CD Odyssey Disc 1909: Josh Ritter

Welcome back. Today I review a good record, and then a great concert.

Disc 1909 is… I Believe In You, My Honeydew

Artist: Josh Ritter

Year of Release: 2025

What’s up with the Cover? I also used to take my bow out in the woods as a young boy, but there are a couple of key facts that let you know this kid is Josh Ritter, and not me.

First, this kid is wearing shorts. As a kid outside of gym class, I never wore shorts. I didn’t like ‘em. I think they’re fine now, provided it’s warm enough out, but I’m still against sandals. On this latter point this kid version of Josh and I agree.

Second, I had a way more impressive head of hair than this kid. Sorry Josh, but my hair ruled as a kid. It ain’t now what it used to be but back in the day my curls were so big and tight they could repel rainwater.

How I Came To Know It: I’m a fan and so I always check out Josh Ritter albums. I don’t always like them, but since I knew I was going to see him on this album’s tour, it was a safe bet I’d buy the record. And here we are!

How It Stacks Up: I have six Josh Ritter albums. He has thirteen albums, so as you can guess, he’s not an “always” thing for me. “I Believe In You…” is on the edge, so I’ll rank it sixth. Last in my current collection, but still middle of the pack overall.

Ratings: 3 stars

I like my Ritter on the folksy side, with the production a little undercooked. Ritter likes his folk on the rocky side, with his production varied and unpredictable. There are whole records where he pushes me too far and I must wag my finger at full arm extension, as I tilt my head back imperiously and declare, “You cut that out! I won’t buy it, Josh, I won’t!”

His latest release, “I Believe In You, My Honeydew” is, fortunately, not such a record. It has much to recommend it, but is still a microcosm of the Ritter experience, as he slides in and out of styles and tries on different arrangements like a royal in a fancy hat store.

The opening track “You Won’t Dig My Grave” is ground zero for Ritter, with its urgent half-spoken, half-sung style and a mix of electric guitar and piano trilling away in a style that would make Bruce Hornsby proud. It’s solid, but not a “must have” situation – particularly for a fellow who has already shown clear evidence that Ritter and I have a relationship that is on-again, off-again by nature.

The next song (“Honeydew (No Light)”) has a groove that tried very hard but doesn’t quite land (it is hard to funk up the folk and should be attempted only with great caution). When the reverb guitar and feedback/record scratch sounds start popping into the bridge I could feel my wagging finger rising, unbidden, from my side.

But then, on track three Josh Ritter does what he does – dropping one of the finest songs he’s ever done. “Truth Is a Dimension (Both Invisible and Blinding)” is what will always and eternally bring me back into Ritter’s orbit.

Held together by just the deliberate pluck of a single acoustic guitar, “Truth Is a Dimension…” is the narrative of a man who smokes a J, and while stargazing discovers intelligent life in the universe. Well, that’s the bones of it anyway.

In fact, it is so much more. This is a song about life, the subjective nature of truth, the impact of the observer on the observed (both externally on the world, and internally on our thoughts). It muses on the nature of the multiverse but eventually comes around to only one certainty: there’s love, there’s loss, and there’s great art – and that’s the truth.

After a relatively shaky start Josh now had me and he wasn’t going to let go. Does he go back again to that half-funky/groovy thing he does which sometimes works and sometimes feels like the musical equivalent of a smirk? Yes, he does. When you’re as gifted a songwriter as Ritter, you’ll always ride the line between smart and smart-ass. Ask Dylan. He won’t answer the question directly, but he knows.

And some of that frantic approach to the record that I had earlier viewed askance I now better appreciated for the range it was providing. As the record progressed some of the excess energy took on a decidedly church-like quality, aided by Ritter’s careful and considered use of religious iconography on songs like “Noah’s Children” and the refrain of “I hear a higher calling” on “Wild Ways”.

This pulpit-like approach culminates on the record’s final track, “The Throne” which channels greats like Nick Cave and Leonard Cohen at their most devout. Ritter holds up well with these masters. Were there some merely OK tracks between “Truth is a Dimension…” and “the Throne”? Sure there were, but in the glare of the church chords of the piano and the rock peel of the electric guitar, Ritter dispenses wise and inspired observations about life, and once again all is forgiven.

Josh Ritter is a great songwriter, but he’s not one for chasing empty crowd pleasers. His albums can go a lot of directions, and not all of those directions are going to tickle your fancy. Always brilliant and occasionally annoying, “I Believe In You, My Honeydew” was an acquired taste, laden with five-star brilliance and two-star filler. But damn it if on balance the old master didn’t win me over again.

Best tracks: Truth Is a Dimension (Invisible and Blinding), Noah’s Children, Wild Ways, The Throne

The Concert: March 19, 2026, Mary Winspear Centre, Sidney, BC

Heading out to Sidney with Sheila and our friend Casey (kudos to him for driving us), I wasn’t sure what to expect. I knew I liked Josh Ritter, but I wasn’t always keen on his production choices. But as I walked into the plush and cozy 300-seat of the small-town auditorium and saw two single acoustic guitars perched behind some Christmas lights and a lone microphone stand, I knew all was going to be well.

Thing weren’t just well, however – this ended up being one of the best concerts I have ever seen. Ritter is a born entertainer and with a stable of impressive and expressive songs built across two and a half decades, he’s got the ammunition to go with it.

