California Irish's 'The Mountains Are My Friends' - Album Review

It has been quite a busy couple of years for the Northern Irish singer-songwriter Cormac Neeson. Following a quiet few pandemic and pandemic-adjacent years, he returned to the spotlight in 2023 - when his band The Answer returned from a hiatus and released the excellent, raw, and bluesy Sundowners (which I reviewed here), their first album since 2016. At one stage, I thought that The Answer were going to be one of the big rock bands of today, but sadly that rising through the ranks never really seemed to happen - and I would not be surprised if this inability to break through the glass ceiling was responsible, at least in part, for their hiatus. Following a break, though, the band are back - and plenty of shows have followed the release of Sundowners, even if their touring activities have perhaps not been as intense as they once were. I am just glad that the band are back, and pacing yourself is never a bad thing, but Neeson clearly also wants to explore other sounds - ones which would not suit The Answer's relatively hard-driving, Free-inspired blues rock sound. In 2019, during The Answer's unofficial hiatus, he released his debut solo album White Feather. For whatever reason, I did not pick the album up when it came out - but I did finally get around to it earlier this year. I remember that it was well-received at the time, but I think the reports that it was essentially a folk album put me off. I was mourning the apparent loss of The Answer at the time, and was probably not ready for something so different from Neeson, but when I finally heard it earlier this year I found it to be a delicate and moving album - given the subject matter dealt with within. It is fair to say that White Feather is not wholly my thing, but I appreciate it for what it is - and it was clearly the album that Neeson needed to make at the time. Fast forward six years, then, and what was intended to be Neeson's second solo album is here - but California Irish's The Mountains Are My Friends is certainly a band effort in terms of presentation. Neeson wrote the 10 songs with a plethora of songwriters, none of whom appear here, but after performing with some of the musicians featured as part of a Neil Young tribute show he decided to turn his second album into a band effort. The Neil Young link is fitting, too, as the songs here were very much written with the Laurel Canyon scene of the 1960s and 1970s in mind - and Neeson has indicated that he always wanted to write an album in such a style. As such, there are hints of Young here, both with and without Crosby, Stills & Nash, alongside other acts like The Byrds, Jackson Browne, and the Eagles (at least their early work). This scene, alongside other acts such as The Band and even the mellower end of Little Feat, fill the 10 songs found on The Mountains Are My Friends. It is a fuller album than White Feather but, a couple of songs aside, it is not all that much rockier - but the layering of instruments and the organic sound here set the two albums apart with this latest record being much rootsier.

Joining Neeson here are guitarists Donal Scullion and Chris Kelly, bassist James Doone, keyboard player Simon Templeton, drummer Conor McCauley, and supporting vocalist Suzy Coyle. The seven-piece band makes a big sound here even if many of the songs are quite low-key and slow-burning - but Pete Miles' production ensures that all the nuances shine through. The album was essentially recorded live in the studio in the old-fashioned analogue way - perfectly harking back to the influences which are on show throughout. One of the rockier tracks opens things up, though, with Live Fast Die Free laying down a vibe for the rest of the album to follow. A shuffling drum groove and bluesy guitar chords are overlaid with lashings of warm Hammond organ - and the song conjures up a pleasing mid-paced groove from the off which is maintained throughout. Kelly's lap steel melodies and Templeton's organ are the main touchstones here - but the spotlight generally throughout this album is on Neeson. His storytelling style and emotional delivery are very much on show throughout - but he reins it in somewhat compared to his work with The Answer. His tone very much remains, though, and Coyle harmonises well with him throughout - either adding wordless melodies in the background or boosting the sound during the pre-chorus and hooky chorus. Hand claps add to McCauley's shuffling rhythms, boosting the subtle hooks of the chorus, and the song overall is a feel-good soft rocker with plenty of soul. There are not many more moments like this here - with Old Friends perhaps more typical of the album's core sound. Neeson and Scullion, both armed with acoustic guitars, create a warm acoustic bed early on - with the Hammond from the opening track returning to create a halo around everything. The drumming is subtle and percussive, never really crashing through, likely utilising brushwork - whilst, again, the lap steel and the organ tend to provide the main musical flourishes. This is not an album about big soloing or melodies - but the occasional organ motif or slide lick give the song character. Neeson sings gently, with some of the rest of the band joining him, with the chorus in particular bringing mournful, Eagles-esque harmonies to the table. Later in the song, Coyle adds some thumb harp - giving the closing moments a plucked, percussive feel. Julie Ann, one of my favourite pieces here, feels a bit larger in scope. With three guitars, including a 12-string, there is a strong country bed over which everything is laid - whilst the slightly more hollow drumming and yet more organ create a deep, organic sound. Scullion sometimes swaps his acoustic guitar for an electric equivalent, throwing in some bluesy, melodic leads, but generally the acoustic instruments dominate - whilst lots more harmony vocals and organ flourishes create a surprisingly cinematic sound. A rare guitar solo is later included, with Neeson adding some cowbell in the background, with Scullion's slightly psychedelic yet bluesy melodies nicely rising above the rest of the band's dense sound. The scope and the focus on the guitar melodies here makes the song stand out for me.

