Ward Thomas - From Where We Stand.
At the time of writing the top slot on the UK Country chart is held by Ward Thomas. The interesting, and surprising, thing about this is Ward Thomas is Catherine and Lizzy Ward Thomas, 20 year old sisters from Hampshire. With the renewed interest in the genre due to the hit TV show ‘Nashville’ and with the Country2Country festival bringing top USA acts to the UK it would seem to be an opportune time for UK acts to make a dash for the spotlight. Hopefully Ward Thomas will be one of many acts to strike whilst the iron is hot.
The duo have recently released their first album, recorded in Nashville with top session players including Chris Rodriguez (Keith Urban, Faith Hill), Dan Dugmore (Linda Ronstadt, James Taylor etc.) and Bobby Blazier. The cool thing is you might take the girls to Nashville but the end result still has a hometown feel. The closing foot tapper ‘Town Called Ugley’ is a great example as the girls reference ‘Cotton Pickin’ and ‘the Old Kings Head’ in the same song. The twelve songs here are all, obviously, well played and produced with a nice range of styles from the bouncy opener ‘Push For The Stride’ to the ballad ‘From Where I Stand’ which features some really nice guitar work as does ‘Take That Train’ which reminds me of The Allman Brothers ‘Jessica’. At the end of the day the whole album is held together by the lovely harmonies of the two girls as their voices effortlessly merge and complement each other.
To sum up if you’re on the lookout for a traditional Country album with a nice pop edge that you can relate to while stuck in traffic on the M25, as opposed to cruising down the USA highway, then this is a good place to go.
The duo have just completed a UK tour but are out again later this year with follow Brit act The Shires.
From his self-titled, triple platinum-selling debut album in 1987 to ‘Limitless’ in 2020, Richard Marx has had an unerring knack for a melody (not to mention a pretty wonderful voice). Marx's songwriting skills have enabled him to stay relevant throughout his nearly forty-year career. His sound has evolved over time, with the punchy guitars of the late 80s replaced by a smoother, more R&B/pop sound tailored to radio and streaming services. Along the way, his song craft has been in high demand, co-writing and/or contributing songs to a startling array of artists from Kenny Rogers to Keith Urban via NSYNC, Luther Vandross and Vixen. An impressive CV, but where does that chameleon-like ability to pen hit songs come from? How does he do it? Hopefully, ‘Songwriter’ might give us a bit of a clue as we take a journey through twenty tracks encompassing four genres; pop, rock, country and ballads.
If anything positive came out of the pandemic for musicians, it could have been that artists had to get inventive if they wanted to be heard. Anna Howie had spent time in Nashville pre-pandemic recording the ‘An Idiots Guide To Love’ EP with producer/guitarist Bob Britt (Leon Russell, Delbert McClinton and Bob Dylan) and attended a songwriting camp with Gretchen Peters. As with so many artists, Nashville had been inspirational, so a return was on the cards until it wasn’t. Undaunted, if a little apprehensive, Anna embraced the world of online streaming to connect with her audience and The Friday Night Club was born. The 28 online sessions would be a great success attracting almost two million views creating an online community almost by accident, offering Anna the freedom to try out new material before an appreciative virtual audience. Those Nashville plans might not have come to fruition, but Anna connected with producer and multi-instrumentalist Lukas Drinkwater (Jacob & Drinkwater, Emily Barker) and slowly but surely, over six months, pieced together ‘The Friday Night Club’ album at his Polyphonic Studio in Stroud, UK.
The press release that accompanied ‘Popular Mechanics’ referenced Kenny Loggins, Tom Petty and Cyndi Lauper, all acts that have a home in my collection, so I was intrigued to hear what exactly Sam Outlaw had in mind on his new album. Listeners familiar with Outlaw and his impressive back catalogue might find the mention of Cyndi a tad incongruous as his previous records had received positive reviews for their take on the southern California country sound. As it turned out, I was pleased to find Outlaw might have taken a left turn, but he was far from lost.
