Incredible to think that Hugh Laurie has gone from comedic actor to serious actor and now turning his attention to blues music with follow-up album ‘Didn’t It Rain’ to the well-received debut ‘Let Them Talk’. Whilst the latter focused on celebrating and reviving classic songs from the world of NOLA blues, ‘Didn’t It Rain’ is a departure from the New Orleans sound and a steady progression into the exploration of the blues further inland towards America’s central regions. In doing so, Laurie has turned his attention to early pioneers such as W.C. Handy ‘St. Louis Blues’ and the imaginatively titled Jelly Roll Morton ‘I Hate A Man Like You’ bringing this up-to-date with more recent artists Dr. John ‘Wild Honey’ and The Animals Alan Price with ‘Changes’. If there are any doubters remaining, however, as to the musical credentials of Hugh Laurie, then roll back to the contented sentiments of ‘Junkers Blues’; weep at the quite exquisite ‘Careless Love’ or eavesdrop on the stripped-back sounding before adding some weight confessions of ‘Send Me To The ‘Lectric Chair’ to realise that ‘Didn’t It Rain’ is more than a simple side project reliant on its various collaborators to give it kudos. ‘Didn’t It Rain’ is the second instalment of a fascinating journey of America’s blues music. Long may it continue.

With Steve Earle’s creative enthusiasm for coming up with the goods time and time again, ‘The Low Highway’, accompanied by The Dukes and Duchesses, shows no signs of waning as this album will take some topping. Being cited as his ‘road’ record, nicely illustrated by the liner notes, ‘The Low Highway’ reveals a breadth of acoustic strummers, country-rock numbers, elements of bluegrass and in the process revealing all facets of Earle’s enduring talents. The mid-tempo jaunt and slight carefree attitude of ‘Love’s Gonna Blow My Way’ breezes through only to be halted in its tracks by the wonderfully portrayed barroom blues of ‘Pocket Full of Rain’. It is left to the title track and lovely drifting strum of ‘Burnin’ It Down’, however, to claim the overall prizes.

First appearances might be deceiving as this is no straightforward country album as there is a real fusion of sounds throughout ‘Texas Boogie’, which is Mike Penny and his Moonshiners’ latest album. From the opening ‘Hardtop Race’ with its western swing influence spliced with occasional piano boogie to the more traditional swinging jive of ‘Jumping From Six To Six’ suggesting that Mike and his fellow musicians have a broad palette to not only work from but clearly express to (hopefully) a wider audience. This genuine array of talents, however, is what makes this second offering so compelling because despite the wider influences the band manage to rein them in under one cohesive umbrella. Whether it’s the more boppin’ ‘Flaming Mamie’ or the hillbilly tinge of ‘No Muss, No Fuss, No Bother’ before leaping to the more straightforward country influence of ‘Ship Of Broken Dreams’, ‘Texas Boogie’ certainly delivers on more than one level and keeping in line with western swing music.

Hot on the heels of the Jack White-produced ‘The Party Ain’t Over’, Wanda Jackson continues her renaissance with new album ‘Unfinished Business’. This time it’s Justin Townes Earle on production duties; even contributing vocally on the quite superb ‘Am I Even A Memory?’ With ‘Unfinished Business’ being a more subtle affair than the aforementioned White project, it would seem that Jackson still has much to offer, and long may it continue, as this resurgence in creativity and recognition is much welcomed.

The rise of Taylor Swift’s mercurial star continues to ascend and rightly so with this truly compelling release. ‘Red’ is the kind of album which throws out its pop (yes, pop) hooks from the off and instantaneously grabs the listener by the ears in a quite seductive spell. Despite some remnants of a country sound (‘All Too Well’ ‘I Knew You Were Trouble’), Taylor Swift has gambled with a (near complete) change in musical direction and it’s paying dividends as the opening indie-sounding ‘State Of Grace’ and radio-friendly ‘22’ testify. The supremely addictive ‘We Are Never Ever Getting Back Together’ solidifies further  this new found direction as does the intriguing choice of duet with Snow Patrol’s Gary Lightbody on ‘The Last Time’. Without wishing Taylor Swift to completely ditch her country roots, one cannot help but feel genuinely moved by this change in direction, whilst not entirely original, as ‘Red’ is proving many doubters wrong.

Eve Selis has really pulled out the trump card with ‘Family Tree’ as it is an album full of intimacy and rich in consistency. The gritty power of opener, ‘Power and Glue’ really states its intentions, and nicely succeeded with ‘Any Day’, which would grace any radio station’s playlist as it has ‘Hit’ single written all over it. The straight up country jaunt of, ‘When Is Everything Enough’ is a topical reminder of the current financial predicament told through the eyes of a love song. But it is the title track itself which really stirs emotionally, as it is a lump in the throat realisation of separation when the empty nest syndrome becomes a reality. It would seem that Eve Selis is at the peak of her powers as ‘Family Tree’ deserves to be a lasting success.