The Townies - Plug (Independent)
Massachusetts five-piece The Townies got together in 2008 when three former members (David Shorey, Jeff Bacon and Doug Cowan) of Maine band Between Dreams reconvened and recruited a new rhythm section of Sean W. Hennessy on bass and Gordon Smith on drums. They released their debut album "One For The Ditch" to some acclaim in 2010, and now, three years later, they've followed it with "Plug", an eleven-track collection that should cement their reputation.

Produced by the celebrated Paul Q. Kolderie, whose previous credits include Warren Zevon, Radiohead and Pixies, "Plug" bursts from the traps with joyful intent. "Grow On You" provides a fabulous launch. Its alt. pop stance brings to mind Lemonheads, Dandy Warhols and Fountains Of Wayne. Sure, there's an element of power-pop to what they do, but there's also a depth and quirkiness to their writing that blows away the clichés inherent in the genre.

They're also not scared of a riff. "Never Be" arrives on a huge one, and guitarists Bacon, Shorey and Cowan have some fun. Indeed, fun and enjoyment seems intrinsic to their approach, and it's wholly infectious. It's nigh on impossible not to be swept up with their enthusiasm, and the fact that they relentlessly ply the listener with strong original songs, massive hook-laden choruses and tunes that stick around long after they've finished obviously helps. Simply put, great tracks come thick and fast. "Freakshow" takes its inspiration from "Pleased To Meet Me" Replacements; "Irish Smile" is a perfect pop thrash and "Roll" is a massive hit single on a world with better taste than ours.

Michael Waugh - Heyfield Girl (Independent)
Things are looking good for Melbourne-based singer-songwriter Michael Waugh. His new five-track EP "Heyfield Girl" is steadily gathering acclaim, and the title track, when released in demo form to festival organizers and songwriting competitions, resulted in invitations to perform and a clutch of nominations and prizes.

It's an outstanding track, rooted firmly in the folk tradition, it tells the story of Waugh's mother, her battle with illness and his father's love for her. It might have been maudlin or a trifle over-sentimental, but thanks to a light-touch and a supple arrangement, it's uplifting and life-affirming.

Stories are central to Waugh's style, probably the result of a misspent youth listening to classic country music, and there's a gentle country influence at play throughout the recording. The remarkable "Both of Your Kids" is chock full of detail, the tiny pieces of information that lift a song beyond the ordinary, and "Burned", a brushfire narrative that seems so relevant to Australian life.

Local commentators are already comparing Waugh to Paul Kelly, and it'll be interesting to see whether he can make the same international impact. There's a debut album release planned for mid-2013, so we may not have to wait too long to find out.

Jonathan Ferguson - Sweeter After Difficulties (Independent)
Calgary singer-songwriter Jonathan Ferguson appears to be an authentic throwback to a time when the song and its melody were everything, and distractions like image and rampant promotion were inconsequential or simply avoided. Of course, those things were always important, in various degrees, and a non-image is an image in itself. Still, Ferguson certainly gives the impression of an uncomplicated singer-songwriter, with stories to tell and tunes to share.

"Sweeter After Difficulties" is Ferguson's debut collection, and unsurprisingly, in his native Canada it has considerably raised his profile. The 13 songs are distinctive and engaging, with production that varies from lush strings and full band arrangements to simple, percussive guitar strums. Whatever the approach, Ferguson places his words high in the mix and centre stage, singing his songs about ordinary people and the situations in which they find themselves; quite possibly the only real definition of folksong.

As with the majority of songwriters, Ferguson rarely writes about himself. Instead taking on characters and themes that range from unrequited love to conflicts of conscience, but as the title suggests, the ability to overcome these trials and tribulations is where strength is to be found. There is no shortage of standout tracks on "Sweeter After Difficulties". Opener "Ballerina" sets a scene of love gone awry, and "House On the Water" is all about escape. Perhaps my favourite is "Sunrise At the Airport", a paean to love, and it's a big hook-laden pop song, which, if there were any justice, would be taking up residence on a radio near you.

Jesse Dollimont & The Ospreys - I'll Fly Away (Independent)
The daughter of two professional musicians, Jesse Dollimont was born in southern Alberta and raised in a house that was awash with the music of Gram Parsons, Emmylou Harris, The Byrds and Neil Young. I don't suppose that we can be surprised that, with those genes and early influences, Dollimont would find herself drawn to a career in music, especially those genres with foundations in roots, folk and country styles. After performing with a host of Edmonton groups she formed The Ospreys with Keith Rempel (bass and vocals), Darrek Anderson (steel guitar), Brennan Cameron (mandolin, keyboardss and vocals) Michelle Sabourin (fiddle and vocals) and Matt Greir (drums), and "I'll Fly Away" is their debut album.

