By Ken Paulson

–It’s been 20 years since Mary Chapin Carpenter’s Come On Come On dominated country music, a top 10 album with seven hit singles. “I Feel Lucky,” “Passionate Kisses,” “He Thinks He’ll Keep Her” and other tracks were equal parts energy, insight and irreverence.
Two decades on, Ashes and Roses reflects a much more somber Carpenter. Her albums have grown increasingly introspective, but this one more than most. A divorce, her father’s death, and an illness frame Ashes and Roses.
As with all Mary Chapin Carpenter albums, the playing and production are impeccable. For this outing, recorded in Nashville, she recruited frequent collaborator Matt Rollings, Russ Kunkel, Duke Levine and Glen Worff. They bring a light touch to Ashes and Roses, befitting the sometimes mournful and solemn lyrics.
“What to Keep and What to Throw Away” is particularly wrenching, literally a guide to the steps you take after a relationship falls apart.
On “Learning the World,” she sings:
“Grief sits silently on the edge of your bed
it’s closing your eyes, stroking your head
The dear old companion is taking up air
Watching you pretend that it’s not really there.”
Like much of the album, it’s powerful and poetic, and not something you’re likely to play as background music.
The mood brightens a bit on “Soul Companion,” an engaging duet with James Taylor and clearly a single if they still existed.
Ashes and Roses packs an emotional punch and contains some of Carpenter’s most lyrically compelling work.
Still, sorrow permeates this album. For her sake, you wish she’d drop by the Twist and Shout now and then.

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By Terry Roland

 — At the end of Chris Smither’s latest album Hundred Dollar Valentine, there is a hidden track, “Rosalee,” a rough demo-like recording. According to the comments at the end of the session he wrote it 35 years ago and it has rarely been performed. If Smither’s career still holds such hidden treasures, this is reason enough to interest any roots enthusiast. I
t sums up much of what his career has been: contemplative and reflective while remaining slightly philosophical and lighthearted, all buoyed by the simple beat of Piedmont blues intricately delivered with the best finger picking this side of Walden’s Pond.
This hidden gem is not the only reason to give some attention to Smither’s new album. At times, his past releases have had a tendency to meander and wander into familiar melodies and lyrical themes. He’s also made a point of rounding out his albums with reinventions of classic songs by singer-songwriters like Danny O’Keefe, Tim Hardin, Bob Dylan and Randy Newman.
This time out, though, Smither has turned in 11 original songs which vary in approach from his usual philosophical, mystical musings and a bouncy, funky jug band-leaning series of songs. The title track says it all with bluesy longing-for-love lyrics bouncing off the feel of a happy washtub rhythm.
“What’d I Say,” is a succinct commentary on today’s information, sound-byte loving culture which he say provides, ‘fast for the brain but not too filling.’ Its wisdom is delivered with a biting back-beat.
The acoustic band on this album is allowed to work with minimal overdubs, producing a live sound. Included are Bill Conway on percussion, Kris Delmorst on cello, Jimmy Fitting on harmonica, David Goodrich on slide guitar and Ian Kennedy on violin.
These are not your typical jug band instrumentalists, but it’s to the musicians’credit that they make this work in a very tight, lean and clean way.
Anita Suhanin and Robin Smither also provide a sweet vocal contrast to Smither’s rough singing style. All of this is just the right mix for what Smither is shooting for here, which is a rough, swampy, dirty sound with all of the rough edges intact.
Indeed, this is one of the dynamics which makes this record so appealing and sets it apart from previous releases. While his lyrics have flowed well over the years, at times, it’s been hard to find the music to match. As a result, familiar song patterns and formulas have emerged, aliability. But with this fresh production of original songs and a band of musicians who understand the New England blues-barb for who he is, all liabilities are gone and Smither breaks through, delivering an engaging and entertaining album and his best in years.

 By Ken Paulson —

Americana Music News – Continuing its steady climb on the Americana music radio charts, the BoDeans’ American Made moves into the top 30 this week.

It’s a pivotal album for the veteran band, marking Sam Llanas’ departure and leaving Kurt Neumann front and center. Disruptive personnel moves, particularly those involving founders and songwriters, have sunk many bands, but American Made suggests rejuvenation.

It’s a well-crafted and consistent album, ranging from buoyant opener “All the World” to “Chemical,” a stark look at substance dependency.

“Jay Leno” is an oddly-titled, but compelling song about the abduction and murder of a young girl in Milwaukee when Neumann was a child.

“American” is the only miscue, populated by characters with a double-wide trailer, six-pack and Powerball ticket and a “good old man” whose farm is turned into a shopping mall. The liner notes say this has something to do with the need for more common sense in America, but that message doesn’t surface.

Toss in a cover of Bruce Springsteen’s “I’m On Fire” and you have a solid outing from a revitalized BoDeans, with good things still ahead.

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Americana Music News —In a town full of co-writers, Zach Broocke has chosen to make Enjoy the Ride Solo Writes 2001-12 all his own.

The Nashville-based singer-songwriter has compiled a collection of his solo compositions from an 11-year span, melding unreleased material with some of his best work from past albums and EPs.

It’s a smart step for a talented writer whose past work has gone underrecognized, and offers some of his newer fans a sense of his career to date.

New to this collection are “Enjoy The Ride,” Canyon Calling,” “There’s Nothing Good in Goodbye,” “Dial Tone” and “Nadine,” joining tracks from Last Call, Anywhere But Here and the Henry Poole is Here soundtrack.
Brooke is a smart, literate songwriter who delves deeply into emotions.

Melancholy and regret loom large here, bringing a cohesive whole to songs separated by a number of years.

You’ll find samples of Broocke’s music here.

Here’s a live performance of a track from Watchdog Lookout:

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