Kevin Bryan

Lindisfarne,”Brand New Day-The Mercury Years 1978-1979” (Cherry Red)- This easy on the ear late seventies retrospective brings together the three albums that Lindisfarne recorded for the Mercury label after reforming in 1976. The Geordie folk-rockers’ career had lost much of its early momentum after they had suffered several line-up changes a few years previously but the return of the group’s original members swiftly rejuvenated their fortunes, and the release of their euphoric live set “Magic in the Air” in 1978 helped to reacquaint listeners with much loved old favourites such as “Fog On The Tyne,” “Meet Me On The Corner” and “We Can Swing Together.” The highly listenable follow ups, “Back and Fourth” and “The News” are also given an airing here alongside a generous helping of demos, out takes and live tracks culled from their live show at Newcastle City Hall in 1979.

Foghat,”Slow Ride-Live in Concert” (Wienerworld)- This muscular outfit were formed by three recently departed musicians from iconic British blues band Savoy Brown in 1971,. They relocated to the United States soon afterwards, where they enjoyed several years of very healthy chart success built on the firm foundation of their relentless touring schedule. The eighties and nineties were much leaner times for Foghat, although they soldiered on regardless with what seemed to be a constantly changing line up. This powerful live set was captured for posterity over two Texan nights in 1999, with founder members Lonesome Dave Peverett, Tony Stevens and Roger Earl reunited once again as they delivered a crowd pleasing set list featuring much loved old favourites such as “Stone Blue,” “Drivin’ Wheel” and their covers of Willie Dixon’s “I Just Want To Make Love To You” and Elmore James’ “It Hurts Me Too.”

Steve Dawson,”Ghosts” (Pravda Records)- The sixth solo album from sublimely soulful Chicago based singer-songwriter Steve Dawson is a mellow gem of the highest order, and one which reminded me of the late lamented Jesse Winchester in some of its most beguiling moments. The contents were a very long time in the making, having been penned in the six years leading up to 2023 with an attention to detail that sets Steve’s work apart from many of his contemporaries in this increasingly crowded field. His previous album was essentially a one man show, but on this occasion Dawson has assembled a “dream band” to underpin his efforts, drawing on the talents of some of the finest musicians that this Californian tunesmith has worked with in his adopted hometpwn of Chicago during the past fifteen years or so. The finished product should be required listening for Americana fans everywhere.

Steeleye Span,”The Green Man Collection” (Park Records)- This venerable British folk-rock institution have gone through quite a few line-up changes over the decades but the current incarnation of the band still go about their business with a flair and energy which sets them apart from many of their contemporaries in the field. Maddy Prior’s instantly identifiable vocals are obviously one of the prime selling points as Steeleye serve up a rumbustious set which features sprightly revamps of old favourites such as “New York Girls” and “Hard Times of Old England,” the latter featuring a rather unexpected guest appearance from Francis Rossi of Status Quo fame. Jethro Tull frontman Ian Anderson also chips in on the showstopping ballad “Old Matron” and a fine version of Elvis Costello’s sadly still all too topical “Shipbuilding” is give an airing amongst the Child ballads and traditional English folk songs.

Medicine Head,”Heartwork” (Talking Elephant)- John Fiddler and Peter Hope-Evans enjoyed a brief flirtation with chart success when their single “(And The) Pictures in the Sky” soared into the lower reaches of the U.K. singles charts in 1971 and more hits followed in subsequent years in the shape of “One & One Is One,” “Rising Sun” and “Slip and Slide.” The mass audience for Medicine Head’s delightfully organic brand of blues rock gradually drifted away however, and Hope-Evans departure in 1977 has left Fiddler ploughing a lone furrow as he’s striven to keep the band’s name alive for the last forty odd years alongside assorted like minded musical cohorts. “Heartwork” is the latest addition to John’s illustrious back catalogue, a deliciously understated affair recorded in close collaboration with multi instrumentalist Dzal Martin, whose eloquent guitar work underpins fine tracks such as “Love Is Not A Dream,” “Alibi” and “Blue Eyes.”

