2011 Muirsical Reviews (Summaries)
The section dedicated to some of the releases that pass through FabricationsHQ and deserving of an honourable – and sometimes dishonourable – mention.
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The section dedicated to some of the releases that pass through FabricationsHQ and deserving of an honourable – and sometimes dishonourable – mention.
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Alestorm - Back Through Time
Alestorm are best described by three words you would never believe could be seen together: Pirate Folk Metal.
Check it again if you like, but you read it right the first time: Pirate. Folk. Metal.
This, the third offering from the band that originated in Perth in Scotland, is more heads-down thrash and thunder on the high seas, singing of Swashbuckling, Shipwrecks and Privateers.
I don’t even have to describe or summarise the songs because the titles tell you all you need to know – ‘The Sunk’n Norwegian’ and ‘Death Throes of the Terrorsquid’ are pretty descriptive before you even hear a metal-driven note.
Back Through Time is fast, frantic and the band’s most accomplished work to date and I can’t believe I just used the word “accomplished.”
More precisely, it’s the best Pirate Folk Metal album I’ve heard.
And I’ve heard three. By the same band.
Alestorm have had a fair few line-up changes over the last few years but ever-present Christopher Bowes (vocals, keyboards) has had Dani Evans (guitars) on board since 2006 and Gareth Murdock (bass) has been part of the crew since 2008. Drummer Peter Alcorn is the latest recruit to be pressed ganged into service, joining in 2010.
From my Muirsical perspective I should absolutely hate this but I haven't had this much fun, musically, since Zipper Catches Skin by Alice Cooper escaped from the studio nearly thirty years ago.
And that album was not conceived or created sober, as Mr Cooper himself will admit.
But on the subject of drink and Alestorm (cheers), how can you argue with a band that covers the classic (it says here) 'I Am a Cider Drinker,' originally recorded by the Scrumpy & Western band The Wurzels (another band with their own unique musical identity).
'Cider Drinker' (itself a reworking of the pop-hit ‘Una Paloma Blanca’) is one of two bonus tracks on Back Through Time.
Just a pity they didn’t cover the Captain Pugwash theme tune.
Perhaps on the next album, lads?
Avast me musical hearties, and set sail for the Alestorm...
Check it again if you like, but you read it right the first time: Pirate. Folk. Metal.
This, the third offering from the band that originated in Perth in Scotland, is more heads-down thrash and thunder on the high seas, singing of Swashbuckling, Shipwrecks and Privateers.
I don’t even have to describe or summarise the songs because the titles tell you all you need to know – ‘The Sunk’n Norwegian’ and ‘Death Throes of the Terrorsquid’ are pretty descriptive before you even hear a metal-driven note.
Back Through Time is fast, frantic and the band’s most accomplished work to date and I can’t believe I just used the word “accomplished.”
More precisely, it’s the best Pirate Folk Metal album I’ve heard.
And I’ve heard three. By the same band.
Alestorm have had a fair few line-up changes over the last few years but ever-present Christopher Bowes (vocals, keyboards) has had Dani Evans (guitars) on board since 2006 and Gareth Murdock (bass) has been part of the crew since 2008. Drummer Peter Alcorn is the latest recruit to be pressed ganged into service, joining in 2010.
From my Muirsical perspective I should absolutely hate this but I haven't had this much fun, musically, since Zipper Catches Skin by Alice Cooper escaped from the studio nearly thirty years ago.
And that album was not conceived or created sober, as Mr Cooper himself will admit.
But on the subject of drink and Alestorm (cheers), how can you argue with a band that covers the classic (it says here) 'I Am a Cider Drinker,' originally recorded by the Scrumpy & Western band The Wurzels (another band with their own unique musical identity).
'Cider Drinker' (itself a reworking of the pop-hit ‘Una Paloma Blanca’) is one of two bonus tracks on Back Through Time.
Just a pity they didn’t cover the Captain Pugwash theme tune.
Perhaps on the next album, lads?
Avast me musical hearties, and set sail for the Alestorm...
Jon Anderson - Survival & Other Stories; Open
Survival & Other Stories and Open prove Jon Anderson is still finding new ways to musically express himself and musically progress from his 2008 departure from Yes (which is more than can be said for the band – see separate mini-review).
