Harry Grafton (b. 1978) is the preferred title of Henry Fitzroy, 12^th Duke of Grafton, custodian of Euston Hall in Suffolk and the man behind the Red Rooster Festival. The latter, during its six pre-COVID years of existence, built a reputation for presenting fresh, fiery and exciting American roots music.

Lambchop leader Kurt Wagner has suggested that the title of this album is semi literal: that he wanted to write “something akin” to classic, Great American Songbook show tunes, rather than his usual country-tinged style. If so, it’s for a rather gloomy sort of a show.

There’s a line in “No Home”, the staggering centrepiece of Lady Dan’s debut album, that perhaps sums up the project. “Wolves will never be my masters again,” the artist, real name Tyler Dozier, sings as the strings swell, in a voice like the wilderness. “Men will never be my owners again.”

Last month Willie Nelson wowed us with a new album. Now comes Loretta Lynn, a year older (89 next month) with her 50th studio outing. It must be something in that proud Cherokee blood they share.

The ninth track on this collection of interpretations of songs written by Kris Kristofferson is so surprising it’s bewildering. The commentary in the booklet of For The Good Times – The Songs Of Kris Kristofferson notes its “sneering Joe Strummer-like delivery” and that the “guitar-heavy riff is very Clash-like.” Baffling. Could a Kristofferson song merit these words?

Ten years ago yesterday, on Monday 14^th February 2011, one of theartsdesk’s writers, Joe Muggs, reviewed an album called Paranormale Aktivitat, by an outfit called Zwischenwelt. It was the first ever Disc of the Day, a new slot inserted into theartsdesk’s front page design, where it still resides today.

When the concept album first properly took flight, in the late 1960s, before it became slave to the bloated artifice of prog-rock, it was an extension of the LSD-soaked times: “Songs aren’t big enough, man, I need a bigger canvas!” Famed albums by The Beatles, The Beach Boys, The Kinks and The Pretty Things sum up this golden period.

In 2020, one archive release exerted a more forceful presence than any other. Live At Goose Lake August 8th 1970 caught The Stooges as they promoted their second album Fun House. The source was a previously unknown, professionally recorded tape documenting the whole album as it was played live, in its running order. Iggy Pop and the band were hard yet sloppy, tight yet rough, always blazing. Wonderful – and a reminder that musical surprises still crop up.

I'm sure there's an audience somewhere that will love this Carrie Underwood Christmas croonfest. The people on Pinterest who collect nicely designed Bible quotes, seasonal recipes and images of matching family onesies, perhaps?

Think hard. How much schmaltz do you think there is in this album? OK, double that. Now double it again. Nope, you’re still nowhere close. This is the world schmaltz lake with the entire EU cheese mountain forming an island in the middle, all decorated with a Willy Wonka factory worth of sugar candy and more camp than the Boy Scouts Of America. It’s like an entire planet done up like that weirdo down your street who lights up their entire house and garden for the whole of December every year. It’s ridiculous.