I’m sorry about this but … it’s all over, I’m finally giving up RMHQ as from the end of July 2025; because, as the bookies say ‘When the fun stops, stop.’ and it has.
Pretty much it’s my mental state at the moment getting me down and even making the editing seem like a chore, when it shouldn’t be … as I love the music and more importantly, what my writers all do for me and you; and can’t thank them enough for carrying me and the website this far…as they’ve all brought a fresh spark to not just RMHQ, but to some degree, this end of the industry IMHO
Weirdly the stats for the site are outstanding this year, and are carrying on in the same vein as 2025 rolls along, so I’m going out on something of a high.
We will be publishing reviews until the end of July and after that, the site willremain open forever … just not with anything new being added, and my RM Social Media accounts will all close at the same time.
Thanks again for reading our reviews over the last 10 years solo and 20 years for various publications, God knows I appreciate it, and I hope you’ve gone on to buy cd’s/LP’s/downloads on the back of our words … but everything has a sell by date.
Welcome to the Rocking Magpie HQ – a box-room on the Internet for one man and a bunch of his Roots Music loving friend’s thoughts and musings on a wide variety of music, usually; but not exclusively based around all things ROOTS:- Americana, Folk, Blues, R&B, all variants of Country, a bit of Ska, Reggae and Soul too.
After many years writing reviews for a variety of magazines, newspapers and websites I decided to break up the band and go solo in 2014; putting everything under one roof on ……THE ROCKING MAGPIE.
Me? I live in the North East of England; but the team live across the UK and two are in America, and we received music from all around the world….with a readership that reflected that, as we had followers in over 130 countries across all 4 continents.
Our priority was bringing you reviews and previews of music that had actually been listened to and appreciated…not just the regurgitation of a Press Release (unlike many ‘household name’ websites!). We did this because we love music and wanted you to get an Independent view from someone just like yourself; and in theory this would make you want to actually buy a copy not just scam a free listen on the likes of Spotify and Apple Streaming! #BuyDontSpotify Dig deep into the site; as the bonus is a myriad of my old reviews (400+), some dating back to 2010 which really are a snapshot in time – some I got bang on, others I raved about yet the album and artist still drifted into musical obscurity. Alan aka The Rocking Magpie
If there’s one song that summed up our attitude to what we did and why we did it, it’s this song……. Rex Bob Lowenstein by Mark Germino
The Shires, Hayley McKay & Jade Helliwell Fire Station Sunderland Sunday 17th August 2025
As a local resident it’s odd to find Sunderland now advertising itself as ‘City of Music’ as historically it has very little history in the field apart from a couple of Punk venues over the days; but the good people at the old Fire Station are gradually, and it has to be said … quickly changing that; pulling in some world famous acts and now promoting a fabulous mini-Festival, that this was part of.
As I’ve mentioned a couple of times this year, I’ve struggled to leave the house to go to gigs of all hues and sizes; but as The Shires are Mrs Magpie’s favourite band and were promoting the release of their latest album with a rare acoustic duo performance; I ‘bit the bullet’ and here we are.
The venue was actually the large backyard of the venue with artificial grass, some seating, a variety of food stalls, plenty of staff at the bar and a huge stage (which I feared might be too big for the acts on view).
As we found a suitable view point I realised that the DJ playing ‘good ole Country Hits’ was a friend of mine; Stagger Lee … and while no Tony Blackburn; as usual his choice of music was spot on, mixing in Dolly, Steve Earle and the Flying Burrito’s among others to get the ever growing crowd in the mood.
First up was local lass Hayley McKay alongside a fiddle player (Johnny Bunce?). At the start of her career I reviewed a couple of her singles and an EP, but subsequently went off her radar … which is a shame judging by her performance tonight.
She kickstarted the night with the punchy, up-tempo breakup song Matching Suitcases which not only featured Hayley’s wonderful vocals but the first of some stupendous fiddle interplay too.
Back ‘in the day’ I saw Hayley a couple of times; but tonight it’s fair to say she has now ‘grown into’ her voice; not least during Thinking ‘Bout You, Fairytale of You and Breathe. Hayley’s slow and sultry Countryfied version of Leaving on a Jet Plane should have been the highlight of her all too brief performance had it not been for her Award Winning song, Wild West which closed with the first YeHah’s of the evening.
Next up was the Yorkshire Rose; Jade Helliwell … a new name to me; possibly because like Hayley she doesn’t live in Central London, so neither will come to the attention of any of British Country Music or Americana UK’s Awards committee … methinks!
Hey ho; Her 40 minute set started with the anthemic Woman I Am, which quickly had the women in the crowd bellowing along with the chorus. Like Hayley before her; Jade too has a very interesting and evocative voice; bringing out the intricate passion in Smoke Without Fire and Bad Habit A few of her songs had fun/interesting stories introducing them; none better than Nothing But The Radio On which came about after she heard a man say that to her friend on a hen night in Dublin … I won’t spoil the story by saying anymore.
By now I’d bumped into some friends of old and I remembered why I used to love gig going … it was never just about the music.
There was an eager air of excitement in the half hour wait for the Shires, and when the pair made their entrance I doubt Oasis got a noisier reception (pro-rata of course!)
Even though the night was billed as an ‘acoustic performance’ … so was the last time we saw them, but then they still had a band … no such safety net; just Chrissie, Ben two acoustic guitars and a piano.
Mrs Magpie’s face beamed as she recognised opening song My Universe, which alongside the next two songs State Lines and Naked were all pencilled in as ‘romantic’ on the set list … as if they or the audience needed reminding as all three are just that and more, with these re-inventions drawing on the pathos that we may have otherwise missed … but I doubt it.
During Ben’s introduction to Naked, he was actually heckled by a Seagull! How does someone prepare themselves for something like this? When it happened later, Ben was reduced to swearing at it and waving a fist … before bursting out laughing.
While the predominantly female, cowboy boots and hat wearing crowd were visibly enjoying themselves; it wasn’t until song #5 Friday Night that the dancing started; swathes of line dancing at the back and individual two stepping in the centre and continued throughout Echo.
