LONDON – The Country Music Association presented its 2007 Wesley Rose International Media Achievement Award to Alan Cackett, editor and publisher of Maverick Magazine earlier this week. The Award was given to Cackett by Bobbi Boyce, CMA International Director.

The Wesley Rose International Media Achievement Award recognizes outstanding achievements in the media which contribute to the development of Country Music outside the United States. Radio, TV and print journalists; authors; editors; television writers and producers who reside outside the United States are eligible to win this award. It does not have to be presented annually. The award was named after Country Music Hall of Fame member Wesley Rose, who served as the first Chairman of the CMA Board of Directors.

“I’d like to thank CMA for presenting me with the Wesley Rose International Media Achievement Award,” said Cackett. “For my peers in the Country Music industry to acknowledge my endeavors is quite humbling and unexpected. You know I only got into all of this because I’m so passionate about the music. For me it’s all about introducing as many people as possible to good music they’d otherwise miss out on. That’s what continues to drive me.”

Cackett launched the first British Country Music monthly magazine in the mid-60s with Country Music Monthly. He later wrote about the format for a variety of publications, including The Times, Daily Telegraph, The Independent, Music Week and Q, and many others. Cackett wrote a Country Music column for Kent Messenger from 1968-1997. He also served as a feature writer for Country Music People from the ‘70s through the early ‘90s before moving to Country Music International in 1994. He launched Maverick Magazine in 2002, which covers Country and roots music.

Cackett served as a promoter of many concerts, festivals and tours in the United Kingdom, including the acclaimed Good’n’Country Festival of the late ‘80s and ‘90s. He is also a founder of the Zebra Bar, one of the UK’s leading Country and roots music venues.

There will be more information and comments from Alan Cackett in the June issue of Maverick…

Click to download the Maverick May 2008 Podcast.

Maverick April 2008 Podcast

A Strong Country Lady 

‘This hell-raising angel’s had a fair share of heartache. . ./But you’ll never know just how it feels/’Til you fall all apart and your heart don’t wanna heal,’ she pines on the title song. A plaintive piano ballad sweetened by strings, the song also throbs with longing for her late sister. ‘Wanna crawl in that dark hole and curl up beside her/Wanna cradle her sweet soul and never let go,’ Carlene sings.
Nods to her mother can be heard in the autoharp and Wildwood Flower-like lilt of To Change Your Heart, and to her step-dad in the locomotive, boom-chicka rhythms of The Bitter End. More than anything, though, Carlene’s album is about pressing on, as her mother liked to say, with humour and gratitude amid the storms of life.
It was marrying actor Joseph Breen in 2006 that helped Carlene battle those storms of life and helped her return to the fray of a being a songwriter, singer and performer…

Amy Macdonald

Anyone with a modicum of interest in music will by now have heard of the phenomenon that is Amy Macdonald. The twenty-year-old singer-songwriter from Glasgow hit the headlines in July 2007 when her sizzling debut album was released. First of all let’s look at some facts: The album debuted at number two in the UK Official Album Chart and stayed in the top ten for five weeks, debuted at number one in the Scottish charts and stayed in that position for four weeks, went gold in four days, reached platinum in November 2007 and had sold a massive 500,000 copies by mid January 2008. To top it all, the album reached number one in the UK Official Album Chart on 13 January 2008. Not to mention the hit singles Mr. Rock and Roll, L.A. and This Is The Life all taken from the album. Not bad for a girl that only a couple of years ago was due to take up a University place studying social sciences. So how did it all start?

Amy was twelve at the time, and was on a family outing to Rothesay on the west coast of Scotland, clutching a crisp ten pound note that her Grandmother had given her to spend on a treat. Not wanting to buy ten pounds worth of sweets, she chose to purchase a copy of THE MAN WHO by Travis—one of those classic albums that most people seem to have in their record collection—an album of good honest songwriting, delivered with honesty and emotion, songs that can mean something to everyone. It was the first album that Amy had ever owned and was the one that would change the course of her life…

• NOT SXSW! – It’s Music Party Time…
• On The Road With Bluegrass (Part2)
• Willie Nelson – Maverick Icon
• Cackers Cackling…
• Donna Ulisse – Whatever Happened To?
• Tift Merritt – That French Connection
• Nick Barraclough column
• Jim Hightower – Kicking Up A Storm
• Little Big Town – The Dream Scenario
• Carlene Carter – A Strong Country Lady
• Marty Stuart – No Compromise Works!