The first thing that jumped out at me was Ritter’s pure and unconditional joy at just being there. His grin is infectious and the first words out of his mouth were to indicate just how thrilled he was to be performing for us. It wasn’t one of those “how are we doing tonight, Sidney?” pandering moments, either. He was happy to be there, and it showed.

Lacking a band did not prevent Ritter from creating layers of sound. He wields his guitar with a busker’s skill for making percussion, with slaps on the body and well-placed hammer-ons on the fretboard. He stepped in and out of the mic as well, creating all manner of sound while never losing that clean acoustic sound I was hoping for.

His guitars were worn and well-used, with pick guards down to the raw wood. They looked well-loved and fit right in with Ritter’s casual and unassuming style.

As for the songs, he played almost every one of my favourites from the new record (the only absence was “Noah’s Children” and frankly, of the four favourites listed above, it is #4). The others weren’t just played, they were elevated, making me love the latest record in ways I hadn’t during the studio listen.

The old standards were well chosen, and he had a knack for mixing slow contemplative pieces in with bangers, moving the energy up and down while never losing the room. A couple of times he appeared to chose a song on the spur of the moment, exclaiming “I just had an idea!” and then giving that idea a go.

The banter was also first rate, always giving additional flavour and energy to the performance and never just resorting to “explaining” a song. When he played his classic hit “Kathleen” he actually took an extended break mid-tune to tell a hilarious yarn, before returning to the final verse, showing that there is a way to keep a song fresh, even if you’ve played it a hundred times.

There were a few times where he made a mistake – usually missing a lyric or coming in late as he remembered at the back of the beat. Once he even started over again entirely. It was weirdly fine, and at times even welcome. It underscored just how thoroughly he threw himself into the moment. It happened rarely, and when it did you were on the journey with him so much, you just laughed along with him in what was less an error and more a “campfire moment” among friends.

This was one of those shows that elevated the spirit. At times you lose yourself in Ritter’s imagery and metaphor. At other times you get lost just as he does in your own thoughts, inspired by his art. I came away with a cup full of love, deep thoughts and overall gratitude that I’d gotten a chance to see him in such an intimate venue.

If you get a chance to see this guy in concert, don’t miss it.

CD Odyssey Disc 1908: Enya

It’s taken ten long and random years for me to come around to the final album in my collection by this artist, but here we are! My first review of her work was Disc 11 – so long ago it was before I had the “What’s Up With the Cover?” section. Dark times for the readers, indeed.

Disc 1908 is… The Memory of Trees

Artist: Enya

Year of Release: 1995

What’s up with the Cover? The eternally beautiful Enya sitting on some sort of Throne of the Gods looking mysterious. Is she an oracle? A royal vizier? The empress of a mystical land?

Maybe she’s a half-elven bard on a thrilling fantasy adventure! More on that later…

How I Came To Know It: For a few years in the late eighties and early nineties Enya was a Big Deal. I would have bought this album, likely from a record store that no longer exists (A&B Sound or Lyle’s Place being the two most likely) the week it was released. That’s how you bought your music in 1995 – at a bricks and mortar store – and its how I still do it to this day whenever I can.

How It Stacks Up: I have five Enya albums. Of those five, “The Memory of Trees” comes in at #4. I can’t put it above “Watermark” and because “Watermark” only received two stars, I’ve done the same here, but I want you to know, dear reader, that I feel bad about this and would happily give both three stars on a day like today, where I am feeling more charitable.

As this is the last of the Enya reviews, here’s a recap:

1. Shepherd Moons: 4 stars (reviewed at Disc 854)
2. Self-Titled: 3 stars (reviewed at Disc 205)
3. Watermark: 2 stars (reviewed at Disc 11)
4. The Memory of Trees: 2 stars (reviewed right here)
5. A Day Without Rain: 2 stars (reviewed at Disc 24)

Ratings: 2 stars

What did Frodo and Sam hear when elves passed by on their journey to Bree? Probably this album. Enya’s ethereal voice and mix of English, Gaelic and Latin lyrics lends itself to enchanted forests and wandering minstrels.

I was as enchanted as everyone else by Enya back in 1995. So much so, I even had a Dungeons and Dragons character (a half-elven bard named Arlea) based largely on Enya and her music (and maybe a little Karen Matheson as well). I even made a mixed tape of songs Arlea would sing that was heavily laden with Enya songs and forced them upon my fellow gamers (I regret nothing).

Holy nerd tangents! Let’s get back to the music, shall we?

Hailing originally from Celtic band Clannad, Enya branched off into a more layered, produced sound that in the day we called New Age. How can you tell New Age from folk? All that production and overdubs is a good start. 

The New Age tricks that Enya did was to layer her own vocals multiple times, making a rich tapestry of sound. It works because her voice, which is sweet and gentle, lends itself to the treatment.

Whatever you think of how an Enya song is produced, there is no denying the lift your heart gets when she climbs into the higher parts of her register. There is something otherworldly going on in that voice that transcends the human – like she’s made a deal with a leannán sídhe or maybe is one. Either way, we’re the fortunate beneficiaries of her instrument.

As with most Enya albums, she puts one jumpy number on there to draw in the audience and to get some MTV/MuchMusic playing time. On “The Memory of Trees” this offering is “Anywhere Is”. It’s a catchy number, despite some cringe-worthy sing song moments in the lyrics like “In motion on the ocean/The moon still keeps on moving”. Not bad written down but a bit twee out loud.

This is what we sign up for with an Enya record, though. If you don’t think you’re going to get a heathy does of ‘twee’ and ‘dear’ from a record that has song titles like “China Roses” and “Tea-House Moon” then you are fooling yourself.