As they said, The Shires have been together 13 years now and they certainly know how to put on a show, full of light and shade, balanced within an inch of their lives … yet I was still, as always surprised that the beautiful and intimate Daddy’s Girl which (again) as always brought a tear to my eye.
By now the sun had long since departed to be replaced by clouds and a cool/cold sea breeze … yet the mood remained buoyant and cheerful throughout the crowd.
While billed as something of a ‘Greatest Hits’ show, The Shires still slid in a band new song from a forthcoming album; and if the punchy love song Bonfire Song is a guide, it’s going to be a doozy.
What kind of Country show wouldn’t include some ‘drinking songs’ and The Shires have two of the best; Guilty and Nashville Grey Skies which would definitely be kept until last by most other acts; but the Shires still had plenty in reserve to more than satisfy their music greedy fans.
The second half of the show started with Ben introducing Lightning Strikes, carefully sliding in a mention of the local football team returning to the English Premier League and winning their first game of the season the previous day. This was greeted with a roar from a lot of the audience (I was left shaking my head though), the song itself was not as ‘up-tempo’ as the set-list suggested but slow, sultry and very catchy it was too.
While the whole ‘acoustic duo’ performance could be called a surprise; the inclusion of the sparsely arranged Islands in the Sun most certainly was; and therefore an absolute highlight of an excellent night.
The sound all night was crystal clear and made every act ‘fill the room’ but with no side effects; and this was particularly noticeable during Sleepwalk when Ben’s piano playing had distinctly Jazzy undertones worthy of the Blue Note club in NY.
During the intro to the torch song Just Wanna Love You a couple at the front claimed it was going to be the music she walked down the aisle to next year; which threw Ben a bit … but he seemed genuinely touched at the prospect.
While a few brave souls called out for their favourite songs; Ben tactically ignored them, but got a cheer when he introduced River of Love from the ACCIDENTLY ON PURPOSE album and they’d not performed for a long time.
Then as he announced Tonight would e the last song, a ‘well refreshed couple’ began unintelligibly requesting something different … then going into an anti-Newcastle football song that no one joined in with … Ben saved the day by loudly asking him to “shut up” … which he did, then slunk off bottom lip trembling. The song was fabulous despite the drop in mood.
Ben and Chrissie thanked the crowd before leaving the stage for the obligatory 45 seconds before returning to a hero’s welcome.
On seeing them, the audience serenaded them with the chorus from the decidedly catchy Tonight for a couple of minutes, then as they slowly died down, Ben tried to explain that the requests being now being shouted out were too rare, and anyway … these were going to be the two songs they’d practiced! Midway through the angry seagull decided to dive bomb the arena while heckling the singer.
I See Stars and 1,000 Hallelujah’s where the perfect danceable and sing-alongable end to a splendid evening of British Country Music from three very special acts.
The Tracksuit Trilogy The Experimental Pop Band Unspun Heroes
Review and Interview
A Mighty Fine Art-Rock/Indie-Pop Cult Classic Re-Release; Labelled With Love.
This is outside our usual territories, but we couldn’t pass by the fourth offering from this small but perfectly formed record label when it is THIS good. Here’s the deal: Unspun Heroes are introducing a cult, avant-garde indie pop album to us, released on vinyl for the very first time and packaged with so much extra ‘stuff’, it feels like a V.I.P. goodie bag from the band!
The Experimental Pop Band is an inspired choice by Unspun Heroes chief Simon White, shining the spotlight back on an imaginative and prolific Bristol based singer songwriter, Davey Woodward (also known for 80s Indie Band The Brilliant Corners and in recent years with The Winter Orphans as well as his alt rock band Karen). We take a quick peep at this re-mastered fourth album, The Tracksuit Trilogy (which was originally released 25 years ago) alongside an interview for The Rocking Magpie by both Simon White and Davey Woodward.
This Art Pop album is a whirlpool of deluxe songs, churning up genres so fast that the listener relaxes into a soundtrack that constantly samples the unexpected. This is the biggest draw for me, the songwriting continually re-inventing with every track, but the hooks are constantly in the wings ready for their cue: Woodward’s black humoured observational style of storytelling has the ability to pull at the heartstring curtains whilst making you smile.
The vinyl presentation merits its own paragraph: a numbered obi strip, a striking new art cover design by Renee Vaughan Sutherland which btw includes the band’s name being punched out by hand with a vintage DYMO machine and individually stuck on, labelled with love indeed. There’s even more artwork courtesy of a signed handprinted poster, cigarette style cards of alternative cover designs which are quirkily housed within a retro printed fabric wallet with its own Unspun Heroes washing label! Oh then there’s a mini zine which shares the original press release, plus all the regular trimmings of lyric, song and sleeve notes. As I unwrapped the layers, it felt a wonderful voyage of discovery had begun way before I fired up my record deck ..….
Bang, Bang You’re Dead is an explosive Bond big band style intro, leading into Davey Woodward rapping out to a fast, driving trippy beat, drawing us into his world of dark wit, all hypnotically jazz cool. The songwriter actually describes it as “Latin psychedelia” which I like the sound of….
Track two and we’re whisked onto the dance floor: it’s many decades since I frequented a disco but with Emotion I’m reminded of the pure delight of escapism once you made it past the bouncers. It’s Woodward’s favourite track from the album: a sure-fire contender for me too with electro funky power grooves pulsing out an infectious beat. His dark lyrics clutching a harsh reality checklist which holds as much relevance today, 25 years later contrasting dramatically with the musical stomping reverie:
‘‘Relapse, the treatment makes you feel sick Starvation, every third world nation You hustle, it only ends in more trouble Banged – up, another injustice Say what, you think I haven’t sussed this?’’
Before we head to the cloakroom, there’s more of the album to enjoy here: Casual Sex is a glam rock techno stomper and Somethingsaremoreimportantthanmusic hypnotises us into a dance trance until a playful jump scare of horns acts as a rude awakening.
Written after the death of bassist Chris Galvin from cancer, the darker, quieter moments of the album, especially the tenderly sombre Narcotic Days and the eerie instrumentation of The Bereaved, feel poignant without dominating the overall mood of this release. Taking over bass duties, Mark Barber joined Keith Bailey, drums, and Joe Rooney on keyboards to complete the band line up at this time.
