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The press-quote byline "think of the Ramones mixed with the Carter Family" may be suitably eye-catching, but it ain't the deal as far I'm concerned. Sure, there's both a high-octane energy and a genuine old-time feel to the Hackensaw Boys' music, but that's where the comparison ends I suspect.

Growing up in the Blue Ridge city of Charlottesville, the Boys've been plying their driving blend of old-time bluegrass since , releasing their first distinctly home-made disc in At that time they were an unwieldy piece that barely crammed into a coach, but two further albums along the road they've since slimmed down to a more tourable six-man unit comprising the enigmatically named Salvage, Shiner, Mahlon and The Kooky-eyed Fox together with either Pee Paw and Dante J, or Four and Baby J.

A cursory or first listen reveals these boys to have absorbed a wider slew of influences even than the Carters and the Ramones in putting together their heady mix of oldtime-with-attitude; the opener is a charming and atmospheric number, Sun's Work Undone , replete with well-judged instrumental touches banjo, mandolin, acoustic guitar and echoey ol' fiddle out there in the backwoods , whereas the second track Cannonball is a complete contrast, more like Hayseed Dixie, a breakneck dash that makes the ensuing We Are Many seem like mere granny-punk!

Mecklenburg County is pure mountain breakdown, whereas Kiss You Down There is a naughty little strut down honky-tonk rockabilly lane and Parking Lot Song is a fun jugband-bluesy throwaway. The Hackensaws also do a really neat line in road-movie introspection Alabama Shamrock, High Faller , and if anything this quieter side is more prevalent on Love What You Do than the iconoclastic thrash side.

Backings are sparse yet luxurious, unexpectedly delicate for the most part, and with some cool vocal harmonies that stretch right back in time to their mentors. This is a very satisfying album that proved even better than I'd allowed for and made me want to trail back to the Boys' previous releases. It's so good that the Hackensaw Boys love what they do - and so will you I'm sure.

It's fashionable to dismiss 'prog rock' as outdated, pretentious and 'arty', it's a bit like saying that having a Simpsons poster on your wall is cooler than an original painting. So thank God for people like ex-Genesis man Steve Hackett, Wild Orchids may never be 'album of the week' on Radio 2 but it shows that inventiveness, adventure and daring are still alive and well. Unless you happen to be a confidante of Hackett, it's virtually impossible to say with any certainty just exactly what is meant by a lot of the music.

Then again how much of Hackett's ideas you need to enjoy Wild Orchids, is debatable, because the music is designed to fire the imagination, not explain itself and in that it succeeds. Where Hackett does slightly overdo the self-indulgence is with the track titles, the second track on the album is an exotic and pleasant weave of the orient and the occident, but to call it The Fundamentals of Brainwashing may be asking too much of the casual listener.

Unless, of course, we are the butt of the author's little joke. Wild Orchids is an album that's composed and orchestrated, rather than written and played, the intricate mosaic has to fit together perfectly for it to work.

Hackett is a classical musician in all but era. No-one, not even Steve Hackett, is suggesting that you could listen to Wild Orchids on a regular basis. However, as a means of lifting yourself out of the humdrum it's a very worthwhile and enjoyable exercise. Oscar Wilde reckoned that we were all in the gutter but that some of us were looking at the stars.

He could well have had former Genesis member Steve Hackett in mind because his latest solo album Metamorpheus is one of those pieces of music that raises your aspirations. Metamorpheus isn't just the modern equivalent of classical music, it's classical music in waiting. Hopefully generations to come will think that this represents what we all listened to. It's a better legacy than much of the guff that goes around.

Right from the start, it's full of classical allusions that reach right back to Offenbach's Orpheus. However for such a weighty heritage this is a surprisingly warm and unpretentious piece.

While most of the track titles sound like they were left over from Lord Of The Rings, the music itself is inviting and non-threatening. As an example of the sheer poetry of an acoustic guitar I doubt it could be bettered. If you were looking for a home for Metamorpheus then it fits neatly alongside the rustic charm of Beethoven's Pastoral. It would be a grey and dull world without the likes of Steve Hackett to lift both our spirits and our eyes.

