It’s just over three weeks since the World Health Organisation declared that COVID is no longer an emergency and a couple of years since it peaked, but the impact of the virus is still being felt, particularly in the fields of music and leisure. This Drew Holcomb and the Neighbors album was written on either side of the pandemic and pulled together in a way that couldn’t have happened during the emergency. Drew and his band spent eight days in a studio in Asheville NC, playing the songs live and searching for the perfect take. It’s a process with an element of risk but it works if you have good songs and good players; ‘Strangers No More’ has both of those in abundance. Lyrically, the album’s largely positive, emphasising the way forward rather than looking back, and reflecting Drew’s new outlook and more relaxed attitude to performance.

Drew Holcomb’s blessed with a versatile voice, equally at home on the tub-thumpers like ‘Dance with Everybody’ which hints at Springsteen, The Waterboys and Paul Simon’s African experiments, and the more reflective triple time ‘Gratitude’ with its soaring chorus and vocal that resembles Ian Matthews in the mid/late seventies. In fact, the seventies influence looms large throughout the album, sometimes where you least expect it. The album also showcases Drew’s vocal range and the band’s superb use of dynamics, shifting effortlessly from gentle acoustic arrangements to full-on widescreen E Street band arrangements; there’s plenty of variety, all held together by tight arrangements and the quality of Drew Holcomb’s voice.

And what about some of those other seventies references? ‘That’s On You, That’s On Me’ is a wake-up call song that opens with a nod to ‘Stuck in the Middle With You’ and moves on through rock guitar riffs with a country rock feel as the song progresses. ‘Possibility’ and ‘On a Roll’ both have an E Street Band feel while the latter also has a soundscape that seems to reference The Blue Nile. The big surprise is ‘Strange Feeling’, which opens with a ‘Darlington County’ style riff before, morphing into an early seventies Steely Dan sound complete with a guitar solo that could be the legendary Jeff Baxter.

Drew Holcomb and the neighbours succeed in pulling together a variety of styles and influences to create an album feels at the same time familiar and wholly original where everything is there to serve the song. This album will make you think, make you smile and make you want to dance like no-one’s watching – you can’t ask for more than that.

‘Strangers No More’ is released in the UK on Friday June 9^th on Magnolia Music.

Here’s the video for ‘Dance with Everybody’:

I started to listen to this album on the day that Gordon Lightfoot died, so I’m hoping that there isn’t some kind of omen in that. Bruce Cockburn occupies a similar space to Gordon Lightfoot as a legendary Canadian singer-songwriter in the folk idiom. Bruce is approaching his 78^th birthday but still has the impulse to keep writing, recording and performing. ‘O Sun O Moon’ is proof that the quality of his work hasn’t diminished. The twelve tracks on the album are all built around acoustic guitars, but manage to show tremendous musical and lyrical variety. Here are a couple of examples.

‘King of the Bolero’ is the story of an itinerant blues picker “pulling visceral sounds from a no-name guitar” who’s based loosely on a player who was on the local circuit during Bruce’s high school years. It opens with finger-picked guitar and accordion in a shuffling lounge jazz style, adds some trumpet, mandolin and dulcimer along the way before the chorus cuts in with a New Orleans horn section. It’s all a bit surreal and dreamlike. ‘O Sun by Day, O Moon by Night’ is actually based on a vivid dream that Bruce had about his journey to Heaven and has spoken verses over a jazzy background and full-on New Orleans funeral horns accentuating the chorus. Mortality’s a bit of theme towards the end of the album; the closing song ‘When You Arrive’ is about reaching the end of life, while the message of ‘When the Spirit Walks’ is that when the end comes, it doesn’t matter who you were, you’re now just another thread in the fabric of history. The ethereal harmonies and insistent refrain of ‘Colin Went Down to the Water’ tell the story of a friend who died while Bruce was in Maui on vacation last year.

Don’t get the wrong idea; the album isn’t all about death. The album’s opener, ‘On A Roll’ takes a lively look at the march of time and the fact that we can still keep creating if we’re still on a roll. Bruce’s humanity shines through on in ‘Us All’ with a guitar, strings and glockenspiel arrangement and a vocal that hints at Paul Buchanan of The Blue Nile and the album’s second song, ‘Orders’ moves into unusually political territory with references to people that we’re all expected to love, including ‘The pastor preaching shades of hate, the self-inflating head of state’; it’s powerful stuff. Then there’s the ecological warning in the apocalyptic ‘To Keep the World We Know’, co-written with Susan Aglukark who sings harmonies on the song; it’s a clear message about worldwide climate change that we can’t afford to ignore.