Four years ago Anderson put an invitational advert on his website asking for musicians to send him samples of their music for possible collaborative work.
The results became Survival & Other Stories.
The eleven songs featured on the album cover topics or carry themes relating to spirituality, healing, life and love.
Anderson found the creative process of Survival uplifting and perceives music as a healing energy, all of which helped him recover from serious respiratory illness in 2008.
‘New New World’ is a bright, uplifting opening and as rocky as the album gets, but then this was never going to be a weighty, many layered prog collection of 15 minute epics. The songs, for the most part, are based around acoustic instrumentation, percussive backdrops and the instantly recognisable and still captivating Jon Anderson vocal.
The album also features a version of the beautiful piano and vocal piece ‘Just One Man,’ originally recorded on The Living Tree, Anderson’s collaborative 2010 album with friend and ex-Yes partner Rick Wakeman.
Open, on the other hand, is a more progressive tale than the Other Stories on display. It's a return to long-form conceptual composition, which was a major part of Anderson’s history with Yes.
Open was described as a "digital download single" when first made available, but calling this piece of music a single is doing it a serious disservice.
Open is a 20 minute orchestrated piece in four movements, featuring classic Jon Anderson soundscapes and lyrical textures (as opposed to traditionally structured verses and chorus).
Featuring lyrical themes of love, spirituality and light/ the sun, Open is a wonderful piece of music whose ethereal passages will have many fans recalling Olias of Sunhillow, Anderson’s conceptual fantasy album from 1976.
But although there are a couple of familiar melodies, Open doesn’t take its lead from any earlier Jon Anderson music. It’s clearly inspired first and foremost by the themes described previously, which are very important to Anderson as an individual and as a musician.
Open is a great example of the singer's expressive musicality, but outside of the Jon Anderson faithful Survival & Other Stories is probably not a must-have album.
But whether with Yes, Vangelis, Rick Wakeman or as a solo artist, Jon Anderson usually has something interesting to say musically.
And is always extremely listenable vocally.
Four years ago Anderson put an invitational advert on his website asking for musicians to send him samples of their music for possible collaborative work.
The results became Survival & Other Stories.
The eleven songs featured on the album cover topics or carry themes relating to spirituality, healing, life and love.
Anderson found the creative process of Survival uplifting and perceives music as a healing energy, all of which helped him recover from serious respiratory illness in 2008.
‘New New World’ is a bright, uplifting opening and as rocky as the album gets, but then this was never going to be a weighty, many layered prog collection of 15 minute epics. The songs, for the most part, are based around acoustic instrumentation, percussive backdrops and the instantly recognisable and still captivating Jon Anderson vocal.
The album also features a version of the beautiful piano and vocal piece ‘Just One Man,’ originally recorded on The Living Tree, Anderson’s collaborative 2010 album with friend and ex-Yes partner Rick Wakeman.
Open, on the other hand, is a more progressive tale than the Other Stories on display. It's a return to long-form conceptual composition, which was a major part of Anderson’s history with Yes.
Open was described as a "digital download single" when first made available, but calling this piece of music a single is doing it a serious disservice.
Open is a 20 minute orchestrated piece in four movements, featuring classic Jon Anderson soundscapes and lyrical textures (as opposed to traditionally structured verses and chorus).
Featuring lyrical themes of love, spirituality and light/ the sun, Open is a wonderful piece of music whose ethereal passages will have many fans recalling Olias of Sunhillow, Anderson’s conceptual fantasy album from 1976.
But although there are a couple of familiar melodies, Open doesn’t take its lead from any earlier Jon Anderson music. It’s clearly inspired first and foremost by the themes described previously, which are very important to Anderson as an individual and as a musician.
Open is a great example of the singer's expressive musicality, but outside of the Jon Anderson faithful Survival & Other Stories is probably not a must-have album.
But whether with Yes, Vangelis, Rick Wakeman or as a solo artist, Jon Anderson usually has something interesting to say musically.
And is always extremely listenable vocally.
The Beach Boys - The SMiLE Sessions
SMiLE (to represent it in its original album title form) had been known as the most famous unreleased album of all time.
Its release some 44 years after its cancellation has now prompted many critics and Beach Boys/ Brian Wilson aficianados to cite it as the greatest unreleased album of all time.
