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www.tokyorosenthal.com   

I’m frequently surprised by the genre categories that appear when I load a new disc into my computer’s library.  Tokyo Rosenthal’s new album comes up as country and western and I suppose I’d reckoned him to be more of a folk singer than anything. His subject matter covers a lot of ground, from the personal and observational to some barn-storming social commentary, but I can’t think of a song of his that sounds “pure country” – and certainly not on this, his fifth album, despite the presence of some great pedal steel playing from Allyn Love and some good ol’ country fiddle from John Teer.

       Rather, Tokyo’s a man who writes about the things that make him curious or that affect him deeply and then, together with producer Chris Stamey, pulls together a sound for each song that might embrace folk, rock, country or whatever seems to fit. In a sense, the musical style doesn’t matter too much because Toke’s voice is so distinctive, with its ever-present nasal catch, that his presence pretty much dominates the arrangement. So, from the sweet and tender Tex-Mex sounds of The Immigrant, to the curiously hybrid sound of Smoke and Mirrors (that sounds like a reggae rhythm to me, allied to Spanish guitar and a silky smooth sophisticated rock outro; somehow, it all works together well) Tokyo’s voice is the peg from which it all hangs.  I confess I blow hot and cold on his voice. Sometimes it seems the ideal instrument to deliver a particular song because he can express tender anguish particularly well. Sometimes, though, I feel I’d like to hear his songs sung in a contrasting voice that would bring out different qualities.

          He chucks in one cover version on this album, The Beatles’ Helter Skelter. I guess I’ve never liked this song, I’m afraid, and even John Teer’s appropriately febrile fiddle playing doesn’t rescue it for me here. Besides, Tokyo writes some really good songs himself. I don’t always get his drift, but when he hits the mark he can write a song that will stick with you. I like the elegy he has written here for an Irish fiddler he must have known, Killaloe. He paints a picture in words that captures the warmth and magic of Irish music making, and there’s a similar warm humanity to The Immigrant. The stand-out song, though, is probably What Did I Used To Be?, another look at the protracted economic misery visited on ordinary folks in the current times. He’s written about this before, and this new song has a bit of a driving rock kick alongside some epic, soaring pedal steel.  He’s expressing the continued confusion ordinary working Joes feel at a world seemingly re-modelled overnight, and that big tune acts as a soothing balm for all those caught up in their own stories.

            Toke’s been building a following on these shores in the last few years and he’ll be back in the late spring to present these new songs. He’s a fine, individual writer and well worth checking out if you haven’t already caught up with his work. 

 

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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.

Here starts an other adventure.

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December 2018
1
Malford Milligan
75 pts.
Life Will Humble You
Royal Family Records
JF,FB
2
JD McPherson
61 pts.
Socks
New West Records
CVL,DHO,MVP,MB
3
Rosanne Cash
50 pts.
She Remembers Everything
Blue Note Records
WR,BP,JSM,HB
4
Ad Vanderveen
45 pts.
I Was Hank William
Blue Rose Records
TK,LM,BM,JB
5
John Hiatt
44 pts.
The Eclipse Sessions
New West
FC
6
The Yearlings
41 pts.
Skywriting
Lonely Sounds Records
EZ
7
Tip Jar
40 pts.
Onward
Independent
FS
8
Nathan Bell
39 pts.
Loves Bones & Stars
Angry Stick Recording Co.
RB,SZ,PG
9
The Brother Brothers
38 pts.
Some People I Know
Compass Records
BK
10
Richard Dobson
30 pts.
I Hear Singing
Brambus Records
JS,NC
11
Steve Forbert
29 pts.
The Magic Tree
Blue Rose Music
PR
12
J.P. Harris
28 pts.
Sometimes Dogs Bark At Nothing
Free Dirt Records
TJ
13
The Bottle Rockets
24 pts.
Bit Logic
Bloodshot Records
GS,PKO
14
Rodney Crowell
23 pts.
Christmas Everywhere
New West
 
15
Christian Kjellvander
22 pts.
Wild Hxmans
Tapete
 
16
Erin Costelo
21 pts.
Sweet Marie
Compass Records
PJ
17
Colter Wall
20 pts.
Songs of the Plains
Young Mary's Record
 
18
The Hillbenders
19 pts.
The Hillbenders
Compass Records
FH
19
Eric Bibb
18 pts.
Global Griot
Stony Plain
 
 
Karine Polwart
18 pts.
Laws of Motion
Hudson Records
HH,KG
21
Carson McHone
17 pts.
Carousel
Nine Mile Records
 
 
Malcolm Holcombe
17 pts.
Come Hell Or High Water
Gypsy Eyes Music
MF
23
Ben Bedford
16 pts.
The Hermit's Spyglass
Cavalier Recordings
SP
 
Craig Moreau
16 pts.
A Different Kind Of Train
Independent
MP
 
David Olney
16 pts.
This Side Or The Other
Black Hen Music

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