Leroy From The North - Health and Fitness EP (Album Review)
Leroy from the North is the debut solo offering from Eli Wulfmeier a singer/guitarist from Los Angeles by way of Michigan. If the name sounds familiar it’s hardly surprising as Eli spent three years as a member of The Wild Feathers; whose 2013, John ‘Jay’ Joyce produced, debut is a cool slab of Eagles/Jayhawks influenced country rock. Eli’s other credits include playing with Katy Rose, Shelby Lynne and Joe Purdy amongst others and he is also a member of female-fronted hard rockers Dorothy. Eli brings all of these influences along for the ride on the five tracks that comprise his ‘Health and Fitness EP.
Recorded at Sunset Sound in LA with Geoff Neal (Chris Robinson, Black Keys, Dwight Yoakam) in the chair the EP sounds great with a nice live, open feel. For the recording, Eli included three tracks that he’d been playing live and got them down on tape with the rhythm section of Derek Brown, Adam Arcos (Sam Morrow Band) and top session man Jeff Babko contributing his keyboard skills. Eli’s claim that his music is “Straight forward, guitar-driven rock with a slight drawl” turns out to be pretty accurate, but he’s selling himself a little short as there’s lots of cool stuff to hear here. ‘Into The Sunset’ sets the scene nicely with a good time country-rock vibe “Just outside of Reno listening to the Eagles” and Eli throws in some neat guitar licks. ‘Here Is My Home’ is a much tougher beast, mean and moody with thick guitars, swirling organ and rumbling bass guitar while ‘Hey Man’ wouldn’t be out of place on a Cheap Trick record. It's full of punky, power-pop attitude and Eli even finds room for some pretty impressive Van Halenesque guitar playing on a track with lots going on - check out the drum and bass interplay mid tune.
The EP also includes two tracks featuring Daxx Nielsen (Cheap Trick), Johnny Flaugher (bass) and keys man Rai Thistlethwate which turn out to be very welcome additions to the EP. ‘Locked Out’ is a real highlight as I'm a total sucker for that Allman Brothers influenced guitar sound, while the rhythmic ‘Fast Friends’ is equally impressive and does a great job of showcasing the range of Eli's songwriting. ‘Fast Friends’ finds Eli playing around with a nice selection of languid blues licks over a shuffling beat before the track picks up speed, goes off on a tangent, breaks down and then smoothly fades away, all in around three minutes.
The really good news is ‘Health and Fitness’ is but a taster for a full album due later this year. I really hope this is the case as Eli Wulfmeier definitely has something going on here and I’m very much looking forward to checking out whatever he delivers next. Fans of old-school 70s rock - or maybe you’re just discovering the likes of The Sheepdogs - should definitely check out Leroy From The North.
‘Health and Fitness is set for digital only release on August 2nd
Fred Abbott may be better known to you as the guitarist from the much-loved and hard-to-pigeonhole band Noah & The Whale. A popular live draw, their refreshing, inventive approach to songwriting and record-making set them apart from the crowd but ultimately the band split in 2015, with four albums to their name. Abbott’s solo debut, Serious Poke, appeared shortly after, sporting a more straightforward, guitar-centred sound. Eight years later - and having gained broad experience as a session musician and producer in between - Abbott has returned with Shining Under The Soot, a mature and beautifully crafted follow-up, brimming with energy and heart.
Ledfoot aka Tim Scott McConnell and Ronni Le Tekrø seem, at first look, like an odd pair. Tim, born in Florida, has been based in Norway for many years, adopting the Ledfoot moniker in 2007 after a string of solo releases on major labels and as frontman of The Havalinas. Ronni Le Tekrø is best known as the guitarist in TNT, Norwegian rock royalty, enjoying considerable international success since their formation in 1982. The Norwegian connection would seem to be the cement here, and ‘Limited Edition Lava Lamp’ is their second record as a duo.
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.
Listening to Jack Francis is a bit like getting reacquainted with an old friend. The Southampton troubadour has a knack with a melody and a transatlantic approach reminiscent of 70s songwriters such as The Band, Paul Simon and Van Morrison. The route to his self-titled album might have been a long and circuitous one, but the resulting record is a triumph that should crack a smile on the most stone-faced individual.
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…
For his sixth solo release Scottish singer and songwriter John Hinshelwood has taken a different approach to his craft inspired by the poems of Emily Dickinson (1830-1886). The reclusive Dickinson, who wrote almost 1800 poems during her lifetime, conducted most of her correspondence with the outside world via letter, especially after she retreated to her bedroom in later life. The sheer volume of Dickinson’s work was not discovered until after her death and she is now considered one of the finest American poets of her generation. John Hinshelwood readily admits that his connection to Dickinson was initially limited to a mention of her in a Paul Simon song, but the purchase of a volume of ‘Selected Poems’ would spark an interest that would become an obsession (in a good way).
Jesse Terry is the kind of musician you could happily take home to meet your folks, safe in the knowledge that your imminent engagement would get their full endorsement. Your mother would ask, flushed, “is he too good to be true?” I don’t think there is anyone quite as clean-cut as Jesse Terry in the whole wide world of Americana. It’s just a pity for all you singletons that he is already married (to wife Jess – Jess, I know!) and has a young daughter. Unsurprisingly, then, family is at this record’s heart, as Jesse and Jess were raising their child on tour until being forced off the road by the pandemic. It’s the first time Terry has properly pulled over in a decade, having been a full-time troubadour with Jess by his side since 2010.
As concepts for albums go, faded Essex seaside towns might not be the most likely choice but singer-songwriter M G Boulter has carefully hewn a hugely affecting set of songs from the rocks of Clifftown, a pseudonym for his beloved Southend-on-Sea. For those new to the name, Boulter has been making solo records since 2013, having cut his teeth in various bands and he’s now signed to the independent label Hudson Records, alongside Karine Polwart, Bellowhead and Jenny Sturgeon. With a vocal that is as vulnerable as Neil Young but as English as Nick Drake, M G Boulter has concentrated the promise of his first two records into an extremely accomplished third that marries his poetic lyrics with intricate (but unshowy) guitar playing.
2018’s ‘Everything Is Fine’ was one of that year's finest releases and marked Danny Kiranos aka Amigo The Devil as one to watch. ‘Everything Is Fine' is a terrific record full of dark imagery unhindered by genre stereotypes. It might not be quite everyone’s cup of tea but if you like a good murder ballad delivered by a heavily bearded man with a banjo then ‘Everything Is Fine’ could well become your go-to album. As it turned out the album only told half the story as the RGM team found on our last but one pre lockdown night out in February of 2020. The Amigo The Devil live experience is something else entirely, ‘Everything Is Fine’ is a fantastic record but put ATD on a stage and the results are very special. In forty years of gig-going, I’ve rarely seen an artist connect with an audience in the same way as ATD. The subject matter might often be jet black but ATD is not without humour and his followers appreciate the honesty within and can relate to his grasp of the daily problems we all face, and how we deal with those problems that have, in many cases, been exaggerated by the world around us in 2021.
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.
Justin Rutledge has put out a steady stream of critically acclaimed but somewhat under-noticed albums since his 2003 debut. Eighteen years on, Islands is – at just nine songs – a lean retrospective of stripped-back, acoustic versions, alongside two new tracks. Few artists possess Rutledge’s poetic lyrical flair and even fewer can boast a career of such a consistently high quality so, for the uninitiated, Islands could be the perfect stepping stone to the mainland of his back catalogue.
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.