This album excels at being most puzzling, dazzling and rewarding in equal measures as a personal attachment burrows deeper after every play. Favourites keep shifting: Simon White singles out Hard Enough as the “Heart of the album” with its raw punk energy, feisty guitar strums that reinforce universal frustrations:
“It’s hard enough for you to explain it always ends up sounding the same It’s hard enough when you’re at school every day there’s something there to prove It’s hard enough to show affection always the fear of rejection”
For now, I am hypnotised by the melancholic ear worm of Remember, it’s a memorising slow- paced exploration into love and death, Woodward’s vocals, expressively atmospheric, and like Narcotic Days, has a Velvet Underground quality which is richly haunting. Over to you, as there are so many tracks left to discover but I guarantee The Tracksuit Trilogy is one experiment you’ll want to repeat and repeat! You’re welcome.
The Rocking Magpie met up with Simon White and Davey Woodward in Bristol to learn more. Simon bonded with his friend Tristan Fitzgerald, a former writer for Smash Hits, over their love for this album years ago and a reminder of this from Tristan kick-started the project (Tristan has designed the fabric print for the bag). Davey Woodward explains how he reacted when approached about the re-release:
DW – “I hadn’t listened to the album for the best part of 25 years because that’s the way I am…I record something, once it’s recorded, I forget it ‘cos my brain’s already thinking about the next thing. So, I did go back and listen to it and think that actually it does deserve to be heard again. I think the one thing that clinched it, was I really hated the original artwork. It was the first album I relinquished that side. This was a conversation me and Simon had and it just snowballed and snowballed! Simon is full of that energy and he deserves the credit for this. Usually re-issues look a bit naff, they’re put together by big record companies trying to make a quick buck, the artwork looks terrible, they sound terrible. This is like… almost a brand- new amazing record!”
SW – “A lot of money was thrown at remastering but I think deservedly so, every penny I spend on every release is what I think is necessary to make it the best it can be.”
The album contains two extra bonus tracks (and more on the digital download).
SW – “We were quite lucky, ‘cos we found a treasure trove of unreleased tracks and so there was a lot of back and forth with Davey about which tracks to include, so between us we picked one each. When I was growing up I was a Liverpool fan, I love the city. I think the people are witty, they’re kinda like authentic in the true sense of the word, and I think that in L1 (one of the bonus tracks) Davey has captured Liverpool in a song from an outsider’s perspective.”
It’s the first time Davey has seen the finished record with all the packaging:
DW – “it just looks fantastic, I love the tracksuit bag….it’s great I didn’t think anyone would be listening to it 25 years later.”
The care and attention to detail that has gone into every component of this release is off the scale including the fabric washing labels on the bags:
SW – “I found this wonderful British label company, GB LABELS, they were the only ones who would do that size and I was telling them about what I was doing and they think it’s amazing ‘cos it’s not going on clothing!”
The bags are mostly Simon’s sewing too, clearly it all adds up to a lot of work at the Unspun Heroes camp:
DW – “The time it’s taken you to put this sleeve together is 10 times longer than it took us to record it! “
Cue laughter, it’s obvious that Simon White loves every aspect of what he does, hence why it all works so well. We wrap up with catching up more with Davey Woodward’s musical journey:
DW – “we released another 4/5 albums after this but I can’t remember exactly when the band split, maybe 2012? Then I put out a solo album which was stripped down low fi folk, I suppose I’ve always dipped between indie pop, folk, country, rock n roll and electronic music. The Experimental Pop Band brought it all together in one grid, whereas now with my solo stuff it’s more instant songs, guitar based but I’m already recording new stuff which is more electronic……I get bored really easily. I’ve kinda always been on the edges of things so a lot of people aren’t familiar with my history. With The Brilliant Corners we formed our own label because we didn’t want to be part of that system. We were idealistic but to some extent if you do want success, you need some of that machinery…..we never moved to London, we didn’t have a manager and those kinda things you need to move onwards and upwards. But it killed off a lot of those artists who signed and only made one good record and just hated it and then imploded, a high cost both spiritually and physically….”
You can catch Davey Woodward with his band Karen at The Preston Pop Festival on August 9th and look out for a live date in Bristol being planned for November 7th.
Hook Filled Country-Folk and 80’s Filled Singer-Songwriter Americana.
Immediately I heard the addictive toned, title-track, Tomboy I was hooked. Maia Sharp’s inventive stylings, her quirky humour matched by brutal honesty she brings a freshness to the table on this her 10th solo album.
“The work I’ve had the privilege of doing with Song writing with Soldiers has put me in a space that you can come back from anything,” mulled Sharp. “And things that I thought ranked as a problem just don’t qualify as a problem anymore in the real scheme of things.” Daughter of anthropologist, Sharon Bays and Grammy-winning songwriter, Randy Sharp she was born into the music business, and has made a particularly good fist of it.
Maia was raised in Los Angeles, but more latterly works out of Nashville. She has slotted into the latter’s songwriting fraternity with her songs being recorded by Trisha Yearwood, Cher, Bonnie Raitt, Art Garfunkel as well as Keb’ Mo’ and Taj Mahal (their recent single, Junkyard Dog), and a host of others.
Sharp’s work in general is gentle, introspective singer-songwriter fare; reflective tales covering relationships and observations of life. Some gained through personal experience, her confessional tones sneak into ones’ senses. The poetic beauty of her music, vocals and melodies awash in innovative percussive additions (Eric Darken) consume the listener. Darken and Will Honaker (bass) provide the main support to multi-instrumentalist, Sharp (acoustic, baritone, electric guitar, piano, keyboards, synths, tenor sax).
Title-track, Tomboy opens the album. Sharp’s portrayal of a childhood party speaks, ‘I’m the only girl here wearing a dress, They’re all Audrey and Grace, I’m doing my best, People I know, they glide through the party, People I don’t know, they’re staring at me, Whispers carry they’re trying to guess’. A mighty opening verse, while her prowess on acoustic guitar lends a beautiful tone.
Counterintuition has Flugelhorn and trumpet (Rod McGaha) join the mix (which includes keyboards, synths, and rhythm) as Sharp reflects on the complexities of life.