They describe themselves as "a little bit country, a little bit bluegrass, and once in a while just a little bit rock and roll" and they're spot on. Dollimont possesses a fine, pure voice and writes songs that connect directly to the human condition. They begin with "Better Man", and the interaction between Dollimont and Anderson is a joy to hear, as vocals and steel guitar entwine like melancholy lovers. It's followed by "Straight & True", an unfussy, country-folk ballad, with delicate strings adding nuance and auditory depth. "Broken Things" is upbeat and bright, without ever shaking off an aura of sadness, and "Postcards" again brings voice and steel guitar together, and beautiful sorrow and a certain yielding regret is the happy result.

The Wild Northern - The Whiskey Season (Independent)
Recorded with money raised from a generously over-subscribed Kickstarter campaign, I can't imagine The Wild Northern's debut long player disappointed any of the band's friends, families or fans who paid their money up front to aid the funding of the project.

Based in both New York City and Boston, the five-piece group makes good use of Greyhound bus services traveling between the two cities, and they've built two separate, independent fan bases with a sound that merges classic influences such as Springsteen and Counting Crows, but also incorporates a brittle indie edge. It's a likeable combination, especially as songwriter (also lead vocals, guitar and mandolin) Roland Eckstein brings an abundance of widescreen imagery to his words, and the group (Brian Gallagher - lead guitar and vocals, Jim Fitzgerald - guitar and banjo, Jim Abdon - bass and Andy Guerini - drums) provides musical support, which is always compelling, with no shortage of sometimes unanticipated aural thrills.

"The Whiskey Season" begins with "Send the Runner", a spirited guitar rocker, which brings to mind both the first wave of post-grunge alt. country and emblematic post-punkers Magazine. Gallagher's a mean guitarist with a distinctive sound, and on "By the Indigo" his cool and controlled playing propels the song in unexpected directions. "The Demarcation" returns to the feisty animation on the opening cut, and "Modest Man of Mighty Deeds" shows an altogether folkier side, as mandolin takes lead, and though it's an altogether different approach, the result is no less pleasing.

Ginger & The Hoosier Daddys - That's Why I'm Happy (Independent)
Ginger Pauley is a tremendously talented all-round entertainer with a resume that reads like a particularly wide-ranging entertainment magazine. Her film work includes "Water for Elephants" and the upcoming Disney movie "Saving Mr. Banks", on TV she's a regular on the Conan O'Brien show, has had parts in "Heroes" and "The Gilmore Girls" and her theatre credits include classic musicals like "Guys and Dolls", "Calamity Jane" and "Gigi". Simultaneously she maintains a career in music, singing with various ensembles including The Crazy Rhythm Hot Society Orchestra, The Mike Henebry Orchestra, and most regularly, The Hoosier Daddys. The latter take their name from the variety of musicians who are involved in the project, so many that club owners often have to ask "Who's yer Daddys tonight?"

"That's Why I'm Happy" is the group's debut six-track EP, a thoroughly charming collection of dance floor friendly, vintage jazz and swing songs. They begin with the title track, the classic Helen Kane song, which is wholly appropriate, considering that Kane was the primary inspiration for Max Fleischer's "Betty Boop" character, a role that Pauley played at the Universal Studios. It's followed by a fun, sprightly version of "Hitchy Koo" (from "Oh, What A Lovely War"), but the slower material, the standards "You Made Me Love You" and "You Were Meant for Me", are just as engaging, as Pauley and her Daddys breathe new life into songs that are nigh on engrained in the Western popular cultural psyche.

Flavia And The Red - Too Late To Cry (Independent)
2012 was a breakthrough year for Flavia And The Red. The Los Angeles quintet were chosen to play Summerfest, the world's largest music festival, they landed bi-monthly residencies at two of the hottest clubs in their home-city and, at the end of the year, they released their debut album, "Too Late To Cry".

Flavia Watson sings and writes the majority of the material, and she excels at both disciplines; instilling jazz, funk, soul and pop hooks in and around a sophisticated blues-rock setting. Her band, The Red afford outstanding support, and the level of musicianship and supple arrangements allows the singer plenty of room to properly explore her songs.

The launch the album with "Whiskey and Lace" and their capabilities are made apparent almost instantly. Flavia's voice is rich and soulful, and guitarist Chris Pucher and keys-man Rich Brown work together providing melodic nuance and understated zeal. The unexpected result is a sound that hovers intriguingly between a nightclub lounge and the swamp.

It's the first of many highlights; the title track employs a classic walking rhythm, courtesy of drummer Isaac Watts and bass-man Max Benson; it's sultry and steamy, and not unlike Peggy Lee's "Fever". Fans of Imelda May should investigate pronto. At the other extreme, "Out in the Cold" is wonderfully jazzy and chic, with Pucher and Brown on particularly fine form.

