Homestead: Vol 8 – Various Artists (reviewed by Dave Franklin)

Americana is an interesting term, a music style in step with what it means to be American. It is a soundtrack to that country’s history and heritage, culture and perhaps its very soul. There isn’t really an equivalent, at least not one that I’m aware of, in any other country, but then few other countries are expansive enough to have such a wide range of musical styles – rock, blues, country, folk – mixing and merging together to form such an indigenous musical form.

The Homestead series of albums is Bongo Boy Record’s way of celebrating such a unique sonic mixing pot, one that is both identifiable and solid and also elusive and evolutionary. So, we have fourteen songs that remind us just how diverse the Americana sound can be, some by artists regularly found in the Bongo Boy world and some new to it, but all helping to make this album a diverse and delicious sonic gem.

Gar Francis and Sapphire Star kick things off with the punningly amusing “Plain as the Noes on Her Lips” and a song that blends old-school rock ‘n’ roll grooves and country vibes, punchy horns, and scintillating guitars. Not a bad way to kick off. They are featured later on too, with “Chiselled in Stone” again representing the place where the Americana sound and the more boogiesome rock ‘n’ roll sound dance deftly together.

“Western Spirit World,” which follows, captures some of that same rock-roots interplay, Trevor Aaron Carlesi dreaming about being a cowboy over the sound of driving beats and twanging guitars, but there is still plenty of room to break things down a bit and reveal some deft and delicate piano too.

Willow Layne and Countryside Studios are known for working at the more understated end of the Americana sound and have two tracks on the album. Firstly, the country ballad “My True Companion,” and also later with the guitar-driven, sweeping, and dynamic “Sweet Child of Mine.” Both songs are celebratory, life-affirming, honest, and personal, yet relatable.

E. G. Holmes makes the first of three appearances. “Cool Changes,” which also features “Rick Ellis,” is another song that bridges the rock-roots divide, countryfied yet energetic, poised yet powerful as required. His own solo effort, “Daisy,” proves to be a lush country-pop song, mid-paced and sitting somewhere between ballad and groover. The narrator of the song longs to be told by that special someone that he is the one and only. Come on, Daisy, don’t leave him hanging!

“The Laughter Never Ends, George the Sheepadoodle” feels like one of those semi-fantasy, ’60s folk songs, sonically lush and full of innocent sentiment, paying tribute to one specific member of the pack of man’s best friends, courtesy of Monique Grimme and Sapphire Star Studios. The first of two songs celebrating the simple pleasure of spending time with cherished animals, George the Sheepadoodle and then Boomer the horse, not just pets but friends. “Boomer and the Skylands Mountains,” the second of this pair of musical tributes, is a gentle song anchored in sweeping strings and chiming pianos, a simple song about the same love for a trusty sidekick.

Trevor Aaron Carlesi is back next with “Where’s My Daddy?” a heartbreaking story of a son’s bewilderment and lack of understanding as he watches and tries to take in his veteran father’s funeral. Flags are folded, prayers are said, and his mother tries to explain why his daddy isn’t coming back from war.

“Thinkin’ About Love” sees Shar and Dumi bring us a delicate, understated bluesy ballad centered on soulful guitar licks and lots of space. This space creates a canvas for those great vocals and drifting harmonies to work their magic, and does this Wild Rivers cover justice. And then some.

Boys ‘N’ Barry contributes “April’s Fool,” a 60s-infused, psychedelic-tinged pop-rock song. Tiki Cowboys bid us “Good Morning” via a strutting, bubbling, island-vibe slice of fun. That just leaves room for E.G. Holmes to play us out with “I Remember Alice,” a poignant and powerful balladic piano-driven piece that is full of nostalgic and youthful reflections on youthful parties and what might have been.

This is an excellent collection of music that reminds us that genres are, at best, guidelines, and that all the best musical styles push their own boundaries, creating new versions of what has come before. The artists found here certainly do that, and the array and variation of the songs prove that when it comes to the Americana sound, it is perhaps more diverse and adventurous than most.

Album Info

Bongo Boy Records