The good news is that while some of those tracks are forgettable “background while browsing the antiques store” fare, there are also plenty that provide a lift to the spirit in a way few other artists can accomplish. Enya’s quiet grace got me through many a dark time in my life and you could do a lot worse than laying in the dark listening to “the Memory of Trees,” letting the weariness wash away on the waves of the motion on the ocean.

Best tracks: Anywhere Is, Athair Ar Neamh, Hope Has a Place, On My Way Home

CD Odyssey Disc 1907: Arch Enemy

Welcome back to the CD Odyssey, where I slowly but surely review every single record in my collection – in random order. Let’s get after it, shall we?

Disc 1907 is… Will to Power

Artist: Arch Enemy

Year of Release: 2017

What’s up with the Cover? You know, the usual. Four skulls and a couple of snakes, artfully arranged into a logo that is somewhere between Satan’s wet dream and a taxidermist’s trick gone wrong.

We’ve got the heads of a wolf, a goat, and a bat and right in the middle the Devil’s favourite plaything – people.

How I Came To Know It: I was only recently introduced to Arch Enemy and have been digging furiously through their back catalogue (furious at myself for having missed out until now). This was one of several finds on that journey.

How It Stacks Up: I’m not sure. I have seven Arch Enemy albums (see “furiously” modifier above) but they are all fairly new to me. I know I like this band a lot, so I’m going to assume “Will to Power” is around sixth best, since I can’t see one of my Arch Enemy records being lower than three stars.

Ratings: 3 stars

Arch Enemy has invaded my music collection a lot like their music would suggest – fast, aggressive, and with no apologies. “Will to Power” is yet another entry in their long, storied, and successful music canon/cannon. I keep coming back to this band for one simple reason: they’re great.

To fully appreciate Arch Enemy it is important to go in expecting ALL THE METAL. They don’t discriminate. Soaring guitar work of power metal, guttural growls of black metal, the groove of thrash, and the gloomy atmosphere of doom (albeit a sped up version). Arch Enemy isn’t prog in their approach to shifting gears mid-song, but rather students of all the styles, and have found a unique way to mix them together.

“Will to Power” is the second studio album by the band with new vocalist (and fellow Canadian!) Alissa White-Gluz. There isn’t a lot to separate White-Gluz and previous singer Angela Gossow in terms of quality. They are both excellent, able to bring melody and structure even while growling at you. White-Gluz is a bit more melodic, but this could also be the evolution of the band’s sound.

Case in point, “Reason to Believe” which features ‘regular’ vocals from White-Gluz where she shows that if she wanted to she can sing just as sweetly as any other rock goddess out there. Lest you think she’s going soft, she switches back to the growl for the chorus, tough as ever.

Holding down the album’s mid-range and gluing vocals drums and stylistic shifts together is the ever-present brilliance of Michael Arnott on guitar. The one constant through Arch Enemy’s storied career, Arnott is able to play with precision and speed, but always with a crying tone that adds an underlay of emotion to songs that, without him, might descend into empty aggression.

In terms of lyrics, I expected an album evoking a book by Nietzsche would be a bit more inspired, but “Will to Power” was instead pretty by the numbers. The songs are mostly variants of resisting the crowd and standing strong and proud in your iconoclastic rebellion. Yeah, it appeals, but the writer in me is always eager for a more complex narrative or character study.

Also, the switch from style to style mid-song is a bit like a high-performance engine – driven just right it is pure joy, but you can also blow the head gasket off if you time the shift wrong. “Will to Power” rides the edge well, but every now and then it loses its organic, natural glide through the progressions. Not often, but enough to knock it down a star, if only just.

No serious complaints though. I spent three fine days of actual driving in my commute to this album with very few complaints to show for it. It isn’t the album I would “gateway” someone into Arch Enemy, but it’s a worthy entry in their body of work.

Best tracks: Blood in the Water, The World Is Yours, Reason to Believe, A Fight I Must Win

CD Odyssey Disc 1906: William Prince

I apologize the stretch between posts. This was a combination of a heavy work schedule and being out on Tuesday night at a concert when I’d ordinarily be at home writing.

On the plus side this means that we get a bonus concert review – it appears immediately below the end of this studio album review, as is traditional here at the Odyssey.

We also have a new streak to track: albums made by people named William. As of this next record it stands at two.

Disc 1906 is… Further From the Country

Artist: William Prince

Year of Release: 2025

What’s up with the Cover? The aforementioned Mr. Prince, looking contemplative against a backdrop of sunset and stars.

How I Came To Know It: I was already a fan of William Prince through his 2020 album “Reliever” (reviewed back at Disc 1476), and check in on his new albums when they arrive.

How It Stacks Up: I have two William Prince albums. Of those two, “Further From the Country” narrowly lands in second. No shame – I just liked “Reliever” slightly better.

Ratings: 3 stars

Life’s not fair. Some of us get our one and a half octaves of scratchy/dodgy tenor and some of us get the rich velvet baritone of William Prince. Fortunately, through the power of technology, that glorious voice can travel with us in our homes, cars and walks. I had this record going for a full week and enjoyed it in all three of those venues.

“Further from the Country” is aptly named, as Prince explores arrangements and approaches that feel more atmospheric and mystical than previous efforts. No doubt this is partly the influence of members of Boy Golden.

That said, the opening – and title – track had me nervous. It was a bit too meandering and atmospheric for my tastes, and I felt nervous that my beloved baritone troubadour would be drowned in a soup of production.