The Live Reviews consist this month of Carolina Chocolate Drops, The Sorentinos, Rob Halligan, Charlie Landsborough & more

In the On Tour section there are features on Eric Andersen, Tanglefoot, David Celia, Jason & The Scorchers, Smith O’Reilly Band, Bernard Carney and Dana & Sue Robinson.

Plus we have loads of CD Reviews now split into new sections; we have the New Releases, Dusty Relics, Short Cuts, Christmas Reviews and DVD Reviews and here are just a few of those that make appearances in this month’s issue: Willie Nelson, Holly Long, Geoffrey Welchman, Ashton Shepherd, Felice Brothers, Joe Thompson, Helen Boulding, Kathy Mattea, Fayssoux, Michelle Wright, George Strait, Tammy Wynette, John Anderson and loads more.

Brontë Music Club, Rathfriland, Co. Down

November 23

The promotional flyer invited recipients to come along and view, at close quarters, a pair of fine Canadian songbirds, rarely seen in these parts and only just flown in for a fleeting winter visit. A not insignificant crowd heeded what turned out to be excellent advice, taking up all possible vantage points at this increasingly popular roost, now well used to hosting its fair share of fine, international songbirds, to enjoy yet another superlative night of top class entertainment. It was a close run thing but I resisted the temptation to include ‘warble’ in the description. Alana Levandoski and Lynn Miles, on a short joint tour, each played individual sets only coming together for a brief encore. If the appreciative crowd had had its way, they would have continued long into the night, such was the warmth of their reception. First up and making a very welcome return visit was Alana who made quite an impact during her all too brief support slot (for Blue Rodeo) last year. In my opinion, she has matured like fine malt since then. Her set contained a mix of songs from her only release to date, the excellent UNSETTLED DOWN, as well as some new tracks destined for a new CD, as yet unnamed, but due for release in the spring of 2008. Judging by tonight, it will be well worth a listen on its eventual release. I particularly enjoyed Song for a Cougar and Calvary Road, the latter receiving its premiere live performance at the Brontë. Alana felt compelled to explain that the ‘cougar’ in the title of the former is a Canadian term to describe women of mature years who frequent night spots with the single aim of hitting on younger men. Sounds ok to me! Clearly, no subject is exempt these days. All in all, a great set from an artist I expect to be entertaining appreciative crowds in good music venues (like this) for years to come. Then, as if we weren’t already spoiled enough, Lynn Miles, whom I have long admired as a recording artist, stepped on stage for only her second ever show in Ireland. Sporting a locally made Lowden guitar, she launched her set with Flames of Love and again delivered the pick of her recorded material over the last few years from an extensive back catalogue, including one of my personal favourites, You Don’t Love Me Anymore. Tracks also flowed from the current LOVE SWEET LOVE and, sensing correctly that she was among friends, she even felt comfortable enough to test a few contenders, including the gorgeous Cracked and Broken, competing for spots on her own new CD, again untitled, due out in late spring. Primarily well known for her melancholy song content and her plaintive delivery, Lynn did not disappoint her large audience and her anecdotes and the stories prompting the songs were an absolute delight. Both ladies joined forces on great arrangements of, maintaining the Canadian link, Neil Young’s Helpless and Hank’s I’m So Lonesome before Lynn brought the curtain down on a superlative night with Emmylou’s Those Memories of You (TRIO Vol One). If only proper twitchers could always be this well rewarded for venturing out to view songbirds on similar fleeting visits. Cathal McLaughlin

