Review: Joe’s Truck Stop ‘The Magnolia Sessions’
For the first two years of its existence, Anti-Corp/Black Matter Mastering’s fantastic The Magnolia Sessions ran at a blistering pace, releasing live recordings from countless country, folk and bluegrass artists who sought to sit under owner Dan Emery’s titular magnolia tree in his Nashville compound and bear their soul.
Luminaries of the sessions would include Joe Wunderle, Douglas Franciso, Adam Stambaugh and Jade Brodie, to name just a few. Such was the rate they were released, it was inevitable that its creator would experience burnout, and from late summer in 2022, the series would enter hiatus, returning two years later with Willi Carlisle’s instalment, released to benefit victims of Hurricane Helene.
November 2025 saw the series return with a pair of releases, Coleman Williams with the first release under his own name and Joe’s Truck Stop. Whilst the great-grandson of Hank Williams may be the flashier name of the two, it would be unwise for people seeking out the true country spirit to overlook the second.
The musical outlet of ‘songwriter, folk musician, storyteller, traveler, organizer, and generally alright guy, Joe Macheret’, Joe’s Truck Stop comes steeped in experience with tales inspired by his storied life on the road, immersed in folk and bluegrass.
The session took two attempts to record as Emery recalls. The first felt that Joe was suffering vocally, having sustained smoke damage from the wildfires that raged out west and the second was recaptured at what Joe describes as ‘a pretty tumultuous time in my life’ as he recorded from a successive vocal injury. Following the hiatus in schedule, Emery would return to the recordings nearly two years later to discover that many of the initial fears about the quality of the vocals would be unfounded.
Playing a mix of songs that had been written over the preceding fifteen years and two covers. Macheret, on guitars and vocals, would be joined by friends and collaborators Stephen ‘Tebbs’ Karney on dobro and backing vocals, Ilya Portnov on harmonica, and Joe Wunderle on guitar and backing vocals, to deliver a heartfelt set of honest, raw but beautiful tunes.
At only eight tracks totalling twenty-seven minutes, this is a collection of quality over quantity as the band begins the lush, picked tones of Wishin’ On A Star (not that one). With gentle harmonica and the chirp of the insects, the track is conversational and gentle. If there were any lingering effects of Macheret’s vocal injury, they are not apparent in his soothing drawl. The laidback start is perfect to the feel of the evening.
articulates a wide range of emotions that, at times, could make a glass eye cry…
Picking the pace up with his own take on Run Johnny Run, a faster, more upbeat number telling the tale of a man on the run from the law with duelling guitar and a spicy harmonica solo. The lyrics tumble from Macheret’s lips with dexterity that matches the fast plucking of the strings as the band, clearly warmed up, effortlessly bring the style and entertainment that you could see going down well at their shows.
The catchy, blues swing of Lonesome Midnight Blues is one of the real gems of the album as the band bash out one of the original tracks on the session with passionate and precise delivery. In moments like this one, it is easy to get lost in the dancing notes and boisterous rhythm as the lyrics drip with the hunger and melancholy of the feelings within.
One More Night is a slow and wistful slice of melancholia that tells tales of love that has faded into regret and (Don’t) Put a Nickel In The Jukebox is a modern take on the themes of heartbreak and ironically wanting to avoid sad songs after a breakup. The pair feel like different stages of grieving a relationship, albeit with the trauma timeline reversed. The latter is dedicated to the real-life jukebox at the Anchor Grill in Covington, Kentucky, highlighting the authenticity of Macheret’s inspiration, carving out tales from the life he has lived.
Switching to a track co-authored with Joe Wunderle, Midnight On The Ohio is a delicate number that first appeared on his 2022 album Yonderlings. A slow number that shares the theme of travelling, either physically or existentially, that captures the vibe of the evening flawlessly and feels like the perfect cowboy song.
Ending with a pair of covers, Hobo’s Lullaby, which was popularized by Woody Guthrie, and You Don’t Tell Me That You Love Me Anymore from the enduring voice of Appalachia, Ola Belle Reed. The first being a jaunty, but world-weary tale of traveling the roads and the final number is the essence of the working-class struggle as he sings of love, loss and social commentary, like every note and line is his own.
Coming back to these recordings after so much time had passed, Emery had initial concerns that the reality of Macheret‘s the vocal troubles would rob the session of its potential. Thankfully, that proved not to be the case, and he more than holds his own against an impressive backing cast of talented artists as he articulates a wide range of emotions that, at times, could make a glass eye cry.
Having been given both sessions to review, it would be easy to let Joe’s Truck Stop get lost in the glow of the debuting Williams record. But both releases are great showcases for two artists trying to carve out their own legacy, and for fans of the true genre, it is worth taking the time to refuel with this one.
Label: Anti-Corp Music
Band Links: Official | Facebook | Bandcamp | Spotify | Instagram
Scribed by: Mark Hunt-Bryden