Alas, my fears were ill-founded as after that opening experimentation, Prince returns to a more well-trodden country foundation. Yes, it’s a thicker sound, and there’s a piano rounding things out, but the tunes still have their foundational bones in back roads and pickup trucks, just as I like it.

The songs have the usual introspective qualities of William Prince’s earlier work, many focusing on exploring memories of his father, or just earlier wilder times. The songs don’t celebrate that wildness but rather seek redemption for any hurt caused along the way.

The best song for this (and my favourite on the album) is “All the Same” which starts with this heartbreaking scene:

“I had a good friend
Life cut short by his own hand
Everybody but his old man
Seemed so surprised

“He was a younger man than I
Didn’t think to say goodbye
Now the last time that we spoke’s the last time.”

Hard words, but Prince has a talent for taking on hard subjects – suicide, substance abuse, violence – and giving them grace and a safe place to explore from. It isn’t sugar coated, and lines like “and my hand’s messed up/from a fight I had to finish” shows that it ain’t ever as simple as just saying, “don’t do that”. Life’s complicated, but forgiveness is there if look for it.

The other standout is “The Charmer” a song dedicated to Prince’s father, a gregarious fellow who right to the end was even charming the hospital nurses. The love is evident, and the gentle, meaningful ways that Prince explores loss – supercharged with the velvet power of a voice – is transformative.

There are some songs I didn’t love. As noted above, the opener was too diffuse and unfocused for me, and “Thousand Miles of Chain” felt like a song that didn’t know what it wanted to be, but these are minor quibbles. Overall, another fine record from an artist who still has the magic in both his voice and pen.

Best tracks: For the First Time, All the Same, Damn, The Charmer

The Concert: March 2, 2026 at the Royal Theatre, Victoria BC

I always enjoy a show at the beautiful Royal Theatre, and we were particularly excited (thanks to Sheila’s excellent selection) to have seats right on a break between rows, leaving plenty of legroom. Mostly, though I was excited to see not one, but two artists I like, having just found out earlier in the week that the opener was Boy Golden (his previous release, “For Jimmy” was my #1 album of 2023 (Disc 1699)).

Boy Golden

Boy Golden took to the stage with the self-possessed dignity of a band that knew they would own it, and did not disappoint. My previous time seeing them there was a jubilant slightly manic feel to the performance. That energy was still present, but it had softened around the edges and their ability to hold the crowd in more subtle ways was on display.

The band played a short but well-structured set that included old favourites from previous records, but focused on their new material which was, according to frontman and creative force Liam Duncan, “mostly bangers”. Sure.

The guitarist (name escapes me) played with a sublime softness in his tone that suited the blend of country wisdom and grass-stained feel of many of the songs (n.b. – not the kind of grass you lie down on). He had three guitars and one had an incredibly large whammy bar. I know it’s not about the size of your whammy bar, but how artfully you pull on it, but still, just sayin’. It was large.

The drummer (apologies – again missed her name) was well loved by the audience and had a set of pipes on her she showed off in two songs (one as a lead, one as a duet). She played portions with brushes that leaned into the soft and rounded feel of the guitar.

I was sad to see Boy Golden off so early (the fate of all openers) and much as I love William Prince, if I’d had my druthers I’d have swapped headliner and opener.

William Prince

When William Prince came on stage there was a prolonged period where the stage was black and ambient music played and it all felt very psychedelic rock and roll for what was, ultimately, a country show. I kinda liked it, and it primed the crowd and made sure everyone was paying attention.

Including himself, Prince fronts a seven-member band which is a lot of members for someone who isn’t, you know, Prince. One more band member and Canadian law would have required all the songs to be played as ska.

The set list was exactly the right mix of new and old, and if anything I enjoyed the records off the new album better live than on CD, which is always a good sign. (If Neil Young had been there, he’d have moved a motion that “live music is better” bumper stickers be issued. IYKYK…

New album highlight was the song “The Charmer” in honour of his father, and he gave the audience (including me) what they wanted with the old favourite, “The Spark”. I would have liked him to work “The Gun” into the set, which is one of my old faves, but a concert should always leave you wanting more.

During the encore the audience (many of whom were clearly veterans of Prince’s live shows) shouted out tunes, and to my surprise he agreed to play one – “Goldie Hawn”. I’m pretty sure it was improvised, partly because he briefly jumped a verse, before correcting himself with an impish smile that shows he has inherited no small part of the “charmer” from his father.

Prince has a truly thankful and humble quality to him that draws you in and makes you feel he’s as happy to be there as you are.

As for the crowd, they were one of the best crowds I’ve spent an evening with in some time. They were thoroughly engrossed in the show, gave great feedback and were careful to not be disruptive of other people’s good times while having theirs (one woman stood up in front of people during “The Spark” but it was one song only and she was really excited to hear it, so we shall give her a pass).

Best of all, there were nary a cell phone raised anywhere in my vision. Apart from a few discrete pictures people were there to engage with the music directly, not prove later on Tik Tok they’d been there. Awesome, and something for us all to learn from.

Sheila and I talked to the folks sitting near us, all of whom loved William Prince a lot - one couple had seen him seven times. All crowds should be this great.

The merch table was also solid, with a good selection of shirts n’ stuff. One guy sitting nearby said to me “that stuff is all garbage” but he was speaking generally of merch tables, not this merch table. Also, he was wrong. It’s another way to support the band, mister and also keeps me from being denied service at local restaurants for want of a shirt.