I can understand the anticipation and subsequent reaction for the album that was to have followed the truly classic Pet Sounds, but while it may have been ahead of its time in 1967 (as regards sound recording techniques and some very clever lyrical word-punning), it sounds very much of its time four and a half decades on.
And a lot of its thunder was stolen by Brian Wilson when he released his own newly recorded version in 2004 and 30 minutes worth of Smile sessions featured on a 1993 box set compilation.
This newly restored version of Smile (which comes in many multi-disc flavours), with a track listing and track order as close as possible to that first envisioned, opens in striking fashion with the a cappella ‘Our Prayer’ before the short ‘Gee’ leads into one of the most well-known and successful Beach Boys tunes – ‘Heroes and Villains.’
The album closes in grand style too, with what is not just The Beach Boys finest creation but one of the finest pop songs of the 20th century, ‘Good Vibrations.’
Hearing those songs back in their original home is one of the attractions of Smile, but contrary to those who feel this is a true lost gem now found there are a fair few detractions, too.
Many sources have written about the problems during the original sessions.
Brian Wilson’s mental state at the time (including signs of depression and paranoia) and opposition from others in the band to some of Wilson’s musical ideas, are two issues that almost certainly led to the collapse of Smile.
That would seem to be borne out within many of the pieces on Smile because it’s a fine line between the sublime and the ridiculous and there are a few tracks or edited pieces sown into the musical fabric of the album that don’t just step over that line, but leap across it.
Other small, under-a-minute segments like ‘I’m in Great Shape’ and ‘Barnyard’ are so incidental as to be completely forgettable, while the section performed of the classic oldie ‘You Are My Sunshine’ is arranged in such a melancholic fashion that it sits very uncomfortably on an album called Smile.
There are some lovely moments too however, such as ‘Surfs Up,’ (later reworked for the 1971 album of the same name) and although I don’t rate this as the classic album many others will (certainly not when seen as a 2011 release) there is no question there is a charm and warmth within the concept of this work that can’t help but make this listener... SMiLE.
Its release some 44 years after its cancellation has now prompted many critics and Beach Boys/ Brian Wilson aficianados to cite it as the greatest unreleased album of all time.
I can understand the anticipation and subsequent reaction for the album that was to have followed the truly classic Pet Sounds, but while it may have been ahead of its time in 1967 (as regards sound recording techniques and some very clever lyrical word-punning), it sounds very much of its time four and a half decades on.
And a lot of its thunder was stolen by Brian Wilson when he released his own newly recorded version in 2004 and 30 minutes worth of Smile sessions featured on a 1993 box set compilation.
This newly restored version of Smile (which comes in many multi-disc flavours), with a track listing and track order as close as possible to that first envisioned, opens in striking fashion with the a cappella ‘Our Prayer’ before the short ‘Gee’ leads into one of the most well-known and successful Beach Boys tunes – ‘Heroes and Villains.’
The album closes in grand style too, with what is not just The Beach Boys finest creation but one of the finest pop songs of the 20th century, ‘Good Vibrations.’
Hearing those songs back in their original home is one of the attractions of Smile, but contrary to those who feel this is a true lost gem now found there are a fair few detractions, too.
Many sources have written about the problems during the original sessions.
Brian Wilson’s mental state at the time (including signs of depression and paranoia) and opposition from others in the band to some of Wilson’s musical ideas, are two issues that almost certainly led to the collapse of Smile.
That would seem to be borne out within many of the pieces on Smile because it’s a fine line between the sublime and the ridiculous and there are a few tracks or edited pieces sown into the musical fabric of the album that don’t just step over that line, but leap across it.
Other small, under-a-minute segments like ‘I’m in Great Shape’ and ‘Barnyard’ are so incidental as to be completely forgettable, while the section performed of the classic oldie ‘You Are My Sunshine’ is arranged in such a melancholic fashion that it sits very uncomfortably on an album called Smile.
There are some lovely moments too however, such as ‘Surfs Up,’ (later reworked for the 1971 album of the same name) and although I don’t rate this as the classic album many others will (certainly not when seen as a 2011 release) there is no question there is a charm and warmth within the concept of this work that can’t help but make this listener... SMiLE.