Mister Sippy - S/T (Independent)
A big hit in their home-city of Melbourne, Australia, Mister Sippy describe themselves as a stomping, swamp blues, funk-o-billy four-piece, and they're not far wrong. Their six-track, self-titled debut is full of vim and energy, and combines Fat Possum-style electric blues with a raggedy rock `n' roll stance. It all sounds incredibly fresh and inviting, and it's delivered with a level of musicianship and professionalism, which never sounds slick or over-produced, but consistently impresses throughout its 26-minute duration.

There's no room for filler on a record of this length, and the band (Marshal Sayer, Max Maxey, Roger Brown and Dr. Russell Gruen) are in complete accord. From the opening bars of "Leave Me and My Woman Alone" they barely waste a note. Frontman Sayer plays a mean harp, which'll remind a select few of The Red Devils' Lester Butler (though there's probably an old blues guy that influenced both of them), and on tracks like Butler's own "Going to the Church" and a blistering take on R.L. Burnside's "Skinny Woman", he shows just how good a harp can be when used as the lead instrument in the right blues-rock setting.

Gruen and Brown keep the beat tight but fluid, and guitarist Max Maxey is neither showy nor indulgent, but takes a razor sharp lead whenever called upon, and his hard driving style might just be the perfect foil to Sayer's sinuous harp.

The Beans - S/T (Independent)
The Beans are a Houston, Texas quartet comprising Sam Griffin (vocals and guitar), Christian Galatoire (guitar), Daniel Taylor (bass) and Brendan Hall (drums). Their eleven track self-titled debut is perceptibly blues-based, but they're far from purists, and there are obvious influences at play, from almost current artists like the White Stripes, to genre originators like Led Zeppelin and late `60s / early `70s Stones. Add to that a respectful nod to the elderly black artists who found a home on the back-to-basics Fat Possum blues label, together with old jazzers and a tab of hard-edged psychedelia, and you'll have some idea where The Beans are coming from.

Of course, some of you may have already come to that, or some other conclusion, simply by having a peek at the artwork they employ, but have a listen, too, and you'll hear plenty to get excited about. They get things moving with the stomping "Wanting You". Its rhythmic propulsion, Plant-esque vocal and twin guitar attack all combine with incendiary prowess. It's a powerful statement, a compelling call to arms, and sets out their musical stall with some finesse. Followed by "Wabasha", a slow burn blues-rocker which sacrifices neither gritty authenticity or an iota of rock `n' roll attitude.

Both styles are utilized throughout their record, and they're not afraid to stretch out as and when required. The full-throttle "Blind Willard" gives way to the seven-plus minutes of "Devil Woman", and later "Carnal Constant" and "Whiskey Headed Woman" are extended and drawn out to wholly natural conclusions. 40 years ago The Beans would probably have been massive stadium draws, touring the world every couple of years and living on the cover of Rolling Stone. They may have to temper those ambitions in 2013, but there's no reason why those of us who enjoy this sort of thing, shouldn't make the most of them while we can.

The Mike Lucci Band - All In Good Time (Independent)
A big hit on the Virginia / Washington, DC blues scene since their inception in 2008, Mike Lucci and his band play a bright, vibrant form of Chicago blues. With a trio of vocalists, Shelly Thiss, Ron Winston (guitar and vocals) and Rick Manson (harmonica and vocals), they can handle upbeat floor-fillers, slinky sideways R&B shuffles and soulful, sultry, slow numbers without missing a beat.

As with all blues artists, and especially so with contemporary acts, they've honed their sound and style playing live, getting a feel for what works and what doesn't, and writing and playing songs that suit themselves and their audience. Often transferring all that hard work into a studio setting, usually with time and financial constraints adding to the pressure, the results rarely match expectations. Fortunately that's not the case here. "All In Good Time" is animated and feisty; everyone in the band seems on top form, and the album flows like an album should.

They begin with "My Babe", with Manson and Winston combining beautifully, and the cleanliness of the production brings to mind the classic Yardbirds' recordings of the late `60s. Thiss steps up to take lead for the first time on her self-penned "Take Me", and it's a sassy performance, with the band doing everything they can to keep up with the young vocalist. She's just as good when she slows things down on the old Chubby Newsome / Irma Thomas chestnut "Hip Shakin Mama".

Perhaps they're at their most impressive on their "Hit the Road Jack / 16 Tons / Baby Please Don't Go" medley. The musicianship is lithe and nimble, the rhythm section providing rock steady support to the soloists, and the singers step up and impress through a series of call and response lines and some genuinely striking vocal interplay.