Is That What Love Does is a master class in balladry. She sings of love, and the ending of a long term relationship. Her tender soothing tones weave in and out of violins, her own synths, keyboards and soprano sax.
Only The Lucky has her father on steel guitar, the song reflecting on a traffic accident on the highway, she describes the snake of brake lights, feeling tired and hungry, but above it all … she actually feels lucky.
On The Edge Of The Weather Line she speaks of being a sucker for an 80’s song, her tale is about travelling along the highway and different weather situations, nothing dramatic; but of the kind you could parallel life. Warmed in deft keyboards, flowing rhythm and her own tenor sax it is a big song with an infectious chorus.. So beautiful is the playing and ambiance you don’t want the music to end.
Asking For A Friend has the keen playing of Randy Sharp (electric, 12-string guitar), rhythm (bass and percussion), plus a Flugelhorn assisting the stellar vocals from both Country music recording act, Terri Clark and Maia on their co-write. Displaying a greater urgency they lift the bar a notch or two with underlying hints of Kathy Mattea. On the song Sharp tells us of going through a difficult time, and how to ask for guidance (to avoid questions, she claims ‘it is on behalf of a friend’). If heard on the radio, I imagine Mary Chapin Carpenter giving it the sign of approval.
Next comes drifting ballad, Better Story with Matthew Perry Jones lending his considerable talent, on another co-write. At times, whimsical and dreamy it speaks of songwriting, how the waste basket has rejected drafts, alongside those littered on the floor as she tries to get it right. Their voices blending perfectly.
On A Fool In Love Again; not for the first time sees Sharp take the listener back in time as she refines her craft, it sounds like those songs from the charts in the 1970s – 1980s, synths and piano aiding the layered seamless ballad. It features Fancy Hagood and Emily West on harmony vocals. A co-write with West, she also shares writing duties with Sharp on Is that What Love Does. Here they deal with the desire to fall in love again and of what she wouldn’t do, to feel the fire once again perhaps even hoping for a lightening bolt to strike her heart.
Any Other Way is a beautiful, dreamy affair with backing vocals from Sarah Holbrook (and violins) and Shannon LaBrie (and piano) acoustic guitar from Maia that sees a plaintive feel washing over it. Superbly cultivated, it speaks, ‘I wouldn’t want it any other way’, as she reflects on the passing of time in her hometown. Fantastic textures from the pianos, synths and mellotron vibes. Pop folk singer-songwriter fare.
U2’s I Still Haven’t Found What I’m Looking For features Garrison Starr on harmony vocals. The compelling, tempered approach is most impressive. Commanding, vocally, their version possesses a steely grip missing on the original. Undoubtedly it’s one of the best performances from the record. Take a bow, ladies, once heard, you are instantly compelled to give another listen which is a faire reflection on the album as a whole too
Atmospheric and Eloquent Folk-Pop, Enriched with Layered Arrangements
Dublin-born, Smyth was listed by the Irish times in 2020 among its ten acts to follow list and also the RMHQ year end Top 20 albums too.
Smyth’s new album, Hello Goliath opens with Can’t Stop The Rain; a pressing rhythm featuring electric keyboards to go with driving drums, harmony vocals as Smyth offers a surprisingly more pop than Folk-Pop arrangement than on his last album. There’s a neat use of keyboards though as the hooky melody bustles along while a Summery feel rears.
Next, Wasteland enjoys a more magnetic feel via its smooth flowing melody, a shuffling rhythm and charmingly gentle harmony vocals’ There’s even an intelligent use of the electric guitar and piano ensuring it arrives home in safely… Majestic fare indeed. Then he’s off in a hurry on the layered track, I Can Your Telephone. Swirling, restlessly fashionable; it rushes forth as Smyth invites the listener into his at times, very complex world.
Houston veers, nicely towards the the singer-songwriter niche as he tells us of his new found family life. ‘Now I am a father, Oh, Houston we’ve got a problem now’. An orchestrated affair, housing harmony vocals, loaded in keyboards and sharp electric lead guitar riffs, Smyth reflects warmly on his everyday life.
Hmmm; Bees is wrapped in a poetic warmth enjoying finely worked arrangements, aiding Smyth’s smooth velvety vocals. It offers much grace, especially during the earlier passages, before the melody builds, and a chugging rhythm, complete with full artful arrangements take charge. But there is space too for the keyboard and his lead vocals and lyrics to breathe.
I’m still not sure if the reflective Janey is a love song or not, as it has Smyth’s whispery and reflective at time, yet sometimes sombre, with coercing tones that effortlessly glide along, allowing the arrangements to build. Amidst fine lead electric guitar (more interesting contributions alongside his solo workings) and with some orchestrated additions (harmony vocals included) Smyth wins through. Maybe it is a break up song after all, as he compares the timing to Elvis’ early departure and Christmas in June.
Opening with a steady, interesting rhythm Air is warmed in stylish piano and more as his lead vocals speak of how, naive the lonely are. It’s totally dreamy and flowing as he speaks of the human race in a very poetic manner.
Always My Heart pulls back on the complex arrangements; Smyth’s remarkable vocals and playing now allowed much more space to create positive marks .Melodic, rich in deft hooks and guitar rumblings it is one of his best.
Don’t Skip Out bustles along, yes you heard me right. Here he throws off the shackles as the music drives forth, jangling guitar etc. ‘Don’t skip out on me, don’t skip on me tonight, …. ‘I’m not ok, but I feel I’m alright’. …’I was afraid (repeated, thrice)’. Personally, I think it’s a shame the arrangements (complete with elongated fade) compete with his vocals but it’s still a really good song though; despite the sound.
Candle In My Coat speaks of loss, ‘My sister is Mary Beth, she holds a feather shoe, I’ll walk the dog on Monday, there’s nothing I can do, in the quiet moment, the rumble in my throat’, adding, ‘Hold me tightly, hold me close, ‘cos in no time, will let us go’. He speaks of how the young folks will never grow old, yet God still takes people home, adding another leaf on the family tree. A truly moving affair, it remains with the listener long after the last note has faded into cyber space; and a fitting way to close this interesting and delightful record.