Side by Side opens with a slow-burning drum beat - over which simple acoustic guitar chords and effects-heavy electric guitar melodies are added. Whilst not as cinematic as the last song, there is also quite a lot going on here to create a warm bed for Neeson's emotional, plaintive vocals. Coyle's harmonies feel a bit more pronounced in parts, her voice adding character, whilst the return of the lap steel adds emotional swells where needed - especially during the chorus. Templeton sticks to his organ, even if its growl is not as prominent here as it has been, whilst Neeson adds some percussive piano melodies at times - particularly as the song progresses. Something Different sees Templeton behind the piano, so the song opens with delicate piano melodies - backed by the hollow percussion of McCauley. Even compared to many of the songs here, this song is pretty low key. There is little of the warmth of what has come before. The sparkle of the piano creates a different sound, whilst the stark acoustic guitars feel slightly colder than the album's typical sound. The vocal arrangement is also different. Neeson sings in a slightly higher register than he would generally do - and the harmonies are essentially ever-present this time, creating a shimmering and slightly ethereal sound throughout. The song has a strong old-school folk feel then - and this is a track which really leans into the album's influences in a big way. The folkier feeling is only enhanced later on, too, when both Neeson and Coyle add some recorder melodies - adding woodwind to the acoustic guitar and organic piano vibes. Returning to the relatively more upbeat feel of the album's opening song, Big Questions has a bit more of a southern rock edge - with electric piano melodies driving everything and slightly brasher guitar tones adding depth. Hammond organ is also used in places, particularly during the chorus, but the boogie of the piano is a big part of the song's infectious energy. This song is probably the closest in style to The Answer - and Neeson sings more in his typical manner here, allowing his bluesy rasp to shine through on occasion. It is jauntier than The Answer, with more of an acoustic guitar base and a less defined drum sound - but some blues rock elements are on show thanks to a Kelly guitar solo and some prominent bass playing. Given that most of this album is quite laid back, this fun, up-tempo song is a strong addition to the album - and I can imagine it going down well live. Can't Let Go returns to the album's more typical sound, though, but it is the first song here to feature Coyle more prominently. Whilst she generally is utilised as a harmony vocalist, this song is sung as a duet - with Coyle dominating early on. Her smooth, warm voice differs from Neeson's slightly more ragged delivery - with the two singers contrasting nicely. It is why Coyle's harmonies work well elsewhere - and Neeson's harmonies here during the first verse and chorus work similarly well. Neeson takes over for the second verse, and he sings in a much deeper manner than is typical - whilst a good mix of organ and piano create the main drive of the song whilst acoustic guitars add depth. Templeton gets to showcase his abilities later on with a piano solo - with this extended instrumental moment probably the album's longest.

Sunday Morning also opens slowly, with sparse and slightly brash guitar chords, despite the slow vibe, whilst slide guitar melodies nicely add some mournful melodies behind Neeson's vocals. Given the slight brashness of the opening, it is unsurprising when this song morphs into a slightly more full-bodied piece. It is not as rocking as the couple of faster tracks here, but it certainly feels brasher and more hard-hitting than much the rest of the album. Screaming, bluesy guitar leads are utilised occasionally, whilst, again, a mix of organ and piano creates a varied backing for a strong mix of electric and acoustic guitars. Electric guitars dominate here, though, which is rare - whilst Coyle's harmonies and counterpoint vocal additions feel a little more cutting than usual, which adds nicely to the song's overall sound. Hard We Fall is much more typical of the rest of the album - with layered acoustic guitars, Neeson's plaintive vocals, and Coyle's subtle harmonies setting an early warm tone. Neeson adds some harmonica throughout, which only enhances the album's more organic feel, whilst as the song progresses its arrangement grows in a subtle, yet noticeable, way. The drumming later adds some depth, as do the long-held bass notes, whilst subtle organ washes and occasional piano flourishes add to the song in a similar manner the harmonica. As the song progresses, too, Neeson's vocals become more intense and ragged. The closing moments see him really pushing himself, which allows him to deliver an emotional performance which reminds me of some of his more hard rocking moments with The Answer - albeit toned down and set against a more acoustic backing. The album then comes to a close with I Am Free, a slightly more cinematic piece which reminds me somewhat in scope of Julie Ann from earlier in the album. Big acoustic guitar chords, crying lap steel melodies, and dense backing vocal arrangements help to create a scope which sets the song apart from much of the rest of the album. There is a bit of a groove from the rhythm section despite the slow-moving feel, whilst busy piano playing from Templeton is full of character. This song is also another which features Coyle more prominently, and she takes over vocally later in the song - with a vocal delivery which feels a little more cutting than she did when she previously sang lead here. She adds quite a bit of grit to her sections - and when Neeson joins back in, which is accompanied by noticeable organ swells, the two sing together in a pleasing manner to bring the album to a close, with the last section featuring limited instrumentation as the two of them, plus other members of the band, harmonise together. It is a warm and enjoyable end to the album - with I Am Free being another highlight overall for me thanks to its scope and interesting vocal arrangements. The Mountains Are My Friends is certainly a bit of a different album from Neeson but it is not one that I am surprised that he has made. This sort of music suits his voice and some of the slower moments on The Answer's albums have previously hinted at what was fully realised here. It is an enjoyable album with lots of heart and an atmosphere which feels genuine. I like it for those reasons, even if it is not the sort of album I am likely to play regularly - but those who enjoy warmth, strong songwriting, and a nod to the past should find plenty of enjoy here.

The album was released on 18th July 2025 via 7Hz Productions Ltd. Below is the band's promotional video for Something Different.