Overall, this was a fine show, with two great acts, both of whom I’d seen before, and both of whom I would see again.

CD Odyssey Disc 1905: Billy Bragg

This next artist is more folk/rock than indie folk and so our streak of alternating folk/metal records comes to an end at seven.

How do we know it is rock and roll? The guitar, mate!

Disc 1905 is… Brewing Up with Billy Bragg

Artist: Billy Bragg

Year of Release: 1984

What’s up with the Cover? Industrial town spewing some on one panel, and dude looking out a window thinking deep thoughts on the other. That sums up Billy Bragg about as well as a cover could.

Have you ever sat at a window looking out at a factory spewing smoke and had deep thoughts? Reader, I have. Those deep thoughts took me on a most unexpected journey.

But this is not about my story, it’s about Billy Bragg’s stories, so let’s stop all this wistful digression and return to the main plot.

How I Came To Know It: I first heard this record one night at my friend Nick’s house when he played his vinyl original. I loved it, but it took a few years before I got around to buying it. Then, I did. My copy is a re-issue with a bonus disc of extra music, but more on that later.

How It Stacks Up: I have nine Billy Bragg albums. Competition at the top is fierce and finds “Brewing Up” locked in a dead heat with “Tooth & Nail” for the third spot. They are very different from each other, making comparisons tricky, but despite my iconoclastic leanings to give the win to the underdog, I will place “Brewing Up” where it belongs, in third.

Ratings: 4 stars

“Brewing Up” introduces itself to the listener with a barrage of brassy guitar that reverberates with a power that makes your bones shiver. It lets you know this is not a record inclined to say “how do you do?” so much as to shout “hey!”. It’s a greeting, but also a call to sit up and pay attention.

This is early Billy Bragg at his best, his busker guitar skills – honed to cut through traffic noise and conversation – translated to the recording studio, creating a sound that is loud at any volume. Turn it down all you want – it will make itself heard.

This is the punk undercurrent to Bragg, and his playing and singing style (also bold and rich) adds extra angst and emotion to every word he utters. It provides a visceral quality to everything, but with folk overtones that express themselves in melodic decisions that you won’t find in punk rock. The crossover is a natural fit, each influence enriching the other, and sounds just as fresh 40+ years later.

There is also an old school Chuck Berry feel in places, notably in the guitar riff that launches “From a Vauxhall Velox” which clarifies that this, despite all counter influences and flourishes, is a record celebrating rock and roll. The song benefits from having very little going on other than guitar. Yeah, there’s a bass down there in places, but this is mostly just Bragg giv’n ‘er. You will air guitar along with it because if you don’t want to air guitar along to this song, you should pawn that thing. (n.b. – you will likely not get much from the pawnbroker for an air guitar. I’ve tried it and it never goes well…).

Like the approach to his guitar, Bragg presents stories that are unabashed, raw, and direct. The style lends itself equally well to protest and heartbreak, and he goes deep in both directions.

The record begins with “It Says Here” an attack on newspaper bias, and an invitation to read your morning news with a critical eye. Bragg invites you to pay attention, see that bias, and draw conclusions as you will. He draws a few himself, but this is a music review, not a critique of newspaper bias, so let’s move on to…heartbreak!

My favourite of these on “Brewing Up…” is “The Saturday Boy” a heartbreaking tale of the romantic and strangely noble fools we make of ourselves pursuing unrequited love. I’ve done it a few times, and on “The Saturday Boy” Bragg captures the experience of the early and awkward lessons we learn in these moments in a way that takes you right back to being 15 again. Best line:

“She danced with me and I still hold that memory soft and sweet
And I stare up at her window as I walk down her street
But I never made the first team, I just made the first team laugh
And she never came to the phone, she was always in the bath”

Having once literally been told on the phone by a mom that the girl of my affections was washing her hair, I can relate. If you can’t, well, you’re in very rare company and probably ridiculously handsome. Congrats!

“Brewing Up…” is a classic in the folk/rock/punk genre that Bragg helped to create and a must-have if you like his work.

Bonus Disc:

A quick note on my copy of this album, which is a re-issue that includes a bonus disc of additional material which is a delight, partly because of the range of material (including the best version of “Which Side Are You On?” in my collection), but mostly because the label wisely puts all these tracks on a separate disc. This means I can choose to listen – or not listen – without wrecking the original structure of the album. Kudos!

Best tracks: It Says Here, Love Gets Dangerous, From a Vauxhall Velox, The Saturday Boy, Like Soldiers Do

From the Bonus Disc: Talking Wag Club Blues, Which Side Are You On?

CD Odyssey Disc 1904: Savage Master

Welcome back to more music reviews! If you’re here for cooking tips or investment advice you are 100% in the wrong place.

The streak of albums alternating between obscure metal and indie folk/country extends and is now up to seven!

Disc 1904 is… Dark & Dangerous

Artist: Savage Master

Year of Release: 2024

What’s up with the Cover? Early Savage Master albums featured cool artwork, but starting with 2022’s “Those Who Hunt At Night” they switched to live action “scenes”. This decision represents a notable drop-off in quality, but what these covers lack in professional quality they make up for in kitsch.

On “Dark & Dangerous” we have lead singer Stacey Savage going full high priestess cosplay, complete with fancy dagger and a bouquet of black roses. Behind her there’s a cultist with a candelabra, presumably letting her know dinner is ready.