While both I and our Editor, Alan have thoroughly enjoyed these songs, I/we think it more targeted at the younger generation, especially the more thoughtful and perhaps ‘bookish’ ones who will give it the time to evolve and develop rather than give them ‘instant gratification’ the way many singers attempt these days.
Mackenzie Roark And The Hotpants Ghost of Rock and Roll Vocal Rest Records
Roots-Rocking Americana, That’ Rolls With the Punches, From a Bunch of Musical Road Warriors
After over a decade performing in and around Virginia and beyond; playing big stages, festivals, dive bars, coffee shops, breweries and more dive bars, Mackenzie Roark and the Hotpants have paid their dues twice over. Ghost of Rock and Roll is their debut album.
Musical credits read, Mackenzie Roark (lead vocals, acoustic, electric rhythm guitar), Billy Bacci (lead guitar, piano, Wurlitzer, organ, harmonica and backing vocals), Caroline Vain (violin, backing vocals), Matt Moran (bass guitar, backing vocals), Drew Barnocky (drums, backing vocals, penny whistle), Leigh Pinner (backing vocals) and John Bradberry (lap steel),
They come out of the traps at a run with Take My Money, a good ol’ fashioned rocker, with bustling lead electric guitar, lots of excellent energy and harmony vocals see it pounding along with no time to take a breath; before dropping a notch, tempo wise, on the compelling ballad Late Bloomer. It chugs along in a very pleasing fashion where Mackenzie’s vocals are allowed room to shine, and she needs no prompting in that department. Cool instrumental work completes the job with harmony vocals, restless rhythm and some smart lead electric guitar.
Rich Man offers a similar feel to something Kelly Willis or Eileen Jewell might record. I Love it! The gentle rhythm and fine lead vocal swaggers neatly; .classy all-round. A choice violin, and neatly picked guitar are a bonus.
Hot American Red Blood likewise breezes along. Mackenzie’s definitive lead vocals fuelled by an excellent, bustling, rock solid rhythm and some roaming violin and strong lead guitar seals this tale of a love that wasn’t to be.
Last Call opens to the sound of drums, probing violin, bass and piano as it weaves, restlessly through the duration. Roark’s strong, unbending lead vocals aided by harmony vocal support help see the band kick up a ruckus.
The charmingly titled Cigarettes And TV Dinners enjoys a slow, image stirring instrumentation lead in featuring neat piano as Mackenzie pulls in the listener, this is not least due to an upbeat rhythm and roving violin accompaniment. ‘A stranger told me he had seen me around before, and would I honour him by talking just a little more, so he bought us a couple of shots of liquor from the rail, I’m old enough to know what these transactions entail, He said, “hey honey won’t you come home with me? No, nothing funny just a little company”, And I don’t really care, cause I left my common sense somewhere’. Best track thus far and maybe.. the best on the record.
The explosive Killin’ Time jumps straight out at the listener. ‘You break all the rules and wonder why you’re in jail. And I could blame it on you, but you love pretty women who tell you what to do’, ‘A good man is hard to find‘, she muses, living in your proverbial one horse town. Such are her limitations. Supported by, stellar lap steel guitar, more roving violin and a killer beat Roark and the band mop it up.
Real band music! Live, raw … here is a band sure to grow, just how quickly depends on the opportunities to befall them. Roark’s lyrics connect with the listener throughout as does the fabulous music.
Ghost of Rock and Roll has a pounding beat kicking it away and is sure to fill the dance floor, so get your body moving, quicker than you thought possible. Fully tuned in Wurlitzer, drums, lead guitar and violin as Roark and band totally ramp it up.
Sing-a-long, Broken Jukebox Blues has an instant, infectious appeal. Charmed with excellent violin, bass, harmonica and Country Chicken pickin’ electric guitar; the music and Roark’s pure ‘lived it’ vocals flow effortlessly. ‘One day, I’ll just unplug,’ sings Roark. ‘I got them Broken Jukebox Blues, sitting lonely in the corner, going in and out of order, just like I always do, got them Broken Jukebox Blues, cuz nobody wants to listen, do they know what they’re missin’? Boy, they ain’t got a clue’.
A brilliant closer on something of a brilliant. Humorous at times, sharp instrumental work and totally ‘in the groove’ vocals; Kelly Willis fans (among others) will simply love this. Here is an album I’ll often return to in days to come and you will too
Fontaines D.C. Exhibition Park, Newcastle 13th July 2025
The sun shone brightly as the gates to Newcastle’s famous Exhibition Park opened, so-named since the Jubilee Exhibition of 1887 was held in the city. As I passed through the entrance I was immediately impressed by the set-up; a large beer tent to the right, band merch store to the left, and ahead of me a festival-sized main stage with complex rigging and TV screens either side.
Various food and drink outlets filled-out the perimeter and there was a raised platform to accommodate disabled audience members and I take my place just in front, probably thirty/forty people back from the edge of the stage.
At 5.30pm London rock quartet Crows kicked things off with an energetic and impressive set of thirty minutes or so. Then it was the turn of English Teacher, the Mercury Music Prize-winning band from Leeds/Lancashire who play a unique type of heavy prog-rock that is similar enough in sound to the headliners themselves, to compliment; but different enough to provide an interesting contrast. Their set was well received and boded well for a headline return to Newcastle’s NX in November.
An illuminated Fontaines DC sign was hoisted high upon a rig to the apex of the stage and a giant inflatable heart slowly filled with air and guided to its position above, where the headliners will perform. Around me, there’s countless numbers decked out in the band’s tour t-shirt, a smart mock-up of a football top. It’s not the first thing to bring to my mind, the comparison to a football match; but there’s the same sense of ‘belonging’ present here today; we were all supporters as much as spectators.
The sun had long since departed and rain threatened, but nothing could dampen our spirits. The band took to the stage at 7.50pm and launched straight into ‘Here’s The Thing’, the third single from the 2024 album, Romance. It was the perfect choice for an opener and had the packed and predominantly youthful crowd bouncing along. ‘Jackie Down The Line’ and ‘Boys In The Better land’ followed, raising the tempo yet further. I counted at least five young ladies on their boyfriend’s/girlfriend’s shoulders (delete as appropriate), several raised Irish flags, a green flare… making it like a scene from Les Misérables but there was no accompanying misery or despair, just pure happiness.