Beady Eye - Different Gear, Still Speeding
Beady Eye, to all intents and purposes, are Oasis Without Noel.
In fact there are probably many fans, critics and cynics who felt they should have called themselves just that.
When Liam Gallagher, Gem Archer, Andy Bell and Oasis’ final/ touring drummer Chris Sharrock decided to continue on as a new band after the departure of Noel Gallagher it was felt they would struggle to recapture the sound or success of Oasis.
It seemed to be inevitable - Noel Gallagher is regarded as the architect of Oasis’ success and was the primary songwriter.
Turns out, though, there’s a whole lot more to Beady Eye than a missing brother...
‘Four Letter Word’ swaggers out the speakers in a style fit to open any Oasis album let alone the debut from these Beady Eyes, and as the bright and brisk ‘Millionaire’ and ‘The Roller’ follow on and make their musical mark you realise the song writing isn’t exactly second rate.
The Oasis influence unsurprisingly permeates throughout the album and Liam will always be the voice – or is that mouth – of that band (and there are the obligatory nods to The Beatles), but that big brash Oasis sonic has gone, replaced for the most part by slightly subtler tones and less weight.
‘Standing on the Edge of the Noise’ and ‘Three Ring Circus’ produce punchy rock and roll moments but many of the songs are acoustic based or carry lighter arrangements.
Different Gear is a strong debut, but it’s far from perfect.
‘Wigwam,’ for example, tries to be a little different but loses its way and the album could have closed more strongly if ‘Morning Son’ had been a concise four minutes (its six minute length makes for an anti-climatic end).
But there is no doubt this is a band to keep your Beady Eye on.
In fact there are probably many fans, critics and cynics who felt they should have called themselves just that.
When Liam Gallagher, Gem Archer, Andy Bell and Oasis’ final/ touring drummer Chris Sharrock decided to continue on as a new band after the departure of Noel Gallagher it was felt they would struggle to recapture the sound or success of Oasis.
It seemed to be inevitable - Noel Gallagher is regarded as the architect of Oasis’ success and was the primary songwriter.
Turns out, though, there’s a whole lot more to Beady Eye than a missing brother...
‘Four Letter Word’ swaggers out the speakers in a style fit to open any Oasis album let alone the debut from these Beady Eyes, and as the bright and brisk ‘Millionaire’ and ‘The Roller’ follow on and make their musical mark you realise the song writing isn’t exactly second rate.
The Oasis influence unsurprisingly permeates throughout the album and Liam will always be the voice – or is that mouth – of that band (and there are the obligatory nods to The Beatles), but that big brash Oasis sonic has gone, replaced for the most part by slightly subtler tones and less weight.
‘Standing on the Edge of the Noise’ and ‘Three Ring Circus’ produce punchy rock and roll moments but many of the songs are acoustic based or carry lighter arrangements.
Different Gear is a strong debut, but it’s far from perfect.
‘Wigwam,’ for example, tries to be a little different but loses its way and the album could have closed more strongly if ‘Morning Son’ had been a concise four minutes (its six minute length makes for an anti-climatic end).
But there is no doubt this is a band to keep your Beady Eye on.
Kate Bush - Director's Cut
Director's Cut, from Kate Bush, was the singer songwriter's first new album since Aerial back in 2005.
New album, but not new material...
The album contains eleven tracks from her albums The Sensual World (1989) and The Red Shoes (1993), but featuring new lead vocals, drums (by Steve Gadd) and further additional or reworked instrumentation.
Some of the songs are completely new recordings however, including one of her finest ever pieces 'This Woman's Work.'
The song 'The Sensual World' has been completely reworked and is now titled 'Flower of the Mountain.'
Director's Cut is intriguing, interesting and certainly one of the more imaginative re-recordings of original/ earlier material that many artists seem to be doing these days. But even as a Kate Bush fan I would have to say it's not indispensable.
For every song worth a re-invented re-listen such as the aforementioned 'Flower' or the almost Rolling Stones-esque treatment of 'Rubberband Girl,' there are others that don't bring anything new to the table, even though they bring something new to the table. If you see what I mean.
What did bring something new to the table (but with mixed results, see review below) was 50 Words for Snow, one of the most anticipated releases of 2011...