After dinner there’s going to be a live-action murder mystery night using the rules to Vampire: the Masquerade, followed by a midnight showing of “Only Lovers Left Alive”. Delightful!

How I Came To Know It: I read a review of this record on Angry Metal Guy and decided to give them a chance. I liked it a fair bit (more than the Angry Metal Guy reviewer did) and bought it straight away.

How It Stacks Up: I have started digging through Savage Master’s back catalogue since my discovery, and now have three of their albums, with two more on my “to get” list. Of the three I have, “Dark & Dangerous” comes in at #3. Hey, something’s gotta be last.

Ratings: 3 stars

Do you like heavy metal from the mid-eighties? Because if you don’t, then “Dark & Dangerous” might not be a record for you. Fortunately, I have been around metal long enough to pick up what Savage Master are putting down. This, their fifth full length album came out in 2025, but if you thought it came out in 1985, you could be forgiven the mistake. These guys are so throwback it’s like they just emerged from cryogenic freezing.

There were a few kinds of metal, even back in the days of the eighties, and Savage Master is the kind that generated mass appeal at the time. Think Ratt or Motley Crue, and you’ll have an approximation. I didn’t have any Ratt or Motley Crue in the day, but I liked it, and I made up for it with Dokken, Krokus, and Quiet Riot to name a few. This is straightforward metal, so easy on the ears that if it weren’t for the guitars being turned up you might mistake it for – gasp – hard rock.

Back in the day, that argument could get downright heated (my brother and I called Def Leppard “tinsel” to indicate our disdain for their lack of heaviness, and fans of Metallica and Cirith Ungol looked down on Quiet Riot). It was a crazy obsessive genre parsing that we metalheads can never seem to shed.

But I digress – back to Savage Master’s latest record, which ticks a lot of boxes for me. It has mid-tempo guitar riffs that are great for driving, moshing and throwing up devil horns to (please do not do all three of these things at the same time -it’s dangerous).

It also has a charismatic lead singer in the person of Stacey Savage. Savage will not blow you away with range or power but she sings with gusto and the songs aren’t written with vocal gymnastics in mind anyway. Middle of the road metal that dares you to call it hard rock. As noted above it’s on the edge, but I’m going to take a stand like I used to do back in the day and say…metal.

It also sings about what I will loosely label as “cool stuff” like runnin’ with the devil, vampires, and death. Again, middle of the road topics but there’s a reason these topics get a lot of time on metal records of all subgenres: they’re nifty.

The lyrics on this record are not great. There are more than a few strained and obvious rhymes and not enough creativity in the imagery or metaphor.

As for the playing, these guys are tight and do what they do well. The songwriting (principally bassist Adam Neal and lead guitarist Nicholas Burks) isn’t Rush – it is stuff you can play if you know how to play. This is not a criticism – everything doesn’t need to have a weird time signature to be good. The guitar solos are straightforward, but they are played with joyful control, and know when to cut back to the chorus before you get restless – something many a soloist should learn early on. Leave ‘em wanting more…

While mostly this record is just well-liquor hi-balls, there are bright spots along the way that kept me entranced. In fact, they save the best for last, with the relatively slowed down “Coldhearted Death”.

In addition to being one of the three cool topics noted earlier, “Coldhearted Death” is easily the longest song on the record, its six-plus minutes being almost double most of the other tunes. I didn’t mind, though – it has the most interesting arrangements on the record, and Stacey Savage’s vocals get shown off here in a way that the previous “gruff anthem” styles don’t allow for.

“Dark & Dangerous” is not a record that breaks new ground. Hell, it unabashedly explores very old ground at every turn. It isn’t even Savage Master’s best record, lacking some of the fiery edge of the band’s earlier efforts.

But sometimes you just want songs that land on the beat and feel good. That’s this record. These guys can play, Savage can sing, and it has the good sense to end on a high note. Did it reach for that third star I gave it? Sure, but it got there all the same.

Best tracks: I Am the Black Rider, The Edge of Evil, Coldhearted Death

CD Odyssey Disc 1903: Courtney Marie Andrews

The streak of albums alternating between obscure metal and indie folk/country is now up to six.

How does that happen, you ask? It’s random. Identifying a pattern is just a thing that makes your brain feel better, and maybe generate a little small talk in the teaser section.

Disc 1903 is… Old Flowers

Artist: Courtney Marie Andrews

Year of Release: 2020

What’s up with the Cover? Courtney looks cold in this picture, and maybe a little miffed. Like the photographer has taken her out to the foothills and over several hours had her pose, trying to get the perfect shot.

So much time has gone by that it’s now dark, and so she’s just said “fine – the next one is it, and let’s go back to town!” as the photographer futzes with some lighting equipment he’s haphazardly pulled out of the back of the Jeep.

Alternative viewers may see a different tale. Perhaps Courtney and her partner have earlier murdered a hitchhiker on a lonely stretch of road. All the hitchhiker had was $23 in loose bills and an iPhone 6 with no minutes on it, and Courtney is pretty upset with the take, not leastwise because she only got $11 of it.

They’ve been digging a grave just off the road since the late afternoon and it has fallen dark. Courtney thinks the hole is deep enough given the isolated location. Her partner has insisted going down a couple more feet just to be sure the coyotes don’t dig him up.

In both scenarios Courtney is cold and would like to go back to town but doing it right – whether it’s a photo shoot or a murder scene – takes time.

How I Came To Know It: I’ve been a fan of Courtney Marie Andrews since she released her 2016 masterpiece, “An Honest Life” (see review back at Disc 1081). When she releases a new album I tend to buy it, and that’s what’s happened here.

