Honchos on the hub Scottish Publicist Presenter Promoter Rob Ellen's is a Americana music world stravaiger. travelling in his Medicine Show Radio Moose Mobile seeking out independently minded music across the New and old worlds.
Medicine Show Records offer you this single from our good friend and Highland Legend Davy Cowan as our Christmas gift.
Davy Cowan will be stravaiging through Texas in March with The Medicine Show Radio Moose Mobile.
From his album "The Journey'" about the Holy Town of Invergordon. (Oh I Believe In You Believe In Me)
For the video of this song youtu.be/i2RSmHIeiZQ
Here are some of the artists we are helping "Look for Europe"
A full integrated conventional and digital media promotion service for the independently minded musician.
Nobody taps into the old mountain music in quite the way that Mark Lucas manages; following directly on from the style he displayed on 2010’s Dust, this new album launches you straight into a world of raw fiddle, sweet dobro and Mark’s distinctive growl, full of hints at dark doings. Fans of old-time mountain music will recognise the sounds he makes, but there’s a bit of a twist. Mostly he sounds like he’s steeped in the world of the mountain hollows, where nothing much has changed for centuries. It really seems like he’s not much engaged with the world beyond the mountains, but there’s breadth in the musical influences that creep in around the edges and give the game away a bit. A touch of Tom Waits on the wondrously bruised and world-weary The Price, and something of Tony Joe White in the swampy treatment given to Big Bad Love are two examples of more modern sounds that he fuses with the foot-stomping rawness that could be an alternative soundtrack for Deliverance.
Weaving true tales with myth-making old and new (the title track is a localised version of the old Greek myth, Orpheus and Euridice) Mark Lucas’s songs deal in the rawness of life, the loving, drinking and dying that goes on, with the devil ever in close attendance. There is a danger that he could be stereotyping mountain life in a way that panders to urbanites self-image of sophistication and rationality, but his combination of raw immediacy and dark humour maybe connects with people who walk city streets and makes them aware that these themes aren’t so far from their own lives. Whilst many of these songs could be placed at any time in the last century or so, references in Pick Up and Trouble in particular make it very clear that we’re in the twenty-first century here, in the world of mobile phones and crack dens – and that the same dark vibes lurk around the corner.
It’s compelling stuff, even better than Dust I believe. He’s back with some of the players from the previous album, and they all have distinctive styles that contribute strongly to the raw, spooky atmosphere. I love the playing from Bleu Mortensen on dobro/pedal steel and Wanda Vick on banjo and mandolin, but it’s Jenee Fleenor’s fiddle playing that really catches the ear. I’m not saying that she’s made the pact with the devil, but she’s got something really special going on there as she drives many of the songs along and provides the instrumental voice that seems to come from some unearthly place.
Add a Comment