New album, but not new material...
The album contains eleven tracks from her albums The Sensual World (1989) and The Red Shoes (1993), but featuring new lead vocals, drums (by Steve Gadd) and further additional or reworked instrumentation.
Some of the songs are completely new recordings however, including one of her finest ever pieces 'This Woman's Work.'
The song 'The Sensual World' has been completely reworked and is now titled 'Flower of the Mountain.'
Director's Cut is intriguing, interesting and certainly one of the more imaginative re-recordings of original/ earlier material that many artists seem to be doing these days. But even as a Kate Bush fan I would have to say it's not indispensable.
For every song worth a re-invented re-listen such as the aforementioned 'Flower' or the almost Rolling Stones-esque treatment of 'Rubberband Girl,' there are others that don't bring anything new to the table, even though they bring something new to the table. If you see what I mean.
What did bring something new to the table (but with mixed results, see review below) was 50 Words for Snow, one of the most anticipated releases of 2011...
Kate Bush - 50 Words For Snow
50 Words for Snow, the first all-new studio work from Kate Bush in six years, is an album with a wintery theme woven throughout its seven songs and 64 minute length.
Snowflakes, a Yeti, ghosts and other chilling tales all make an appearance and it all makes for an interesting, intriguing and original concept.
But sadly, for the most part, it leaves me… cold.
The majority of the tracks are overly long (a few ridiculously so) for the sparser arrangements and musical themes on display and the voice of Kate Bush is not featured nearly enough.
The latter however was intentional, with the singer herself stating she wanted to explore the contrast of high male voices and other vocals in contrast to her own.
While I applaud the sentiment to be vocally innovative it produces an album that could be described not as a new Kate Bush solo album but ‘Movements for Piano and Vocal Contrasts.’
‘Snowflake’ opens proceedings and features Bush’s son Bertie with his choir-boy voice playing the role of a falling snowflake while Bush is his mother, searching for him. While it’s an atmospheric start the call and answer theme is repeated too often and at nearly 10 minutes long the song loses its impetus.
Similarly ‘Lake Tahoe,’ featuring contributions from classically voiced Michael Wood and choral singer Stefan Roberts, is too discordant to last 11 minutes.
But it does.
'Misty,' written about a woman’s love for a snowman (where the line “I can feel him melting in my hand” tells you this is not the usual relationship one has with a snow-pal), is typical of Bush’s musical originality. But at over 13 minutes the song, even with a percussive back-drop and build up, becomes ponderous.
The up-tempo rhythms of 'Wild Man' (featuring Andy Fairweather Low) is a refreshing change-up, but it loses impact because of the 34 minute snow drift that preceded it.
Elton John duets with Bush on ‘Snowed in on Wheeler Street’ and the song about eternal love lost works well, primarily because Sir Elton manages to produce a strong and sincere vocal as opposed to an overly melodramatic one.
The title track has a quirky chant-a-long attraction and features Stephen Fry narrating fifty words for snow (many of them made up) while Bush’s own vocal counts them down, but its very nature means it loses its lyrical humour each time it’s played after the first hearing.
The closing piece, ‘Among Angels,’ is a ballad that harkens back to Kate Bush at her haunting best. A true solo performance and a true gem.
Many critics and fans will already have this labelled as an artistic tour de force and, to be fair, if it's played while looking out a frosty window on a winter’s night while a roaring fire crackles, 50 Words For Snow will definitely create a mood.
But the harsh winter reality is outside of that limiting scenario it’s an album that runs from the musically sublime to the ridiculously overly-long and meandering.
Snowflakes, a Yeti, ghosts and other chilling tales all make an appearance and it all makes for an interesting, intriguing and original concept.
But sadly, for the most part, it leaves me… cold.
The majority of the tracks are overly long (a few ridiculously so) for the sparser arrangements and musical themes on display and the voice of Kate Bush is not featured nearly enough.
The latter however was intentional, with the singer herself stating she wanted to explore the contrast of high male voices and other vocals in contrast to her own.
While I applaud the sentiment to be vocally innovative it produces an album that could be described not as a new Kate Bush solo album but ‘Movements for Piano and Vocal Contrasts.’