The main set took us to 9.15pm or thereabouts and included songs from all four albums, showcasing the band’s development and variety. Picking out highlights is near-impossible because the impetus never dropped, the standard never slipping either; the songs were all so good, so well loved, with an undying energy from both performers and audience, making it utterly joyful.
A see of waving arms accompanied ‘Before You I Just Forget’, a rare album-track; then a collective exuberance welcomed the prophetic ‘Big’ from debut album, Dogrel. The time went by in a flash and soon we found ourselves partying to what might be Fontaines’ most uplifting tune, ‘Favourite’.
The band left the stage to total acclaim. But ….the lights stayed low…. and a humming emitted from the giant speakers, ….foretelling of the band’s intended return. We didn’t have long to wait. The four song encore began with the psychedelic and epic ‘Romance’. It’s at this point that I have to mention the quality of the sound. I’ve never heard such amazing sound at an outdoor concert, and that goes for all three bands. Freedom of the City of Newcastle to that man/woman/team! ‘In The Modern World’ came next and a kind of mass hysteria developed amongst the ecstatic masses. There must have been more people sat on shoulders than available shoulders, somehow!
I’d guess that a healthy majority of the crowd were singing along though, thankfully, the stage sound could still be clearly heard above the audience and went up a notch yet again, with the closing ‘I Love You’ and ‘Starburst.’
I’ve been attending gigs for nearly fifty years, have attended countless festivals and outdoor concerts yet I’m struggling to recall a better one. Great supports, wonderful surroundings, amazing sound, wonderful atmosphere, happy and friendly audience, great performance, amazing songs. The perfect gig, in fact.
Exiting the park felt like leaving a Newcastle United football match; crowds of people inching their way forward, delicately trying not to step on the heels of those in front. There were even a few isolated chants of ’Toon Toon’, the familiar football refrain, and the same joyful vibe that accompanies an impressive home win; people riding the high of what they’d just witnessed; and what they’d taken part in. What a night!
Nowhere Brothers Till The End of Nowhere Timezone Records
Windswept, Beautifully Gritty and Interestingly Crafted Americana From Italy via Yorkshire.
As far as I know, The Nowhere Brothers are still Nick Ventolini and Roberto Fiorelli, both originally from Italy and meeting in the city of Trieste, before moving on and around the world with one now based in the rainy Latin Quarter of Leeds, Yorkshire and the other no longer in the US of A, but Germany.
As we found with their 2018 release DOWN LIFE BOULEVARD they certainly have a shared passion for enigmatic Americana, creating dusty, cinematic songs and tunes as if they’d both been born in California or Texas. Although its beating heart will always be in the American heartlands, this album is a perfect example of how International the Americana scene has become; with the album being recorded, mixed and mastered in Laupheim, a small town in southern Germany, in the BA Audiolabs Studio and some work also done in Dewsbury, Yorkshire while the songs themselves were written in Yorkshire, Germany, Arizona, an airport in Spain and even in Namibia!
The duo set their marker down with opening song Mestizo which sounds like it’s inspired by Ry Cooder’s PARIS TEXAS, such is the moodiness created by the shared emotional vocals, Ventolini’s haunting harmonica and Fiorelli’s searing acoustic guitar playing.
Track #2 Colt is not just a highlight of this album; but possibly the Americana scene in 2025. Of course I can point out references and influences, but that’s not worth a jot as Nowhere Brothers combine to create a mesmerising tale that will definitely make you sit back and listen intently, time and time again.
It breaks my heart that songs like the delicate Blackeye, Saviour’s Howl and its intense playing and harmonies as well as the brooding melancholy of Nevada will go unnoticed and unheard by 99.99% of the Americana music loving public, as the pair do this for love and don’t have a budget to pay for advertising and/or reviews elsewhere… damn.
Although I already knew them courtesy of that 2018 album, but in the intervening years their music and writing has certainly matured and grown immeasurably; most noticeably on the title track Mesmerised and the rustic charm of Barstow, or Be Again too, which may or may not have a subtle Grand Drive/Wilco influence … but I could be wrong of course.
For me choice of Favourite Song I’m torn between the final track, the spaciously fragile and atmospheric Shufflin,’ which could be a Springsteen outtake from Western Stars II but given a gritty Italian twist. The other and one I’m leaning towards is the punchy and fulsome Fever, a song that belies its backstreet beginnings, but creates a ragged glory that we can all get behind.
I’m not sure I’ve got anything else to say; unearthing music like this was the reason that I started the Rocking Magpie ten years ago; and has been the ethos that kept us going. Just because you won’t find this album in national magazines or newspapers and/or mentioned during the Awards Season… doesn’t mean it’s not better and more interesting than anything you’ll find there … it certainly is on both accounts.
Southern Gal, British Country With an Eloquent Style That Possesses Many Well-Honed Attributes.
UK country act, Florence Sommerville’s album debut, Endless Horizon finds her displaying a maturity beyond her twenty young years.
She is never overshadowed here or found unable to rise above the varied and incredible good support from her band, and she couldn’t ask for finer support who are completely in synch with Sommerville’s lead, and intonations; courtesy of a string of fine players, lead guitar, dobro and rhythm section dancing the airwaves alongside her. Plus her assured vocals are matched by her accomplished songwriting.
Previously released as a single, California sways gently, like a willow tree in a soft summer breeze. Warmed by a busy combination of swirling lead electric guitar, harmony vocals and a strong rhythm Sommerville hits home with her image strewn lyrics, the power of her voice and lyrical content are first class.
Doused in swirling lead guitar, restless opening piece (I’ll Be Your) Best Broken Heart shows off a powerful, determined stance. With an acoustic opening, Fearless speaks of her youthful exploits, crashing daddy’s car being one; and this melody is filled with fiddle, lead guitar and so much honesty, Florence really engages with the listener. Overton though; has a warm, carefully assembled feel and her worth as a storyteller by this time, has already shown excellent value and maturity
Broken Pieces rocks along nicely, with lots of ‘space’ too; her lead vocals aided by strong harmony vocals, and anchored by strong rhythmic undercurrents and some tasty lead electric guitar riffs.
