Best of What’s New

A selection of newly released music that caught my attention

I can’t believe it’s October. What happened to summer? Perhaps on the upside, if time continues to race at its current pace, it also means this year will be over soon and we’re into 2021, which will hopefully bring better times. While it remains uncertain when live concerts can safely resume and some artists have delayed releasing new material, it’s great to see decent new music continues to come out.

As more frequent visitors of the blog know, my favorite music decades are the ’60s and the ’70s. As such, I’ve generally given up on what’s in the mainstream charts these days. Yet, in March this year, rather than continuing to complain about generic and soulless music populating the charts, I decided to pay more attention to new music that’s not in the charts, even if it’s not by artists I usually listen to, and to start the weekly recurring feature Best of What’s New. While finding new music I dig forces me to do some detective work, it’s been pretty rewarding, so I have every intention to continue this quest.

This brings me to the latest slate of songs. It’s a diverse set, featuring great music by an African American singer-songwriter reminiscent of a ’60s folk protest song, rich soul by a dynamite husband and wife duo, a delicious Louisiana music gumbo by a New Orleans-based singer-songwriter and multi-instrumentalist, and folk rock by a prolific Canadian artist. Like is oftentimes the case in this series, I had not heard of any of these artists before. Let’s get to it!

Tré Burt/Under the Devil’s Knee (featuring Leyla McCalla, Allison Russell and Sunny War)

Tré Burt is a Sacramento-based singer-songwriter. According to his website, Burt was drawn to music from an early age. He was raised with his grandfather’s passion for soul music, like the Temptations, Nina Simone, Otis Redding and Marvin Gaye. A school project on Woody Guthrie opened his eyes to the power of folk songwriting. And he discovered one of his songwriting heroes, Neil Young, through his older brother, Joey. In 2018…[he] self-released his debut album, Caught It From the Rye. The album, which showcases Burt’s literary songwriting and lo-fi, rootsy aesthetic, landed him a handful tour dates and some positive press, but Burt had no idea just how far it would get him: to a spot on the roster at John Prine’s Oh Boy Records. Burt’s first work appearing on Oh Boy is the single Under the Devil’s Knee. Released on September 22, it’s a powerful tune about the senseless deaths of George Floyd, Breonna Taylor and Eric Garner and the Black Lives Matter movement. To me it has a ’60s protest song vibe. It almost feels like looking at a modern day Richie Havens. Check it out!

The War and Treaty/Little Boy Blue

The War and Treaty is a husband and wife duo of Michael Trotter, Jr. and Tanya Blount. Apple Music describes their style as impassioned soul music that draws on traditional folk, country, R&B, and spirituals, often combining them all. Initially known as Trotter & Blount, they released their debut album Love Affair under that name in 2016. This was followed by the EP Down to the River in July 2017, their first music appearing as The War and Treaty. Healing Tide, the first full-fledged studio album under the current moniker, came out in August 2018. The record, which featured a guest appearance of Emmylou Harris, was well received and reached no. 11 on the Billboard Top Heatseekers Albums and no. 26 on the Independent Albums charts. Blount first became prominent in 1993, when she performed a duet with Lauryn Hill in the comedy picture Sister Act 2: Back in the Habit. The following year, she released her solo debut album Natural Thing. Little Boy Blue is a terrific soul song from Hearts Town, the second full-length album by The War and Treaty that appeared on September 25.

Ric Robertson/Louisiana Love Thing

Ric Robertson is a New Orleans-based songwriter and multi-instrumentalist, who according to his website synthesizes the full canon of American music—New Orleans jazz, classic American pop songsmiths, country, modern funk, swampy blues, and R&B to name a few—and births it into something out of this worldRobertson conjures this musical pedigree into a cohesive potion, a finely-tuned sonic concoction with just enough rock n’ roll to kill, just enough blues to keep you alive, and just enough country to make you hold on to love. It’s stirred by Robertson’s distinct voice: sweet, enticing, and contoured with the finely subtle grit of Mississippi River silt and the warmth of vintage vinyl. Robertson’s debut album The Fool, The Friend was released in June 2018. A review in The Big Takeover characterized it as “a fresh and authentic blend of swampy blues, rock and country” and called Robertson “a force to be reckoned with.” While I haven’t listened to that album yet, I agree based on Robertson’s new tune Louisiana Love Thing. It’s from his new EP Strange World that came out on September 25. That’s one delicious gumbo!

Daniel Romano/Joys Too Often Hollow

Wikipedia describes Daniel Romano (born Daniel Travis Romano in 1985) as a Canadian musician, poet and visual artist based out of his hometown of Welland, Ontario. He is primarily known as a solo artist, though he is also a member of [Canadian indie rock band] Attack in Black and has collaborated with [fellow Canadian music artists] Julie Doiron and Frederick Squire. He has also produced and performed with City and Colour, the recording project of Dallas Green [another Canadian music artist]…and is a partner in his own independent record label, You’ve Changed Records. Romano is a prolific artist. His solo debut Workin’ for the Music Man appeared in 2010. He has since released 11 additional solo records, nine collaboration albums and two EPs. An incredible 10 of these releases all appeared this year, including How Ill Thy World Is Ordered, his fourth 2020 album with his backing band Outfit. Here’s Joys Too Often Hollow, a nice folk rocker from that album released on September 18.