Niche market maybe but that doesn't alter the fact that it's wonderful. Feel-good medicine from this Kansas City-based foursome, named after a potent alcohol elixir that sponsored Hank Williams' radio show in the late s. Their powerhouse of a debut album stomps into a new century with all the vigour of the Rolling Stones colliding head-on with Nashville. Next is Big Tornado; big country with clever high-strung acoustic touches which have you counting them in.

The songs are written by brothers Fred and Greg Wickham, but not together, and producer Lou Whitney has done a fine job. It's a pleasure to listen to arrangements where there's enough space for some very pleasing musicianship, without over-indulgence and without losing the edge and the energy.

If you like all that's best of our rock'n'roll tradition, but like it served up fresh and twangy: Collectively named after a state park in the Ozarks, these natives of Springfield, southwest Missouri, mix blistering driving rock with strangely sanctified four-part harmonies to produce a forthright, biting blend of music that you've not heard quite the like of before. Ha Ha Tonka have been around since , originally under the name of Amsterband, and Buckle turns out to be just their second release.

It's an impressive, if unduly brief set, recorded in an old church with a control booth where the pulpit had once been: Caney Mountain is perhaps the best illustration of the band's unusual combination of musical elements, with energetic thrust punctuated by more vocal chanting, and You Lit Up The Night closes proceedings on a more restrained note, but tracks like Bully In The Pulpit and St. The dichotomy of all this can make it just a little difficult at times to know quite what to make of the band's overall vision, but the resulting music is almost always distinctly invigorating.

Tim Hain is described as a character, an eccentric and a public schoolboy of aristocratic descent. He is also two percent Jamaican and it said that he'd be arrested if he showed you which two percent.

Bleggae is a fusion of blues and reggae, his two loves and two genres that fit because of their simplicity and their passion. This has been covered by many, most famously by Fleetwood Mac and Reggae Lift The Blues has some reggae shouting and an impromptu Lively Up Yourself - good fun and has Prince on drums, no not that one!

Fine Time Child shows that blues and reggae can mix well and features Earl Linton on harmonica. Hain's lived in voice suits this well and to be honest, the song could fit into either genre. Somebody Turn On A Light is a highlight and like some of the others has been plundered from an earlier album. Pauline Henry makes a telling contribution on vocal. Welcome To Iraq is still as relevant today as it was when it was first released and is a wonderful critique on the intervention in Iraq.

The Wind Cries Mary is another old one but a cover this time. Jimi Hendrix, of course, and when you do one of his you have to be confident of your guitar playing.

Hain comes through with flying colours, showing that he can handle his guitar as well as his talent for making a song his own. He can do straight reggae as well and Everybody's Talking To Themselves with chatting over a grinding reggae beat is testament to that. Feels So Nice is a straightforward blues with Hain turning is a voice of pure velvet.

This is the perfect way to chill out so pour yourself a glass of whatever you fancy and settle down. He opens strongly with Fine Time Child, which is blues rock with reggae style middle eight.

This features Errol Linton on harmonica and is a good introduction to the world of Tim Hain. As with many of his other tracks he gives it a reggae flavour and he has turned in a very good version. It's well produced and there's some excellent guitar work. This, of course, was made famous by Peter Green and Fleetwood Mac and, played in Hain's style, has turned into quite a happy song.

Somebody Turn On The Light is great white boy reggae with Hain's voice sounding like velvet and Pauline Henry adding her not inconsiderable vocal talents. The good times continue with a rousing version of the well-known Madness Is Gladness and on Everybody's Talking To Themselves he shows that, although he's not Jamaican, he is the real deal. Welcome To Iraq is, not surprisingly, another anti-war song and Tim manages to blend slide guitar and reggae very well.

Clever slant on this one. The eponymous title track is just One Man Went To Mow by another name and, despite being well played and sung, is probably the weakest track on offer. Tim is back to the blues on Feels So Fine which swings along well enough with some good guitar and the spoken lyric is ok. Tim can't help himself however and flits off into his reggae rhythms.

There's another classic in the shape of Misty Blue and this fits into Tim's style very well. Clea Llewellen provides the vocal and there's no doubting that Sunnysideup are a reggae band. I can't wait to see this powerful performer.

