stomping ‘Ripple’ here:

OK, so just to save a bit of time, we all know about Eddie Manion, yeah? Whaddya mean, no? Where have you been for the last forty years? You really should get out more. If you want the whole nine yards, check out his Wikipedia entry, but, just for the moment, his first major gig was with Southside Johnny and the Asbury Jukes, and since then he’s played with Dion, Dave Edmunds, Diana Ross, The Allman Brothers, Willy De Ville, Keith Richards and Bob Dylan and many, many more. He was part of the E Street Band for Bruce Springsteen’s “Wrecking Ball” tour and, more recently, he’s been touring Europe with the Light of Day Foundation raising money for Parkinson’s Disease research. His motto is ‘Have Sax, Will Travel’.

Eddie Manion plays tenor and baritone sax (mainly baritone when working as part of a horn section) as well as having a pretty good voice, which you can hear on his first solo album, “Follow Through”, released in 2004. At the end of the gargantuan “Wrecking Ball” tour, Eddie started work on his second solo album “Nightlife”, opting this time for instrumental interpretations of standards and not-quite-so-standards, rather than his own compositions. It’s a double-edged sword. Both ways you’re going to be judged; one way you’re compared with others’ songwriting, the other way you’re compared with previous versions of the same songs. So how does “Nightlife” shape up?

I guess it’s natural for anyone who’s spent their entire adult life as a professional musician to want to do their own thing once in a while. Eddie Manion’s spent a lot of time playing in horn sections in big bands where nuance isn’t always too high on the agenda, so when the window of opportunity opened, he pulled together a superb bunch of musicians to make an album placing his sax playing firmly stage centre against a backdrop that allows him to interpret songs with style and subtlety. From the album’s opener, a gorgeous version of the theme from the 1961 movie “Town Without Pity”, with its piano triplets and wah-wah trumpet, to the closer “”The Only One, from Roy Orbison’s final album, the album demonstrates Eddie’s ability to create flawless interpretations of jazz standards such as “Smoke Gets in Your Eyes” and “Stardust” whilst also combining Springsteen’s “City of Night” in a medley with King Curtis’s “Soul Serenade”.

Throughout “Nightlife”, Eddie Manion combines a jazz-styled finesse with a rawer rock edge to create a satisfying and varied set of instrumentals that embody great musicianship and sympathetic arrangements. If you value musical skill and the ability to pick a good tune, then you’ll love this; Eddie’s a superb player and he’s surrounded himself with like minds to produce a real musician’s album. As an added bonus, Eddie’s also a very good photographer and the CD packaging includes some of his own fabulous photos taken mainly on the “Wrecking Ball” tour; it’s the icing on the cake of a lovely album.

You can order it here.