I’ve never met Brian Mackey but there’s something about Good Morning Ireland, the smoothness of his voice, and the sentiments in his lyrics that makes me want to. He’s not from the Auld Sod; he was born in New Jersey, lives in New York, has been kicking around the alt.folk and alt.rock scenes since the early part of the century and has been carrying a heavy load. He recently became a father again, but his son Brian died from a heroin dose–the shadow on the cover. As good songwriters do, he picked up his pen to spill out some of his pain and hope. Good Morning Ireland is an album of healing and people dealing with unresolved issues. “Cold,” for instance, is about a woman he asks, And who made you so cold/And this feelin’ you’re under/Who made you so damn cold…. The pop-influenced “Don’t Be Sad” is an uplifting song suggesting that making connections is the key to betting past disappointments big and small: Regret is a long drive/You don’t wanna take by yourself…. “Dublin Night Bird” which inspired the album title, could have been maudlin. After all, it’s about traveling to Ireland with his son’s ashes to scatter. Mackey uses his light and expressive tenor to sing his sadness, yet find small-but-poignant reasons to hang on. And let’s not forget the healing power of love. There are several such songs on the album, but try “More Than Anyone” with its splashes of bluegrass fiddle and soaring notes that collectively bring a smile. There are sixteen tracks in all and I admired every one of them.
It’s been a while since last I heard Cathy Fink and Marcy Marxer and it was joyful to know they are still making compelling music. Their voices, banjos, guitars, mandolin, and ukulele are joined by the yangqin (Chinese hammer dulcimer) of Chao Tian on From China to Appalachia. The album is exactly as promised, one that demonstrates the affinity and intersection between American and Chinese traditional music. In a baker’s dozen tracks they move back and forth between the two cultures. Chances are good many listeners won’t know Chinese offerings such as “August Flower,” “The White Snake Song,” and “Nan Ni Wan,” though you might know a marching song popularized by Pete Seeger with an improbable title gleaned from Mao Zedong: “The Rules of Discipline and Eight Points of Attention.” You will probably be on more familiar ground with pieces such as Ola Belle Reed’s “High on a Mountain,” “Pig Ankle Rag,” “Mary Don’t You Weep,” and Cousin Emmy’s “Ruby, AreYou Mad at Your Man.” One listen to to “Glory Meets the Meeting House” will drive home what becomes obvious as you move through this wonderful project: Music crosses borders and ideologies to highlight our shared humanity.
We recently encountered Melissa Carper as one-third of Wonder Women of Country. Borned in Ya is her new solo LP. She hails from Arkansas but her approach is that of the big mountains and foothills back in the days when “Western” music was separate from “Country.” Western music was heavier on fiddles, swing music, jazz for the masses, and singing cured by campfires and wide open spaces. In other words, more Patsy Montana than Patsy Cline (or today’s airbrushed Nashville icons). The title track is a bit of a tease–a mix of country and evangelical fervor–though Carper’s commanding voice is on full display. But check out the giddyup of “Lucky Five” supplemented by a band arrangement circa 1940. Or deliberately retro songs like “I Don’t Love You Anymore,” “That’s My Desire,” or “Every Time We Say Goodbye.” That’s because some of the material on the album is retro. “Every Time” was penned by Cole Porter, for instance. “Your Furniture” is another that Carper sings as if it ought to be coming from the speakers of an old Philco radio. This is a delightful album that’s so outta of the past that it circles back and feels brand new. The album drops on July 19 so look for new videos once it’s on the streets.
Amy Annelle has had a rough stretch of bad health–endometriosis, fibromyalgia, mental health challenges–so it’s understandable she hasn’t had a new record for a while. You could assign a lot of meanings to “Pull Tabs and Broken Glass,” the first track on The Toll. She now lives in Austin, so that song has a real Texas feel, though she prefers to call herself a folk and Americana artist. The catchy “Down and Out in Denver” certainly has more of a folk vibe, the sort that’s upbeat despite themes of mistakes and regret. This is another album that releases in July with only a few advance videos available. Though it’s not on The Toll, “Distance Lullaby,” which she wrote doing Covid lock down, gives you another taste of her music.
The album In Good Company by Charlie Overbey reminds us again that the barriers between rock and country music have pretty much collapsed. Overbey is the lead vocalist on each track. His is a strong, gravely voice but once you listen you’ll wonder if he’s trying to take us back to the glory days of electric music or is offering a new kind of outlaw boot rock. This much is clear; every track except one has an electric guitarist. None other than Nils Lofgren does the honors on “CChampagne CocaineCadillacs and Cash," a so long to the crazy life and the woman he shared it with. But don’t expect mellow acoustic, even though that’s Overbey’s axe of choice. Duane Betts plugs in for Overbey’s “Life of Rock n Roll.” It too poses as a farewell to rock, but perhaps with tongue in cheek. To return to the song without an electric guitar, that would be “Miss Me” with John Graboff on pedal steel. Not everyone will agree, but for me it was the only track that didn’t sound like everything else.
Short Cuts:
If you’ve never heard Tuvan throat singing, you must. Tuva is a section of Siberia and Mongolia that was once the domain of nomadic herders who lived in yurts. It still is to some extent though modernity has altered many aspects of life. Khöömei Beat is a quintet of five Tuvan musicians who use overtone vocals to imitate sounds of nature and communicate across vast distances. Changys Baglaash sports a softer drone sound and updated arrangements than traditional Tuvan singing but it’s still unforgettable. Try “My Ancestor’s Khoomei" and listen for the growls and improbable sounds. If you like it, seek more. “Dembildey” is available.
Alba Haro is from Barcelona where she studied cello and jazz vocals. Next up was Boston’s Berklee School of Music for a master’s in production and performance. The latter informs her EP Triptica. “Amanece” is frenetic free form modern music followed by a poem. “Acoral” features sad strings, periods of relative silence, keys, and Haro’s haunting sometimes keening vocals. This avantgarde project won’t be everyone’s cup of tea, but I was intrigued.
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