Elaine Davidson
Album: Can't Tell The River
Label: Self Released
Tracks: 13
Website: http://elainedavidson.net/

Despite living in the next county (albeit across a potential national border) to Cumbrian singer / songwriter Elaine Davidson, this is my first encounter with her work. Her third album "Can't Tell The River" has been recorded with her band in the legendary surroundings of Laurel Canyon, Los Angeles, courtesy of her former housemate and more recently producer of Aerosmith and James Blunt (well, you can't have everything) Warren Huart.

The album certainly wears its influences and production venue on its sleeve. The quality of the production on "Can't Tell The River" is generally very high; though I would have liked to hear a bit more of the country-rock banjo of Danny Hart on the opening track "Beneath Our Feet". It breezes in with a confident swagger, the banjo underpinning a song which would not disgrace the Linda Ronstadt portfolio. The title-track which follows is more subdued, and features lyrical violin from Hart for the first time. "Can't Wait To See You Tonight" is more jaunty again, featuring the guitars and drums of session musicians Tim Pierce and Blair Sinta. The mood again reverts to a more thoughtful song in "Cumberland" which is played by the core band of Davidson, Hart and double bassist Lawrence Blackadder.

"Glory Wings" again seems concerned with the nature of Davidson's county, and you sense a content immersion in her native land. "Haste Ye Back" is another mid-tempo country-rocker featuring Hart on mandolin and fiddle. Davidson has obviously - quite rightly - grasped the opportunity offered by this recording session to make the most of her songs in the studio, and it is an impressive showcase. "Lookout Mountain" again slows the pace down, with a simple electric guitar part reinforcing delicate acoustic lines.

"The Parting" is an enigmatic ghostly tale of loss, which creates a string section from the few bodies available, and "Song of Songs" also a slightly world-weary country-tinged waltz. There seems to be a programming issue with the track order at around this point, but no great harm done. "Sword and Shield" sounds as if it will be a live tour-de-force, if it can be achieved, a mixture of Appalachian fiddle and chamber orchestra.

The somewhat jazzier "Waterfall" provides further indication of the variety of styles this small combo is capable of, leading into another country-style ballad in "Come Fly Away With Me", and closes with "The One You Love", where Davidson channels Linda Thompson to good effect, her lone voice and guitar closing a very impressive product.

Whilst Davidson and Huart have made the most of the availability of their Laurel Canyon studio and experienced session musicians, it is the quality of the songs which stands out. More harmonies to reinforce the vocals may have been welcome, but this is a minor quibble set against a set of songs which vary in tempo and mood, but which you feel Davidson and her band believe in wholeheartedly. A very accomplished album.

Harry Thomson