Out Where Love Grows changes things. A simple song in essence, as her telling lyrics take the listener through the area she grew up (a small village in Essex), as acoustic guitar, dobro and a pressing rhythm augment her pure, flowing tones. Arguably my album pick.
Silly Little Things is another fine effort. Excellent lead guitar aided by pedal steel plus harmony vocals fuelling the track like nitro in a Mini Cooper, making for a powerful break up song. ‘Woke up today, I was feeling totally fine, ready with a clean slate, want to leave you behind, all I wanted was a cup of coffee and walk out the door’, … ‘All I wanted was to close my eyes and forget you’, she sings as she tries to break ties.
The dreamy, thought provoking, Forget The Water tells us, ‘My sober eyes can see, it’s the only time you miss me,’ as she tells of an uneasy relationship. Reflective, it speaks of a young woman coming to her senses in a turbulent relationship.
Love Me Then has lead guitar and dobro ushering the track and Sommerville’s vocals along, making the singer skip in relaxed fashion as her voice intertwines with the playful melody. Like with many tracks, the arrangements are carefully assembled; top class all-round.
Some really chunky rhythm and roving guitars drive Boots In The Rain along. While I feel the drums are too prominent, the steel guitar is enough to keep everyone’s attention.
Molasses comes and goes, nicely enough, while Cut and Run has a greater depth to it. Sommerville speaking of an old love, both are bigger productions than previous songs btw. Though not necessarily better for the fact although Cut And Run’s less cluttered opening burst for me has a greater appeal.
My copy has the album’s twelve original tracks enjoying four acoustic, ‘bare to the bones’ bonus cuts too. All are tender ballads awash in subtle textures and craft, Whiskey In The Morning, Landslide, Love Me Then lead into the lively and fascinating take on Guns n Roses’ ode, Sweet Child O’ Mine underlining Florence Sommerville’s special talents.
The UK country music scene is enjoying a flush of quality emerging acts at the moment, and with Florence Sommerville now on the horizon, it’s never looked better.
Crow Black Chicken Ghost Dance Self-Release / Cargo Records in Europe
A Clever Contemporary Twist On Classic 1970’s Rock Music, Brought Up To Date.
Because I’m become reaching such a great age, I sometimes find myself contemplating the nature and future of ‘Rock Music’ in 2025, as much of what I hear is unimaginative and/or derivative, with little to differentiate one band from another …. and I have eclectic taste and an open mind!
I know, I should get out more, but where these idle thoughts lead me to, gives me a route into considering the importance of a previously unknown (at least to me) Irish rock band … and that’s how I come to be listening to “Ghost Dance” by Crow Black Chicken on this fine Summer day. One of those idle thoughts has been along the path that decent new Rock music is as rare as rocking horse droppings in the year of 2025. But then along comes Crow Black Chicken into my life; who sound like one of those bands much treasured by me (and other friends) from the time I first began listening to music way back then.
They sound like a Classic Southern Bluesy hard rockin’ band – the twist being though that they hail from Southern Ireland rather than the Southern states of the USA. Although they last released a studio album in 2016, the Cork/Tipperary blues rockers are now marking something of a comeback with this new album, recorded at GAF Studios in Co. Tipperary and produced by the masterful Philip Magee (Aslan, Kodaline, The Script, The Academic). They have, to me, a classic sound – like a barrel-aged whiskey – that has depth and bite without ever having lost its soul; recalling great Irish rock music like early Rory Gallagher and/or his original band Taste and those vintage Irish rockers Thin Lizzy, wearing their influences proudly too.
The album kicks off with the stomping “Bottom Feeders”, which is also the first single from the album and a signature hard-rocking track, setting the stage for an unequivocal Blues Rock album rooted in classic touchstones of the British/Irish rock scene, which is clearly their comfort zone.
Second single, “Make it Right”, showcases the broader range of influences within the album; hints of Americana groove along with foot-stomping drums, the smoothest of bass lines and luscious guitar tones and a classy soulful vocal. Track 2, “Fire & Blood”, has a monster riff and thunderous drums with a screaming solo right in the middle and I’m led again to thoughts about the band who have a great classic sound; but aren’t all over 60 so they have raw energy and great pace too.
The album’s focus track, “Hot Molasses” encompasses everything Crow Black Chicken has become – a band renowned for their raw, powerhouse sound fronted by the gravelly, earthful croon of vocalist Christy O’Hanlon, locked in with the groove of bassist Stephen McGrath and drummer Gev Barrett. It’s a subtle stroll through a cooler sound with more of an emphasis on the Soul of the Blues and underlines that the band have more to offer than just a retread of some tired old cliches.
The other thing that took me a little by surprise is that there’s only three of them but that doesn’t detract from their overall sound, which is fulsome and has width and depth complimenting O’Hanlon’s rich and powerful voice.
The trio of songs in the middle are something of a cornerstone for what precedes and follows, with the slow and heartfelt ‘The Longest Time’ being the type of song where the lights are turned low on stage highlighting the vocalist, who somehow manages to restrain himself on the chorus, but only just, then “Dark Matters” rides out on a swampy echoey riff that, for me, recalls Ritchie Blackmore in his early Deep Purple days. ‘Make It Right’ opens with some sweet electric guitar before O’Hanlon breaks forth with a mesmerising vocal performance that will send a shiver down the spine. This music isn’t Blues twinned with heavy metal, like so many of their contempories; but a cool twist on their solid 70’s rock influences – and not too shabby as far as I’m concerned – and it brings that ground breaking sound right up to date with a screaming solo right in the centre of this powerful bluesy rocker.
“Terlingua” begins with a riff that recalls Peter Green and reveals itself as a familiar Blues tale about death, lost love, living on your knees and the need to fight for what you want; but also draws you into the expressive and imaginative writing here, and makes you listen closer to the other songs on the album, too. The titular “Terlingua” is lost and miserable border town and is a real place in Texas and the band paint an aural picture with the jazzy bass runs and some fine soloing and an almost spoken vocal making it if not the best track on the album, the Favourite for me.
The album ends with “Heavy Rain” and it’s In the bio that the band tells us that ‘Ghost Dance’ is a really special album for them, as it marks almost ten years from their last release – a decade spent rethinking, evolving, and focusing on the live end of things. It’s been a long road but getting back into the studio and having the chance to work with Philip Magee again – who we worked with the band for their debut album – has all made it feel like the right time, almost full circle.
