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Flyinshoes Review

Welcome to FSR our Roots Music Reviewers & Pod/broadcasters Community

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Why not invite your favourite independent musician to play for your friends family and his fans in your front room, I’ll be surprised if he/she won’t show up sometime this year and play for you, let me know about it and if The Medicine Show Radio Moose Mobile is loose is near enough we’ll come and broadcast it too. If you would like to help keep the wheels on the Hub and on The Moose become a patron at

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 http://www.brothermarkmusic.com

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.

John Davy

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The Medicine Show is the home of the House Concert here is our rolling news

 

This site is the sister site to The House Concert Hub community and has been inherited in the main by kind donation of Shaun Belcher and Trailer Star.

It is the sum total of over ten years of tending a tender love of music by Shaun, a life time with Trailer Star and five or so years of an association with Rob Ellen from Medicine Music.

The House Concert Hub community will use it for the purpose of providing a online, all singing all dancing, review and preview area for the music of the community, and the music community at large. Have a look around tell your friends use the share button, tell the world.

We need reviewers, the idea is we have a correspondents in every area of the musical global village, it will be edited and co-ordinated by Rob Ellen of Medicine Music publicist promoter and presenter, if you wish to subscribe as a correspondent, join up here and drop Rob a line, he will send you cd's and send you to shows, display and publicise your content.

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1 1 108
HAYES CARLL / What It Is / Dualtone *MM, *SZ
2 -- 66
DANNY SCHMIDT / Standard Deviation / Live Once Records *JJ, *HdB,
*TK, *AN, *GS, *MF, *SP
3 2 53
PHIL LEE / The Horse He Rode In On / Palookaville Records *MP,
*PvG, *ME
4 -- 49
MERCY JOHN / Let It Go Easy / Butler *LK, *JD
5 3 45
THE DELINES/ Imperial / El Cortez *FSch
6 4 44
VICKY EMERSON / Steady Heart / Independent
7 -- 42
RYAN BINGHAM / American Love Song / Thirty Tigers *HB
8 6 36
SUZANNE JARVIE / In The Clear / Wolfe Island *CRS
9 24 35
KALYN FAY / Good Company / Horton *JV, *JBo
11 35
MANDOLIN ORANGE / Tides of a Teardrop / Yep Roc Records
11 -- 34
VARIOUS / Songs of Our Native Daughters / Smithsonian Folkways
*FCe, *PJ, *PK
12 8 28
TINY LEGS TIM / Elsewhere Bound / Independent *FB
-- 28
J.S. ONDARA / Tales of America / Verve Records *AL, *WV
14 -- 28
MADELEINE ROGER / Cottonwood / Independent *LM
15 -- 24
KIM LENZ / Slowly Speeding / Blue Star *MvP
-- 24
LILY & MADELEINE / Canterbury Girls / New West *TJ
17 12 23
LEYLA McCALLA / Capitalist Blues / Jazz Village *DH, *BH
18 -- 22
ETHAN JOHNS with The Black Eyed Dogs, Anamnesis, Three
Crows/Proper *RK, *JB
-- 22
LONG RYDERS / Psychedelic Country Soul / Cherry Red Records *JS
20 5 19
LULA WILES / What Will We Do / Smithsonian Folkways
21 -- 18
YOUNG VALLEY / Young Valley / Dial Back Sound *DHo, *CvL
-- 18
KERRI POWERS / Starseeds / Continental
23 -- 17
THE CACTUS BLOSSOMS / Easy Way / Walkie Talkie *KG
24 -- 16
DALE WATSON / Call Me Lucky / Red House *PR
-- 16
MICHAEL McDERMOTT / Orphans / Pauper Sky *JDoel *

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