The first instalment in a series of releases focusing on Willie Nelson’s archived material. Personally chosen by the man himself with help from his sister Bobbie, Willie Nelson sets up this first volume with a selection of songs taken from his musical vault containing a glut of riches by featuring some alternative versions of former songs, cover versions as well as contributions from his Family Band. There is a warm intimacy to the majority of songs with the barest of instruments used via Bobbie on piano, Willie Nelson on guitar and moments of harmonica from Mickey Raphael.  There is a genuine old-time quality regarding opening song ‘Alexander’s Ragtime Band’ with a slight spring in its step exemplified by the sprightly piano keys and Nelson’s quick-fire narration. The rendition of ‘Permanently Lonely’ is a compelling take on the previous recording; sounding close to improvised with the nuts and bolts being reassembled as the song gathers its memories by way of its plaintive vocal and pared back instrumentation. With time for an instrumental jam via ‘Nuages’ before fumbling its way through the lyrical haze and makeshift musical accompaniments of back-to-back ‘I Don’t Know Where I Am Today’ and aptly named ‘Amnesia’, ‘December Day: Willie’s Stash Vol. 1’ is the sound of one of country music’s greats recollecting his past, but with a sense of creativity that often gives fresh perspectives to the majority of songs presented here.

There seems to be an unwritten rule when it comes to music, whether in the UK or certain parts of Europe that if one’s chosen career path is of a certain genre, then one has to continue along that chosen path and not digress. Such is the debate currently surrounding Tone Damli’s temporary decision to trade genres from pop music to a more traditional folk sound just in time for the seasonal Christmas rush. The album causing all of the commotion is ‘Di Første Jul’ (‘Your First Christmas’), which happens to be Tone Damli’s first attempt at a Christmas album and one that relies on more traditional songs, as well as lesser known seasonal compositions, personally handpicked by the Norwegian songstress herself. The primary beef with this particular album, from various sections of the Norwegian music press, seems to be the already mentioned trading of genres, whereby a pop artist cannot be taken seriously if attempting anything remotely highbrow as with ‘Di Første Jul’. In addition, there seems to be a few concerns regarding Damli’s decision to bend the rules slightly, by incorporating a specific regional dialect to interpret the songs selected and thereby change some of the texts in order to create a more personal album that is closer to her own heart. While not wishing to enter such a debate – although the first point regarding certain pop celebrities being dismissed when trying their luck at other musical genres riles somewhat – the point to address here is that ‘Di Første Jul’ is actually a good album regardless of past creative endeavours or exchanges of language usage. Getting down to business, ‘Di Første Jul’ is constructed of some fine qualities; namely the delightful vocals of Tone Damli providing the sweetest of touches to the album’s title track and other noteworthy additions as ‘Vi Tenner Våre Lykter’, but also fine musicianship via an assortment of roots instrumentation providing a genuine earthy feel overall, and one that often remains understated. The opening daybreak of ‘Luciasang’, exemplified by its steel strings entrance, is simply glorious, as it then proceeds to go about its business in what sounds like an unfussy manner, when actually there is much detail between its layers with various instruments combining to great effect. The introspective atmosphere given to ‘Snø’ sounds more suited to a rain soaked evening where the car’s wipers are working overtime on the long drive home, but fortunately you’ve got Bruce Springsteen sitting alongside for company. The liner notes for this album release hint at one or two songs containing a less festive tone, but this is part of the appeal of ‘Di Første Jul’ as it’s a Christmas album with a difference as you will hear the odd country twang or the mood can be a tad sombre (‘Mitt Hjerte Alltid Vanker’). However, all these aspects are to be applauded considering the nature of this album release, and one that is far preferable to hearing Slade’s ‘Merry Christmas Everybody’ for the umpteenth time! With Espen Lind providing quality control behind the production desk, the entire blend of this seasonal effort sits perfectly as it considers a variety of emotions which, quite frankly, reflect the shades of colour and light leading up to this particular season. On the evidence of ‘Di Første Jul’, it would seem that pop stars really can operate within different musical genres.

Only in his mid-twenties, the name Ben Poole has come a long way in a relatively short space of time. Such progression for this blues-rock maestro is hardly surprising considering the solid foundations having been put in place after acquiring a degree in music at Brighton University and then opening his recording account in confident manner with the EP ‘Everything I Want’ and ensuing full length debut album ‘Let’s Go Upstairs’. Latest release ‘Live At The Royal Albert Hall’ is great testament to the musical strides Ben Poole is making considering the prestige of the Royal Albert Hall, but it is also an album that sees Ben Poole in his natural environment of a live setting where he is truly able to capture the raw energy and passion of his own compositions, in addition to a smattering of covers. The dextrous playing is evident throughout ‘Live At The Royal Albert Hall’ as Ben Poole blazes a trail of musical delights along with his band consisting of Craig Bacon (drums), Mat Beable (bass), Sam Mason (keys) and Amy Eftekhari (vocals) with the early runner ‘Let’s Go Upstairs’ containing some white-hot guitar and the burnt feelings of ‘Love Nobody No More’ being two such examples. Taking up the middle section of this live set is the previously mentioned selection of cover versions with The Temptations ‘(I Know) I’m Losing You’ given a gritty rendition via some bruised vocals, robust guitar and swirling keys, before handing over to the more than respectable versions of Otis Redding’s ‘Mr. Pitiful’ and Billy Myles’ ‘Have You Ever Loved A Woman’. Despite ‘Live At The Royal Albert Hall’ being a landmark achievement in the early stages of Ben Poole’s career, any temptation to rest on his laurels is not something this blues-rock artist is willing to entertain as the bonus entry of a new composition ‘Starting All Over Again’ sets up the next instalment as a seriously mouth-watering prospect. Until that time arrives, ‘Live At The Royal Albert Hall’ serves as an entry point for those less familiar with this emerging talent, but also this live recording captures the true identity of Ben Poole in a live setting. Highly recommended.