We came to listen to the new ‘star’ on the horizon, Juliet Turner promoting her new album Season Of The Hurricane and ended up praising her support act as well. The appearance of Duke Special was the first of many pleasant surprises at Barrels. This was the second time I’d heard Duke Special and it is difficult to keep on describing a musician as ‘unique’ and ‘original’ because people start slipping in their own adjectives like ‘weird.’ However, to set the scene, imagine the Cure’s Robert Smith invading your great granny’s parlour and using her gramophone and the family piano for purposes she could never have imagined and you get some idea.
So while the look of Duke Special is certainly different, there is a basic truth that remains constant. At the heart of what he does is music, the imagery is merely a signpost, without songs like Something Might Happen (about a guy jumping off a bridge) or Don’t Breathe, which are almost bottomless in the depth of their emotion it would lead nowhere. Until the final number Let You Down, when he treated us to several cymbal crashes. He was an intense but almost reluctant performer, so wrapped up in creating the music he appeared ill at ease at times. The dreadlocks and gramophone, he wore one and played the other, are one half of a contrast because he also possesses a voice that is warm and rich, it doesn’t so much carry a tune as float it around the room. In 20 years time he could carve out another career as a singer of ballads if he wishes. One doesn’t want to mention any names but I’d be looking at cardigans if he were planning that career path.
Categorising Duke Special as a live performer is virtually impossible, he’ll never rouse a crowd but he will hold them in the palm of his hand. The audience was largely Juliet Turner’s but he took them and he held on to them with the honest passion of songs like John Lennon Love, Wake Up Scarlett and Freewheel, which was a tapestry woven from the multicoloured threads of his life. Maybe that’s at the heart of his appeal, he takes the mundane and makes it magical. Don’t go and see him because he’s ‘different,’ or because he’s ‘original’ although he is both of those things. Rather go and see him because he’s a hugely talented musician.
It was case of follow that for Juliet Turner. I called her a rising star but her star has definitely already risen. At the moment she’s in danger of becoming a ‘media darling’ and it’s easy to understand why. Superficially her songs are unthreatening, delivered in a voice that moves effortlessly through the gamut of emotions. Live she has a natural ready wit, she loves the audience and they undoubtedly love her, this was officially designated a ‘love-fest.’ But it would be a sin if she were hijacked by the chino and Brooks Brothers shirt set because the ‘danger’ factor in Juliet Turner’s music lies just beneath the surface and, when it erupts, it’s a force to be reckoned with.

She was joined by Brian Grace and Shaun McGee, Grace played on her previous visit but the addition of McGee on bass gave a fuller sound, she has moved from singer to leader of the band. And in the company of Grace and McGee she formed a Peter, Paul and Mary for a world that has lost its virginity. Instead of Puff The Magic Dragon Turner gave us Rough Lion’s Tongue the tale of a heroin addict doing street gymnastics to earn the money for a fix. Leavin On A Jet Plane became Belfast Central; both about moving on, but the former rose-tinted, the latter honest and brutal. Even her breakthrough song Everything Beautiful Is Burning was removed from the ‘radio friendly playlist’ and stripped bare. It became the song of destruction its title suggests. With Grace by her side she threw out the song’s bathwater but kept the baby safe and sound. It was a chilling and ultimately sad moment as she allowed a peek inside the mind of the song.
Juliet Turner is an accomplished performer and she gently guided the audience through the natural highs and lows of a gig. She let the air out of the emotional highs only to inflate them again when the time was right. The audience went with her willingly. It is unlikely but it would be shame if Juliet Turner ended up in some ‘middle of the road hell’ because with songs like Queen On Canal Street and Signal and the Noise she articulates an unyielding and burning conscience. She is one of a rare breed of musician that actually believes in something. However she knows how to sugar the pill and the love song Pizza And Wine is surely the national anthem for every stumbling, bumbling one of us that has suffered the agonies of first love. Juliet Turner is a born entertainer; you only needed to hear the packed audience’s reaction to her at Barrels to know that. Along with that she is passionate, committed, intelligent and articulate. She has the power to speak for people who have no voice. And, what’s more, make people listen. Whether they hear or not is up to them. Michael Mee

Kirkstyle Inn, Glenmavis, May 24

It was my first time at the Kirkstyle Inn and first opportunity to experience Eleanor McEvoy live. On both counts I was impressed. The evening got off to a promising start with the support act provided by Glasgow-born lass, Maeve O’Boyle, who treated us to selection of tracks from her soon to be released debut album. Her distinctive vocals are likely to stand her in good stead as her career develops. Then to the highlight of the evening, enter stage left Eleanor McEvoy; bass guitar in hand, immediately launching into Little Look from her latest album OUT THERE. For the next two hours we were treated to a musical and vocal feast, each song telling its own vivid and emotional story. Throughout the evening, Eleanor engaged with the audience—her humorous and witty interludes adding to the relaxed and enjoyable atmosphere. There were many highlights, however personal favourites were the blues number The Way You Wear Your Troubles, Suffer So Well and her haunting rendition of Marvin Gaye’s Mercy Mercy Me. Her smooth tone of voice has echoes of Suzanne Vega with an Irish twist. And even her most melancholy numbers will put a smile on your face. She played a number of tracks from earlier albums—most notably the up-tempo Days Roll By from the EARLY HOURS album released in 2004 and the lyrical Only A Woman’s Heart from ELEANOR McEVOY. All in all it was memorable evening in the intimate and friendly atmosphere of the Kirkstyle Inn. Eleanor is a genuine talent, combining her distinctive and mellow vocals with an impressive array of instruments ranging from the bass guitar to the mandolin. Few artists have such musical versatility. So if you get a chance, go along and see her, you will not be disappointed. Neil Ross