In 2022 everybody and their dog is making a record which can be both a blessing and a curse (as the RGM inbox often reminds me). The upside to this situation is the myriad ways to discover new artists, which brings me to Noah Guthrie. Admittedly Noah Guthrie is hardly a new name, as watchers of reality TV talent shows will already be well aware (Guthrie reached the semi-final of America’s Got Talent in 2018) and even appeared in the final season of Glee. Neither of these events popped up on my radar, but late one night, lost down a rabbit hole of YouTube videos, I stumbled upon guitarist Rhett Shull preparing for a gig with a bloke named Noah Guthrie…
If you like traditional country music Andrew Beam should be on your radar. Raised in the Blue Ridge Mountains of North Carolina as the son of a bluegrass picking preacher Beam grew up in a one-stoplight town where real progress amounted to a second stoplight (yay). Surrounded by music from an early age via the seemingly endless stream of church socials and front porch get-togethers that helped to shape the musical journeys of the likes of Don Gibson, Ronnie Milsap, Charlie Daniels and Randy Travis, Andrew Beam was no different. After graduating Beam became a game warden with the South Carolina Department of Natural Resources (Beam is an avid fisherman and serious bowhunter) but getting recognised playing shows in local bars wasn't entirely compatible with his day job so, in 2018, he started to explore music full time. Luckily a mutual friend introduced Beam to veteran RCA Victor/Moonwatcher Records producer and guitarist Joe Taylor and the result is Beam’s debut album ‘Selma By Sundown’.
For some artists timing is everything. Sometimes it’s because your face suddenly fits and your take on a chosen genre finds a home, but for others, it’s a little more complicated. Raised in Floyd, a small town in Virginia, Morgan Wade was surrounded by the sounds of country, predominantly bluegrass, from an early age. In later years as she began to progress as a singer and a songwriter, Wade struggled to picture her voice alongside the likes of Shania Twain and Faith Hill on the radio “Alright, well, I’m not going to sing for anybody else - but I’m singing for myself”. Wade played publicly for the first time at 19 with a band picked up via Craigslist (probably not something that I would advise all things considered) and the ball started rolling.
Chris Roberts’ career path is an interesting one. The Austin native had worked on ranches and construction sites in Texas while laying carpet and even washing cars further demonstrate a willingness to get his hands dirty. Roberts would eventually find business success with the launch of Aspen Hatter a highly regarded hat-making business (I kid you not) in Colorado. Needless to say, he’s got the life experience down and with his debut EP ‘Red Feather’ he’s also got his music down.
Over the last few years, as the UK public has slowly reembraced country music with an ardour not seen in decades, the previously underground UK country scene has stepped into the light with marked success for the likes of Ward Thomas and The Shires. The latest UK hopefuls to come to the attention of RGM are JuBillee featuring Justine Wilson and Billy Warren whose debut album You And I is available now via new label Vacancy Records who put out the excellent Ashley Campbell album.
Ashley Campbell’s back story is pretty well known, but for any newcomers, Ashley is the daughter of country legend Glen Campbell whose impressive musicality would rub off on her as she learned to play the guitar and latterly the banjo, which became her primary instrument - initially for an appearance in a play she was acting in at the time. Ashley is the youngest of Glen’s eight children and would follow, in what became something of a family tradition, and join his touring band as Glen bravely battled Alzheimer’s, and spread awareness about this most devastating of diseases. Ashley released her debut album ‘The Lonely One’ in 2018 which highlighted her sweet vocals, banjo prowess and emotive songwriting supporting the album with regular visits to the UK, including shows at C2C and Black Deer Festival. As with most debut albums, ‘The Lonely One’ struggled a little to stay focused as Ashley dabbled with country-pop and a more traditional sound, but the album flowed well and was an enjoyable listen. Ashley seemed equally adept in both genres - and the good was very good – so I was eager to see which Ashley Campbell would deliver her sophomore release.
To quote John Surge, “These five songs represent a real cross-section of the music we make”. John is referencing a new EP aptly titled, ‘Maybe You Don’t Know Me’. The ‘Almost Time’ album from last year was well received, but Surge still had a host of material that wasn’t quite right for that record but worked well in his live set. A live set that had gotten John noticed on the LA country scene in the first place. Surge re-connected with highly regarded Texas producer Tommy Detamore {Doug Sahm, Jim Lauderdale, Sunny Sweeney, Jesse Daniel} and reenlisted many of the ‘Almost Time’ crew including his right-hand Haymaker guitarist Randy Volin, plus Brennen Leigh on harmony vocals, Brad Fordham (Dave Alvin/Hayes Carll) on bass, Tom Lewis (Junior Brown/Raul Malo) on drums and Floyd Domino (Asleep at the Wheel, Merle Haggard) on keyboards.