Sources: Wikipedia; Tré Burt website; Apple Music; Ric Robertson website; The Big Takeover; YouTube

Allman Betts Band Release New Album Bless Your Heart

While Devon Allman and Duane Betts don’t deny their famous fathers, they continue to forge their own path on band’s sophomore album

Even though my streaming music provider had included Pale Horse Rider in their latest new music mix, I didn’t pay full attention to the The Allman Betts Band at first. Thankfully, Max from PowerPop recommended them to me – yet more proof how remarkably similar our music taste is! Earlier today, I checked out the band and their sophomore album Bless Your Heart, which appeared on August 28. I really like what I heard, including the fact this band is clearly forging their own path, not trying to be a continuation of The Allman Brothers Band.

Before getting to some music, I’d like to provide a bit of background. In December 2017, songwriter and guitarist Devon Allman, a son of Gregg Allman from his first marriage to Shelley Kay Jefts, decided to organize a tribute concert at the Fillmore in San Francisco to honor the music of his father. The show also marked the debut of his new band, Devon Allman Project, and featured a notable guest: Songwriter and guitarist Duane Betts, son of guitarist and Allman Brothers founding member Dickey Betts.

Devon Allman and friend at the Fillmore in San Francisco, December 2017

Following the tribute show, the Devon Allman Project embarked on a year-long world tour, with Duane Betts opening for the band and joining them for Allman Brothers songs. While they played some tunes by the Brothers, the Devon Allman Project was not a tribute band. In fact, Devon and Duane mostly performed songs from their respective solo careers. Inspired by the favorable audience reception, they decided to take things to the next level by writing songs together.

They also reached out to Berry Duane Oakley, son of Berry Oakley, former Allman Brothers bassist and another founding member, to ask whether he would join them. All three had known each other and been friends since 1989 when they met during the 20th anniversary tour of The Allman Brothers Band. Oakley was on board. Johnny Stachela (slide guitar), John Lum (drums) and R Scott Bryan (percussion) were brought in to complete the lineup, and in November 2018, The Allman Betts Band was officially announced.

The Allman Betts Band (from left): front: Devon Allman & Duane Betts; back: John Ginty, R Scott Bryan, Johnny Stachela, Berry Duane Oakley & John Lum

Subsequently, the band worked with producer Matt Ross-Spang to record their debut album Down to the River at Muscle Shoals Sound Studios. Guests included keyboarder Peter Levin, former member of Gregg Allman’s band, and pianist and organ player Chuck Leavell, a current member of The Rolling Stones’ touring band. The album appeared in June 2019. For a subsequent world tour, the band brought in John Ginty as keyboarder, who remains part of the current lineup.

This brings me to Bless Your Heart. While you can hear traces, just like the Devon Allman Project, The Allman Betts Band does not try to be a continuation of The Allman Brothers Band. I think it’s a smart choice they want to find their own way. It seems to me this reflects what Devon and Duane set out to do from the beginning of their careers in the early ’90s and late ’90s, respectively. Time for some music.

Here’s the aforementioned Pale Horse Rider, the album’s opener and second single. It’s a great example of a tune where the twin lead guitars are reminiscent of the Allman Brothers but that otherwise doesn’t sound much like them. “‘Pale Horse Rider’ was a really fun one to write,” Devon Allman, told Rolling Stone Country, as reported by Rock & Blues Muse. “Duane had this almost vertigo-inducing descending melodic pattern that was so unique. Once I started the lyric about a man feeling so lost and isolated with the world out to get him, the story just kind of wrote itself. The Wild West seemed like the perfect setting to tell the tale.”

Carolina Song is one of my early favorite tracks on the album. It’s got a great sound. Johnny Stachela’s slide guitar, John Ginty’s keyboard work and the singing including the backing vocals stand out to me in particular. BTW, just like their debut, Bless Your Heart was recorded at Muscle Shoals Sound Studios, with Matt Ross-Spang serving again as producer.

On King Crawler, things turn honky tonky. With Art Edmaiston’s saxophone work, the band almost sounds like The Rolling Stones – great tune!

Things get personal on Southern Rain, were Devon is singing about the death of his father and his mother, who had passed shortly before Gregg had died. “There’s elements in there of being OK with the lumps we’ve taken,” Devon told the St. Louis Post-Dispatch. He noted the song had come to him while being on the road on a tour bus. He also shared the last time he saw Gregg his dad told him how proud he was of his son. “It was amazing to finally hear that from my dad. The chorus is ‘I believe in you and I will be with you,’ from my dad’s perspective. That was a heavy day when my dad told me that. I left his house, and I knew I would never see him again. It’s a pretty cathartic experience to put that in a song, and it felt good to share that with people.”

I’d like to call out one more tune: Magnolia Road, another standout on the album that also became the lead single. It was written by Los Angeles singer-songwriter Stoll Vaughan, who also had collaborated with the band on five tracks from their debut release. Here’s the official video.

Asked by Cleveland.com how the band is planning to deal with the legacy of the Allman Brothers, Devon said, “I think that you’ve got to be careful. You can dip into the well a bit, but it’s also important to balance the visitation of nostalgia with stepping forward into the future because we don’t want to be just some kind of rerun band. We really want to have a legacy of our own music and our own exploring. We’re getting to a place where we can rise to this challenge, we can throw some stuff into that long body of work our heroes did and feel good about it.” While I’ve yet to listen to the band’s debut album, I think they off to a very promising start.

Sources: Wikipedia; The Allman Betts Band website; Rock & Muse; St. Louis Post-Dispatch; Cleveland.com; YouTube