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Bonnie Koloc REDISCOVERED Self-Release HHHH REDISCOVERED features one of the greatest singing voices of all time Produced by Chris Siebold (acoustic,

electric, resonator, lap steel, Spanish guitar), the principle support players on this ten-song album are John Rice (acoustic guitar, Dobro, mandolin, fiddle), Larry Kohut (bass) and long-time Bonnie Koloc collaborator, Howard Levy (harmonica). There are also contributions from Don Stille (accordion) and Steve Eisen (tenor sax); a four-piece string section appearing on Bonnie’s Sunday Morning Movies and Tom Rush’s Wind On The Water. This collection of folk, jazz and blues is

intentionally titled REDISCOVERED since most of the songs were recorded for the Ovation and Epic record labels during the 1970s, whilst Bonnie’s Two Black Guitars, which opens this album, debuted on VISUAL VOICE (2000) released by the UK Naim label. In the REDISCOVERED liner notes, Bonnie dedicates Two Black Guitars and the later Kentucky Dream, which she also composed in loving memory of her brother, Jim. In the former, whilst holding an old photograph of a ‘…smiling young boy playing on an old guitar,’ Koloc recalls her brother’s love for the music of the Everly Brothers. Kentucky Dream meanwhile, which originally appeared on BONNIE KOLOC (1973), recalls a wayward brother who was ‘…sixteen and out on the road.’ The enticing invitation Lie Down By

Me, a celebration of love, was penned by New York based performer and recording artist, Paula Lockheart. Born in Mississippi, Lillian ‘Lil’ Green found fame as a blues singer when she moved to Chicago. Circa 1940, Lillian penned the much covered, In The Dark—also known as (Romance) In The Dark. Bonnie’s musical life parallels Lillian’s, following her 1968 relocation from Iowa to Chicago. The aforementioned Sunday Morning Movies finds the narrator fantasising about the plot of a cowboy film that she viewed the previous evening, whilst Bonnie’s interpretation of her poignant Children’s Blues confirms that her voice has matured with age. Introduced by a Spanish guitar and

co-written with Levy, Elis somberly celebrates the Brazilian musician Elis Regina

who passed in 1982 at the age of thirty-six following a drug related incident. Regarded as the best Brazilian singer of all time, more than 100,000 people followed Regina’s funeral procession through São Paulo. REDISCOVERED closes with creations by three legendary American singer-songwriters. By the early 1970s Tom Rush had already cemented his reputation, whilst the careers of Jackson Browne and John Prine were concurrently on the rise. In addition to the previously mentioned Rush song, there are renditions of Colors Of The Sun from Browne’s FOR EVERYMAN (1973), and the classic Angel From Montgomery from Prine’s 1971 self-titled debut album. Arthur Wood

Charlie Parr KEEP YOUR HANDS ON THE PLOW HHHI North Country’s answer to Seasick Steve entertains with some classic National Steel guitar tones linked to a mix of some standard and traditional folk and gospel songs Hailing from the same town that the

‘folksinger of his generation’ (that’s Bob Dylan to you young’ns) set out from fifty years ago, Charlie Parr, unknowingly I am sure, has covered on this solid album three traditional songs that were a staple of Dylan’s early repertoire. However Charlie’s take on Gospel Plow, East Virginia Blues and Poor Lazarus show a maturity and grasp of their place in time that, the then, young Dylan couldn’t quite pull off. Recorded in a church in Duluth itself

Charlie states: ‘these songs got me interested in music in the first place ... recording them with friends in a beautiful old church was very special.’ Those friends include his wife Emily, Four Mile Portage (a string duo from Duluth) and Alan Sparhawk and Mimi Parker from Low. KEEP YOUR HANDS ON THE PLOW bends and

turns between pure gospel Jesus Met The Woman At The Well to plain ol’ folk tunes like Farther Along always performed with a keen sense of their place in music’s heritage. None of these old songs are ‘thrown away’ as the performers strive to add their own authenticity to tunes and words that are familiar to all of us who listen to country, folk, Americana and so called roots music. In the main they

succeed. That is due in no small part to the riveting sounds that Charlie drags from his guitar and the lovely back up vocals from Emily and the other band members. Inevitably there are some of the songs that have been aired one too many times and the lack of new material has pulled the ‘star’ allocation down a little. Charlie is working on some new material to be released this year which will be eagerly anticipated. John Jobling

Connor Garvey WHERE OCEAN MEETS LAND Self-released HHHH Here’s a mighty fine fourth collection from Maine songwriter, Connor Garvey Maine born and bred, Connor Garvey

was one of the quartet of winners of the Performing Songwriter contest at this year’s Wildflower! Arts & Music Festival, in Richardson, Texas. This eleven-track, album (lasting for almost fifty minutes) is his latest acoustic outing. The infectiously rhythmic Backroads, co-written with Arkansas musician, Shannon Wurst, is this album’s only collaboration and also launches it. Folk who journey on the spider’s web of back roads that traverse this planet’s landscape, as opposed to taking the more direct major highways, will be well familiar with the ‘long way around’ approach. That approach can also be applied to life. Tom Murphy’s mandolin takes a major role on the latter tune, whilst Maine singer-songwriter, Sara Hallie Richardson’s backing vocals—one of a series of fine contributions she makes— fits Gravey’s dulcet tenor like a glove. Possessing a similarly energetic melody, the album title turns up in the Move On lyric, a song that poetically focuses on life’s daily choices. It’s worth noting that the coastal river delta gracing the front of the gatefold sleeve was taken by a NASA satellite. On the melodically restrained The Reflection, Colin Winsor’s electric guitar shines. While the foregoing trio are truly

accomplished, the ensuing Pencil Frame is the gem in this Garvey-penned bag of story songs. For many decades after a young couple purchase a fixer-upper, the room at the top of the stairs remains untouched. As the years pass, children arrive and, in time, depart. On one wall of that upper room, the constant is a blank picture frame,

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