How It Stacks Up: I have six Courtney Marie Andrews albums (I just picked up her 2026 record, “Valentine” this weekend). “Old Flowers” ranks at #2.

Ratings: 4 stars

The worst thing about Courtney Marie Andrews’ voice is that you can only experience it for the first time once. “Old Flowers” was my fourth album by her, and that ship had long sailed. However, even after many years and many albums, there is still no way to fully prepare to hear her sing. Each and every time it is revelatory.

After a bit of extra production on “May Your Kindness Remain” “Old Flowers” has a sound closer to “An Honest Life” and this is a good thing. The songs are simple and sparsely arranged, and perfect vehicles for delivering Andrew’s vocals. Soft and sweet, with a controlled quaver and hurt for days, Andrews has a voice that makes you stop what you are doing, turn your ears to the stereo in a slow and deliberate way and fall forward into the experience.

At its heart, the secret is vulnerability. Andrews sings like she’s experiencing heartbreak for the first time. The miracle is that somehow this wholly committed emotional journey has a wisdom in it you would associate with someone much older. She’s a reminder that when life isn’t a thing that washes over you, its something you immerse yourself in – become part of – and that’s a good thing.

The album is aptly named, with the imagery of flowers featuring on many tracks. “Burlap String” starts the record off, situating us in a small west coast town with a moseying country-styled guitar strum. Like a lot of Andrews’ songs, this one is the end of a relationship. It’s a song of reconciliation, though, as she muses:

“If I could go back now
I'd pick you wildflowers
Tie 'em in burlap string
Tell you what you mean to me”

It’s not a rekindling of the relationship – that’s over –it’s regret of the missed opportunities to express love when it was new and fresh.

Fast forward to the title track, and the theme has shifted, but the flowers have remained. The wistful guitar strum is replaced with the purposeful rhythm of heavy piano chords and snare drum. This one is a slow and sorrowful march. The refrain “you can’t water old flowers” reflects the other side of a neglected and unkind relationship which is over. “Burlap String” has a kindness to it. “Old Flowers” isn’t cruel, but it is resolute. It is bags-packed and walking out the door feeling good about something for the first time in years.

These are just two songs, and while you won’t find flowers featuring in every song, you will find a bouquet of hurt and wisdom at every turn. Andrews has a generational voice, and she deploys it with an easy grace. Listening pulls you into yourself, pushes you into the innermost places where your guard is down, and shows you the beauty you’ve been hiding from yourself in there.

“Old Flowers” came out in July 2020, at a time when most of us were locked in our houses, the pandemic deepening, and wondering what would come next. Andrews’ answer is simple – we’ll never know what comes next, or what cruel or capricious turns await us on life’s road, but one thing we do know – there’s always love.

Best tracks: Burlap String, Guilty, If I Told, Old Flowers, Break the Spell, How You Get Hurt

CD Odyssey Disc 1902: Ancient Empire

I seem to be bouncing between indie folk and obscure metal lately. Two of my favourite kinds of music, so not surprising.

Disc 1902 is… Wings of the Fallen

Artist: Ancient Empire

Year of Release: 2019

What’s up with the Cover? Metal albums consistently have the best covers, and this is no exception.

Warrior angels descend to an apocalyptic world, and contemplate the devastation. This angel doesn’t look angry at all the death around him, just disappointed.

Meanwhile, the two angels in the sky behind him are giving off decidedly “can we go now?” vibes as this whole “let’s descend into orbit and check out a planet!” proposal has not lived up to the hype.

How I Came To Know It: About ten years ago I found my love of metal rekindled through a subgenre called NWOTHM, or the “New Wave of Traditional Heavy Metal”. One of my early Youtube discoveries in the genre was Ancient Empire’s “Other World”. This led me to their Bandcamp site where I’ve been stalking (and occasionally buying) more records from their back catalogue over the years. The most recent of these is “Wings of the Fallen” which I couldn’t get on CD (yet!) but now have via download.

How It Stacks Up: I have three Ancient Empire albums. Of those, I must reluctantly rank “Wings of the Fallen” at #3.

Ratings: 2 stars but almost 3

I cannot confirm if Ancient Empire play tabletop war games, but if they don’t I feel they’re missing out on a natural outlet to their interests, because these guys love science fiction, particularly of the “epic battle” variety.

“Wings of the Fallen” is no exception, with the band delivering another concept album around lost worlds, endless wars and generally depressing stuff wrapped up in deliciously tasty power chords to help it go down easier.

This one involves angels, or not. The deeper thinking here appears to be the dangers of religious wars rather than anything spiritual. I admit I’ve listened multiple times and never sat down and did a deep dive on what is going on. There are discoveries of ancient weapons, and lots of hopeless “is this our last chance at survival?” conversation, but that’s pretty common stuff for these guys. They tend to tilt toward the bleak in their outlook.

What’s important are the riffs, which are not incredibly imaginative, but are timeless and played with gusto and precision, just as heavy metal riffs should be played. The band is tight and they have a late eighties Iron Maiden vibe to them that features an ever-rising melodic structure and a bit of gallop to keep the blood flowing. Think “Somewhere in Time” or “Seventh Son of a Seventh Son” stylings and you’ll be in the post-apocalyptic ballpark.