Status Quo, “The Early Years (1966-69)” (BMG)- Status Quo completists would be well advised to snap up a copy of this 5 CD retrospective post haste, as it serves up a pretty comprehensive overview of the band’s early vinyl output, including a generous helping of tracks from Francis Rossi and company’s previous musical exploits with The Spectres and Traffic Jam. The latter outfits adopted a fairly scattergun approach to their choice of material during the mid sixties as they tackled songs made famous by The Bee Gees and Tom Jones amongst others, but chart success finally came their way with “Pictures of Matchstick Men” in 1968. This classic slice of pop psychedelia is one of the highlights of a beautifully annotated package which also includes mono and stereo versions of Quo’s first two albums and an interesting assortment of outtakes, demos and rare BBC sessions from those distant days.

Simon Stanley Ward & The Shadows of Doubt,”Rocket in the Desert” (Self Released)- A feast of literate and expertly executed English Americana from one of the country’s most richly rewarding songwriters, adding to the excellent body of work that he’s assembled during the past decade or so. Simon’s fine band The Shadows of Doubt also deserve a mention in dispatches for their eloquent contribution to one of the most impressive albums that you’ll be likely to hear in this or any other year, with stand-out tracks such as “When September Comes,” “Terpsichorean Footwear” and “Rocket in the Desert” itself supplying an ideal introduction to the supremely gifted Mr. Ward’s engaging brand of music making. The album also marked the final appearance on record of talented bass player Geoff Easeman, whose contributions were captured for posterity in an NHS hospice shortly before his untimely death last year.

Arthur Brown,”Dance” (Cherry Red / Esoteric)-The “Fire” hitmaker has tended to be dismissed as a rather eccentric one-hit wonder during the decades that have slipped by since he enjoyed his sadly all too brief flirtation with fame and fortune in 1968, but the flamboyant artist who was once dubbed the “God of Hellfire” has actually assembled a very interesting body of work in the interim. “Dance” first saw the light of day in 1975, and although it isn’t the great man’s finest creation the newly remastered album does include a typically over the top revamp of The Animals’ “We’ve Gotta Get Out Of This Place”, and as an added bonus the good people at Cherry Red have seen fit to reward purchasers with six bonus tracks culled from Mr.Brown’s performance on BBC Radio One’s “In Concert Show” in April of the same year.

Vanessa Peters, “Flying On Instruments” (Idol Records)- This pleasing throwback to the golden era of singer-songwriter rock in the early seventies is the melodic brainchild of Dallas born Vanessa Peters, who originally attended Texas A&M University twenty years or so ago with the intention of pursuing a career as a novelist. The lure of music making eventually proved too strong however, and Vanessa now employs her undoubted narrative skills in penning some of the most thoughtful and genuinely affecting songs that you could ever wish to hear in this or any other year..”Flying On Instruments” is a much more stripped down and introspective affair than its immediate predecessor, 2021’s “Modern Age,” with pianist Matteo Patrone playing a much more central role in proceedings as Peters serves up expertly crafted creations such as “Halfway Through,” “Better” and “Pinball Heart” for your listening pleasure.

“The Blues of Tombstone Dunnery Vol.1” (Self released)- Cumbrian singer and guitarist Francis Dunnery is probably best remembered these days for his musical exploits with prog pop merchants It Bites during the latter half of the eighties, most notably their Top 10 singles success from 1986,”Calling All The Heroes.” This brief glimpse of fame and fortune wasn’t destined to last too long however, and the original incarnation of the band finally gave up the ghost in 1990. Dunnery has occupied himself since then by tackling a variety of interesting solo projects as well as working as a trusted sideman. with rock luminaries such as Robert Plant and Carlos Santana. This eclectic character’s latest album serves up his sublime celebration of the delights of the blues genre via twelve freshly minted tracks led by “Take My Joy Away,” “She Left Me With The Blues” and “Riding On The Blues Train.”