Mark Mitchell Power

In 2018, country music is still well and truly alive and kicking. We’re not talking about the alien world of mega festivals and musical compromise for the sake of commerce, we’re talking about the art of songwriting, the rootsy pull on heartstrings and mainlining of heartache and devotion through the songs and stories of musicians from across the wide Australian expanse. Take Me To Town lays its mission statement out with its title. It’s a collection of alternative country songs. 47 of them. They’re the kinds of songs you’ll hear in pubs, bars, cafes and bowling clubs on any day of the week. Whether there are five people and a dog in front of the artist or a raucous room, packed to the gunnels, hot and noisy; these musicians sing their stories and play their instruments with heartfelt conviction.

After 30 years, this is the reissue of the classic Columbia Masterworks recording from January 1969. It was one of the first commercially produced tapes of a Harry Partch tape performance, and the first opportunity most listeners ever had to hear a large-scale Partch music drama in fine sound.

Some critics might dismiss Sophie Milman as simply another pretty female singer, yet with her third CD, she continues to show an adventurous spirit, tackling standards and obscurities while also forging ahead into pop. Retaining many of the musicians from her previous release, Make Someone Happy, the upbeat alto offers a hip take of Duke Ellington's long overlooked "Take Love Easy," exuding sex appeal and backed by guitarist Rob Piltch, bassist Kieran Overs, and percussionist Mark McLean (who also arranged it), with a brief solo added on soprano sax by PJ Perry. Pianist Paul Shrofel contributed the breezy bop vehicle "That Is Love," which showcases Milman in her best light. She soars in the brisk treatment of the old chestnut "Day In, Day Out," starting in a samba setting and switching to bop, featuring alto saxophonist Wessel Warmdaddy Anderson.