Entering a creative, transitional phase is Norway’s Ida Jenshus with the ‘Let It Go’ EP. Consisting of four tracks, this next step in the career of Ida Jenshus sees her embark on an exploratory journey which begins with the epic ‘Shallow River’ that is full of dark, shadowy imagery and roots instrumentation with a definite late sixties feel, before evolving into something lighter in tone with the vocals becoming more like Joni Mitchell. Playing out in three segments as the storm clouds gather once more to see out this opening song, ‘Shallow River’ is an audacious beginning for Ida Jenshus and one that strengthens its grip as the rest of the EP progresses. The next step is ‘Hero’, set to a more traditional structure compared to the expansive nature of its predecessor, the song starts off in a murmur and then rides out on a wave of chiming guitar and acoustic support with a fine vocal turn, which is eclipsed by the time ‘Set Us Free’ arrives as Ida Jenshus’ voice dominates from start to finish. The finale of ‘Sylvia’ is full of tenderness and perfectly expressed by the pared back sound of acoustic guitar and Ida Jenshus. With a new album scheduled for next year, it will be interesting to hear how this newfound direction will develop over a much greater scale for Ida Jenshus. In the meantime, ‘Let It Go’ is sufficient evidence that this songstress is on the right path.

After the smash hit that was ‘Need You Now’ in more countries than one can remember, this very song seemed to redefine the meaning of modern country music as it had more in common with the slick, commercial gleam of pop music than anything deep-seated in American country roots music. Despite this shift in style from a more traditional country sound, the change in tactics worked as there was no denying the song’s irresistible hooks and desperate pleas in the wee small hours for a relationship not to meet its demise proving deeply persuasive to even those not quite converted. Seven Grammy awards later and Lady Antebellum find themselves ready with album number five, ‘747’, which alludes to the band’s hectic touring schedule involving various methods of transport and stopgaps of hotels and motels until the next live venue calling. There appears no sign of fatigue as ‘747’ reveals the same winning formula which has made Lady Antebellum such a great success as this fifth album is built on strong harmonies, catchy melodies and a general knack of knowing how to write quality songs that will appeal to the masses. Such a feat is not an easy task to constantly maintain, yet Lady Antebellum show their strengths with the close-relative of the previously mentioned ‘Need You Now’ with the more robust yet equally longing ‘Long Stretch Of Love’. From there on in, ‘747’ utilises an assortment of ‘modern’ techniques, alongside a few traditional country trappings, to bring to life the addictive pull of ‘Bartender’, ‘Lie With Me’ and ‘Sounded Good At The Time’. There are moments of quieter reflection as well with the nostalgic ‘Damn You Seventeen’ and touching ballad ‘One Great Mystery’, the latter of which contains the Lady Antebellum trump card of interchanging vocals. Even the slightly underplayed yet determined title track wins the plaudits as it shows a grittier side to this band and is most definitely one of the standout songs. How Lady Antebellum maintain such a consistent level of song writing prowess is anyone’s guess because ‘747’ is another sure-fire winner to add to their growing number of recorded works.

The versatile and hardworking Tim McGraw returns to his musical country roots after plying his other trade as an actor covering both bases of film and television. After the impressive ‘Two Lanes of Freedom’ in 2013, McGraw’s latest acquisition to his vast musical output is ‘Sundown Heaven Town’. This latest album begins with the wry smile of ‘Overrated’, wonderfully depicted by the opening picking of a banjo suggesting simpler times before an avalanche of instrumentation storms in to express the present with its pressures of feeling a need to fit in and conform. The nostalgic ‘City Lights’ eases the pressure with its bright country rock tone and a narrative reminiscing on the carefree days of late adolescence when staying out late and being in love was all one had to worry about. With ‘Sundown Heaven Town’ spanning a total of eighteen tracks, there is much to take in here. However, whittling this current album down to a more manageable size must have been a tough proposition for Tim McGraw who, in hindsight, is to be applauded for remaining steadfast in his own convictions, considering the consistency and quality of tracks on display. Whether it’s the mild delivery of ‘Portland Maine’; country rock of ‘Dust’ or knowing mismatch in the relationship stakes of ‘Diamond Rings and Old Barstools’, McGraw possesses an ability to make the entire contents of ‘Sundown Heaven Town’ sound effortless, such is his ability to conjure up infectious melodies that get straight to the point and remain free of any excesses. Such vision also extends itself to experimentation with more traditional elements of bluegrass and folk combining with pop to create the rather uplifting ‘The View’, and certainly modern for the country genre without actually being country due to its heavy usage of electronics and once more sounding like pop music that is ‘Lookin’ For That Girl’. For our money though, it’s the quieter introspective moments that find McGraw once more in nostalgic mode with the exquisite ‘Meanwhile Back At Mama’s’ and angelic qualities of ‘Last Turn Home’ that really touch the deepest nerve.