Lead singer Joe Liszt is no Bruce Dickinson, but while his range is limited he does have a good tone and delivers the band’s sci fi mayhem with dedicated sincerity. The rest of the band also plays well, capturing the soaring anthemic style critical to Ancient Empire’s sound.

Things generally go poorly for the combatants on an Ancient Empire record, and “Wings of the Fallen” is no exception, with horrific weapons of destruction consuming all life. Somehow, the band always makes their tragic epics sound uplifting. I guess it is hard for power chords to get you down without that minor third.

I enjoyed the guitar work overall, but the mid-record instrumental “Seraph Requiem” lost me. The playing that to this point has been holding down the bones of the record with energized riffs, here becomes unhinged and exposed when soloing.

Fortunately, the band immediately recovers on the next track, “The Last Survivor”, an epic six plus minutes of heavily themed goodness. Mixed in with a bit more structure, the guitar soloing also elevates.

Sure, “The Last Survivor” recounts the end of the human race, but if you are an Ancient Empire devotee (and I am) this is very much par for the course. You will throw your fist in the air, and you will mosh in ecstasy to these riffs, but all the while bad things will be happening to the characters in the story.

Ancient Empire rarely blows me away with innovation, but they are solid players (once again Steve Pelletier’s drums provide a reliably furious thump), and it is always a good time. This record felt a bit “more of the same” when compared to earlier work, but I knew that going in and so - unlike the poor bastards described in the lyrics - I had a good time.

Best tracks: A New Dawn, Wings of the Fallen, the Last Survivor

CD Odyssey Disc 1901: Carolyn Mark

Due to the random nature of my album selection, it’s been almost five years (Disc 1484)  since I reviewed an album by this next artist, but she’s always been in my heart.

Disc 1901 is… Nothing is Free

Artist: Carolyn Mark

Year of Release: 2007

What’s up with the Cover? This is one of the best album covers in my collection, so kudos to artist Kelly Haigh, who is also a singer I plan to learn more about…

Here we have our heroine, chained up on the outskirts of town and apparently intended as an offering for a demonic badger. Badgers don’t usually behave this way, but the skulls in the foreground suggest this one didn’t get the memo.

In the distance we have some industrial development pumping pollution into the dusky sky. Was it some nefarious Captains of Industry, bent on silencing our pesky folk singer by throwing her to the badgers? Will our chanteuse enchant the creature with her guitar playing and narrow-corseted waist, or will she disappear without a trace?

Well, not without a trace. Again, the skulls.

How I Came To Know It: I’ve been a fan of Carolyn Mark for a long time (first introduced to her by my friend Casey). This was a record I found on one of my innumerable searches through the CD stacks. I knew any Carolyn Mark album would be good, but let’s be honest – I would’ve bought this one for the cover alone.

How It Stacks Up: I have five Carolyn Mark albums, and “Nothing is Free” comes in at #1. I know the early stuff will always gain a glory for being first, but this record is simply lovely.

Ratings: 4 stars

A Carolyn Mark record is sure to feature some great folk songs, and likely a few chuckles as well. “Nothing is Free” has plenty of both, with Mark’s songwriting prowess on full display.

The musical structures are pure Canadiana folk, with touches of fiddle and mandolin filling in the space between Mark’s relaxed guitar strumming. The songs lilt along somewhere in the no-man’s land between weary and content. It’s a fine time exploring themes that are heartfelt, with a helping of brazen and a touch of naughty.

Mark’s vocals suit the space well, with a healthy handful of gravel in her tone, but a light sweetness in her high head voice. She deploys the tension well, a girl who’ll give you a sweet smile and then tip your macchiato into your lap for fun. It isn’t cruel or malicious, just playful. Besides you had it coming dragging your macchiato-sipping ass into the imaginary gin joint a Carolyn Mark song calls home.

A great example, these opening lines from “The One That Got Away (with it)”:

“There’s 2 kinds of women you let in your life
Exciting New Mistress and Boring Old Wife
There’s the 1 that got away
And the 1 that’s here to stay
I just want to be the 1 that got away with it.”

To say it is self-deprecating is to miss the point. Yes she plays around with her predilection for sin, but it isn’t with shame, it’s with celebration; a common thread through her many excellent records. Relationships are hard, and rather than feeling sorry for yourself, it’s OK to celebrate the mess of it all.

While I love the song, I do not love the dodgy use of numerals in place of words that is littered throughout the liner notes on this record. I must assume Mark was listening to a lot of Prince at that time.

Mark does not have blow-the-doors-off vocal power, but that’s not necessary for these songs. Successful delivery of tunes so laden with a barrage of clever words, requires air-tight phrasing, and in that department Carolyn Mark has talent to spare. She trills lightly across the top of the instrumentation or fills in the gaps in staccato faction as the song’s structure dictates, never losing musicality or tone through all the gymnastics. You may not notice it, but that feeling like she’s always landing the perfect punchline? – that’s what it does.

Near the end of the record Mark takes a slight detour into Vaudeville with “Poisoned with Hope”. I know the rhymes in this song are designed to be strained, but I didn’t love the effect, intended or otherwise, and missed the musical trill that gives the rest of the record its easygoing charm. A minor quibble, and not enough to knock a star off – just keepin’ it real.

Otherwise, not much to complain about on this record, which showcases an artist at the height of her talent, writing timeless folk songs that make you smile, nod knowingly, and feel small shivers of discomfort in all the good ways.  

Best tracks: The Business End, Happy 2B Flying Away, 1 Thing, Pictures at 5, The 1 that Got Away (with it), Pink Moon and All the Ladies