‘O Sun O Moon’ is the work of an accomplished writer and performer in his senior years who still has plenty of fire in his belly. The playing is superb throughout and Bruce’s lyrics are perfect examples of concise brevity, where less is more. There’s a perfect example in ‘When You Arrive’ where the scene is set by the couplet: “Breakfast was Mahler and coffee, dinner’s Lightning Hopkins and rye”; there’s so much meaning packed into those ten words. This is an album you need to hear.

If you want to catch him live in the UK Bruce is touring in August with dates at Oxford O2 Academy (24^th), Shepherd’s Bush Empire (25^th) and Greenbelt Festival (26^th). I might even see you at one of those.

‘O Sun O Moon’ is out in the UK on Friday May 12^th on True North Records (TND811/TND811V).

Here’s the video for the album’s opener, ‘On A Roll’:

Buford Pope’s American influences shine through on “The Waiting Game”. His introduction to American music was Bob Dylan but the most obvious comparison vocally is the high register vocals of Neil Young. There’s a reference in the album’s second song, “Hey Hey Aha”, to the difficulties of songwriting (and a subtle nod to Shakey again) and writer’s block, but the songs all worked out fine in the end and the calling card for “The Waiting Game” is the way they have been arranged. And that’s apparent from the very start. 

“America” (a lyrical co-write with Mark Drake) is the collaboration that Neil Young and The Blue Nile haven’t quite got round to yet. It’s an atmospheric love song to America with a big bassline and a new frontier theme with songsters replacing pioneers. The high tenor range of the voice, the melancholy subject matter and the country-rock feel of “Hard Life” make vocal comparisons with Don Henley difficult to avoid, but it’s difficult to see how that’s a bad thing. I mentioned arrangements earlier and the most innovative has to be “A Hundred”. 

The minimalist production is built around a bass drum on one and three and a layered handclap on two and four which repeats remorselessly throughout the song as the blues builds up with the addition of bass and banjo. It hints at the foot stamps of Brian May’s percussion innovation for “We Will Rock You” (a reference you might not expect to hear on an Americana album). Incidentally, a country, honky-tonk reworking of the song, listed as “Ninety-Nine” closes out the album. 

It’s the kind of album that you get when an someone without the baggage of a ‘scene’ or ‘movement’ to contend with (living in a remote part of Sweden) can concoct by taking original American influences and subject matter and melding them with elements from outside this genre to produce something that’s unique. It’s an intriguing listen. 

“The Waiting Game” is out now.

We’ve reached the point in the year where traditionally no-one releases serious music; it’s all about seasonal tunes and greatest hits for the dad market, so it’s really refreshing to hear another contender for High Fives 2016 (coming soon with even more guest contributions) released in November. Winter Mountain is the nom de guerre of Joe Francis and “I Swear I Flew” is his second album. Let’s get this out of the way right now, it’s a stunningly powerful and beautiful piece of work packed with ethereal and evocative songs, blowsy and blustering songs, and intricately woven arrangements mostly played by Joe, but helped out by Seth Lakeman and a few others. I think it might even be new genre; Kernowcana, anyone?

“I Swear I Flew” is a potent cocktail, mixing up influences from the great late twentieth century American songwriters with twists of Celtic and English folk styles. It’s all blended perfectly to create a confection that feels smooth on the surface but has plenty of bite underneath. Even the quiet, contemplative songs have a widescreen feel to them; the breathy vocal on “Dragonfly” is underpinned by delicately picked acoustic guitar, bass and cello, but the sound is full and resonant. By way of complete contrast, the next song, “Before the Flood” features a full band (and then some) with thudding bass and drums and then keys, harmonica, fiddle, tenor guitar, banjo and pedal steel. And it’s all topped with a great vocal performance that has a few hints of Don Henley at his very best; it’s a big, beautiful beast of a song.

No filler at all here, and definitely a couple more to single out for attention. “The Morning Bell”, which gives the album its title, is (almost) a solo acoustic lovelorn ballad packed with the natural imagery that permeates the album, contrasting starkly with the full band songs. “Fireworks Night” (Promises we Make) is an absolutely gorgeous five minutes that pulls off the spectacular trick of starting like Springsteen and morphing into what I can only describe as a stripped-down acoustic version of The Blue Nile. I defy you to remain unmoved.

This album is inspired by the greats of rock, roots and folk, twisted together until they form something shiny, beautiful and new. It’s a lovely piece of work.

“I Swear I Flew” is released on Friday November 18 on Astral Fox Records.