You can see this album as some kind of epic journey of Classic Blues fused with Modern Rock. Crow Black Chicken are not just sticking with their roots and honouring past legends but I’d say that they are helping to drive the Blues genre forward in a contemporary way, that helps to keep the music alive and vital.
Its good to hear and if you are a fan of that old Blues Rock that was so dominant in the mid 70’s then Crow Black Chicken are definitely worth checking out and I, for one, will be looking at their back catalogue.
They are out on the road in the UK at the moment but there aren’t many dates; but lets hope that this superb album with give them a higher profile for a longer tour ASAP .
James McMurtry The Black Dog & The Wandering Boy New West Recordings
Beautiful, Yet Melancholic Americana That Paints Vivid Pictures in Your Head
This is James McMurtry’s 14th album and yet again illustrates what a fine writer he is; as all the songs here have real depth and quality and you know just how important that writing is when the man himself tells us “If you don’t have the songs, you don’t have a record, if you don’t have a record you don’t have a tour” so he starts with the basics – the songs and they are are excellent, fleshed out by two choice covers that open and close the album.
McMurtry’s well worn and leathery voice is ably supported his trusted backing band – Cornbread on bass, Tim Holton guitar, Daren Hesson drums, Betty Soo on backing vocals and right here they work to create something that’s sounds spontaneous, as though he’s writing the song as you hear them…which is quite some feet to achieve. Everything has got a very live feel, but they are open to odd experiments, weird whims, and happy accidents, one of which is the cover of Jon Dee Graham’s “Laredo” that opens the album. It’s a twisted Blues tale: a part-time junkie’s testimony of losing a weekend to dope where the songs busted characters are living in a Motel called “Motel” out on ‘Refinery Road” and “we shot dope till the money ran out! The money ran out!” It’s dusty Americana of the highest quality and McMurtry explains the songs genesis “We were playing a benefit for Jon Dee (the writer) at the Hole in the Wall in Austin, and we thought it’d be good to play one of his songs. We rehearsed it in the studio, and it sounded good. The drums were ready.” The song rides along on a cool riff with a honking harmonica dusty and a sprightly twanging guitar solo. Although it is a cover it sets the tone and the feel for what’s to come. A perfect opener for what follows.
“South Texas Lawman” comes next and kicks in with a slow, lazy bass riff and as the song unwinds we here of the “anti-hero” who “cheats on both his wives”. McMurtry’s characters are always ‘very real’ sounding and here the eponymous hero tells us wearily “I used to be young, I used to understand”. It’s a tried and trusted tale of a man who hates getting old and wonders where his life is going, invoking his memories of Vietnam and a life of regrets. “I can’t stand getting old – it don’t fit me”. McMurtry’s laconic voice perfectly invoking the mood.
“The Colour of Night” is next up and highlights McMurtry’s ability to invoke characters and situations with his sympathetic and excellent band. Right here there’s some beautifully melodic guitar and rolling organ alongside subtle bass and a distant but soulful backing vocal. “I don’t know if I’ve got time to get good at the game” sings James as the music builds nicely. There are some neat pithy lines here like “This fortress shall not fall as I stand on the mount and if the Lord is my shepherd the devil is my friend”. I’m not sure what it all means but it sounds terrific.
“Pinocchio in Vegas” brings that wooden hero to stark life in a strange tale set in a bizarre world after Geppetto has died and crooked lawyers lurk and legal action against Disney is happening … and ol’ Pinocchio has “has to learn to be an asshole like everybody else” and where he has to “pick a hill to die on don’t bother acting nice” It’s a surreal world alright but keeps you listening as it’s actually pure Americana in many ways.
“Annie” – Is a 9/11 focused song with a sad reflection on the incompetence around those attacks from the Bush administration. The mournful song is fleshed out by a sad banjo and guitar. A dismissal of “George W” and the bizarre response to those terrible days where the President is described incredulously as “Enjoying a fine cigar in the White House while the Pentagon still burned”. How our leaders let us down then and now… “You’d have thought we woulda learned” he intones sadly.
The title track “The Black Dog & The Wandering Boy”, inspired by the death of McMurtry’s father, is next and it’s a tune with a dark bluesy undercurrent – “Hey Somebody lied to me” is the refrain along with a wailing harmonica and a short stomping short guitar solo and moody percussion. James struggled with his father’s death and comments on the title song in the accompanying notes saying “After my dad passed, my step mum asked if he ever spoke to me about his hallucinations. He had dementia before he died but never mentioned seeing things to me.” Some things remain hidden to make life easier
It’s clear that McMurtry takes great pride in writing songs peopled by realistic characters and real life, but they are here to keep you interested in the mystery of their lives; and perhaps give the insight into our own lives and those that perhaps aren’t so well lived. ‘Back To Coeur D’Alene’ in many ways is a definitive Americana song, part road song – part love song with yet another anti-hero masquerading as an ‘everyman’ on a cinematic tale that evokes the young Tom Russell in some ways and Tom Waits in others, while never deviating from James McMurtry’s very own well worn path.
On “Sons of the Second Sons” we hear of “Building bombs and border walls as our conscience falls away – in search of a Ceaser”. Who on earth could he mean, as his words resonate across the world today.
“Sailing Away” is a sad reflection on what happens when you begin to doubt yourself; “Have I any business being in this business anymore” and feeling the need to be “Steering by the stars and I can’t get home”. It’s bitter and sad and makes you think that the life of a “successful” musician may not be as easy as it once was.
The final track, “Broken Freedom Song”, is a cover of a Kris Kristofferson song about a lost soldier battling through life. It’s been covered by others including Rosanne Cash and is a poignant reminder of difficult days for those who serve – it’s not all glory, that’s for sure.
James McMurtry is a name that I only knew in passing, and hadn’t really paid much attention to, but that’s my loss because clearly he’s a fine singer and song writer who invests his songs with a good dose of reality and great characters. His band are a supple and supportive band of musicians who provide a wonderful tapestry for James to paint his songs. Try to repay the artist by actually buying this record.
The Rocking Magpie 