The gifted young Glasgow-based harpist Rachel delivered her well-appointed debut album Hubcaps And Portholes around two years ago, since which time she's cemented her reputation with some abundantly sparkling live gigs in newly-convened trio mode in company with acoustic guitarist Paul Tracey and double-bassist Andy Sharkey. But truth to tell, her harp does still provide a welcome focal point for the album's multifarious musical adventures, and Rachel's innovative textures and supple phrasing are a perfect guide to the musical landscape, tracing the most gorgeous patterns in the ether which you can't resist following avidly.

On The Lucky Smile, Rachel's fortunate to have acquired the services of producer Angus Lyon himself a highly respected accordionist, of course , who brings Rachel's own cool talent into relief not only in the surroundings of her trio but also utilising the additional textures provided by drummer Scott Mackay and cajon player Paul Jennings, with scintillating guest appearances from jazz violinist Graham McGeoch on Rachel's own composition Tsunami Jack and superb, award-winning Gaelic singer Joy Dunlop on an Argyll love-song, which also features Angus on harmonium, and a Lochaber narrative ballad.

The percussionists impart a delicious jazzy swing to the proceedings, moving between beautifully relaxed syncopations and funkier climes: Rachel's music should have an appeal even to those who would normally shun the harp, for this is a really satisfying disc, full of subtle delights and innumerable charms. Rachel, hailing from Ullapool in the inordinately beautiful north-west of Scotland, is a young and gifted exponent of the clarsach Scottish harp who's just released this light, airy yet satisfyingly substantial CD of music that well shows the instrument's strength as a solo instrument.

For this reason, any accompaniment is kept to a very bare and very sensitive minimum piano - Douglas Millar - on three of the disc's eleven tracks and flute - Peter Webster - on just one, the curiously-titled Chandni Chowk - and yes, Rachel succeeds triumphantly in convincing me of the clarsach's capabilities. Rachel's source material is drawn from the traditions of both Ireland and Scotland mirroring those of her parents , yet she brings to these idioms a delicately expressive quality of her own which is most attractive yet hard to pinpoint more exactly; perhaps it's something in the gentleness of her attack?

Rachel also proudly showcases her own compositional abilities with a handful of her own tunes including the delightful, breezy jig Starry-eyed Lads and the CD's title track which has already a firm favourite among harp players! All in all, this is an eminently tasteful, refreshing and subtly uplifting album, not in the least tedious or unduly esoteric.

Even though the dominant mode is soft-focus, there's grit in Rachel's playing too. Yes, the disc's a delight from start to finish, and beautifully recorded too by the way; although of course it helps if you're not immune to instrumental charms of the tenderly plucked variety!

I'll not harp on, then - but equally, don't let it pass you by. Farewell To The Fainthearted is the album you didn't know you had to have until you heard it. The seven members of Halfway, including the Dublin born brothers Noel and Liam Fitzpatrick have taken Americana, alt country, country rock, or whatever else you want to call it, back to the wrong side of the tracks.

These are songs about lives lived against a backdrop of rusted, broken trucks, dirt roads and stray dogs. Farewell To The Fainthearted is a gritty, no frills slice of realism, set to unforgiving guitars played with an energy and belief that can only come from personal experience. The rock n roll simmers and bubbles and its country influence, largely courtesy of the Fitzpatrick brothers, hasn't been softened by city living. But what Farewell To The Fainthearted does, almost imperceptibly, is draw the listener into its web.

In real life, love is never clean cut and there's a kick in the teeth lurking round every corner for all of us. Halfway play the soundtrack to an imperfect world. However in the midst of Farwell To The Fainthearted lies Miles and Miles Of Love, a song so tender that it appears that the band must have been caught in an unguarded moment revealing their gentle side. It's made all the more poignant because it seems so isolated. Farwell To The Fainthearted is a complete and self-contained album, nothing on it requires anything that the band and a small and select group of guests can't supply.

It's stuffed with catchy, layered melodies carrying beautifully written and constructed lyrics but above all it generates its own heat. Even the accursed 'hidden' track works well, Lowell George's Willin takes the band from its native Australia and plants it firmly in its spiritual home, southern USA.

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