‘Snowflake’ opens proceedings and features Bush’s son Bertie with his choir-boy voice playing the role of a falling snowflake while Bush is his mother, searching for him. While it’s an atmospheric start the call and answer theme is repeated too often and at nearly 10 minutes long the song loses its impetus.
Similarly ‘Lake Tahoe,’ featuring contributions from classically voiced Michael Wood and choral singer Stefan Roberts, is too discordant to last 11 minutes.
But it does.
'Misty,' written about a woman’s love for a snowman (where the line “I can feel him melting in my hand” tells you this is not the usual relationship one has with a snow-pal), is typical of Bush’s musical originality. But at over 13 minutes the song, even with a percussive back-drop and build up, becomes ponderous.
The up-tempo rhythms of 'Wild Man' (featuring Andy Fairweather Low) is a refreshing change-up, but it loses impact because of the 34 minute snow drift that preceded it.
Elton John duets with Bush on ‘Snowed in on Wheeler Street’ and the song about eternal love lost works well, primarily because Sir Elton manages to produce a strong and sincere vocal as opposed to an overly melodramatic one.
The title track has a quirky chant-a-long attraction and features Stephen Fry narrating fifty words for snow (many of them made up) while Bush’s own vocal counts them down, but its very nature means it loses its lyrical humour each time it’s played after the first hearing.
The closing piece, ‘Among Angels,’ is a ballad that harkens back to Kate Bush at her haunting best. A true solo performance and a true gem.
Many critics and fans will already have this labelled as an artistic tour de force and, to be fair, if it's played while looking out a frosty window on a winter’s night while a roaring fire crackles, 50 Words For Snow will definitely create a mood.
But the harsh winter reality is outside of that limiting scenario it’s an album that runs from the musically sublime to the ridiculously overly-long and meandering.
The Cars - Move Like This
“I'm saying never and you can count on that.”
So said Ric Ocasek in 1997, in response to a question about the possibility of a reunion of The Cars, the hugely successful new wave/ melodic rock band that featured Ocasek as primary singer and songwriter.
But a lot can happen in fourteen years, especially as there is a new lease of reunited life in the new Millennium for classic rock.
After The New Cars, the 2005 partial-reunion that included Greg Hawkes and Elliot Easton from the original band (with Todd Rundgren taking the role of Ocasek) it was almost inevitable there would be a full reunion and album.
Move Like This, the first Cars studio album in 24 years, could never be a complete reunion, however. Bass player and second vocalist Benjamin Orr (the voice of such Cars classics as ‘Drive’ and ‘Just What I Needed’) died in 2000, but such was his contribution to the band and chemistry between the original quintet, the remaining four musicians decided not to replace him.
Even without Orr Move Like This sounds exactly as I expected – a mix of that quirky late 70’s to mid-80’s new wave and melodic power pop-rock that The Cars didn’t just excel at but damn near had copyright on.
Songs such as ‘Blue Tip,’ ‘Too Late’ and ‘Free’ are strong examples of that trademark sound in action, while ‘Keep on Knocking’ is a punchy Cars rocker.
‘Sad Song’ recalls the vibe of ‘Let’s Go’ and ‘My Best Friend’s Girl’ while ‘Soon’ and ‘Take Another Look’ become the ‘Drive’ songs of the album. Neither, however, comes close to capturing the majesty or atmosphere of that all-time classic.
And therein lies the problem for this listener.
There are some good songs here and a couple of great ones, but as a package the ten songs never match the truly classic Cars songs of the past, perhaps helping confirm they were truly a band of their time.
Once leaders, now followers (ironically of their own tyre tracks).
And as much as Ocasek’s quirky and distinct vocal is as much a part of The Cars sound as his songs, the counterbalance of Orr’s warmer vocal taking on three or four numbers per album is sadly, and greatly, missed.
The Cars have produced a new Millennium model that is based on the original but with four doors and a detuned engine.
Some will be happy driving both; others may even prefer the newer model.
I much prefer the five-door bigger engine original.
And it had a better radio.
So said Ric Ocasek in 1997, in response to a question about the possibility of a reunion of The Cars, the hugely successful new wave/ melodic rock band that featured Ocasek as primary singer and songwriter.
But a lot can happen in fourteen years, especially as there is a new lease of reunited life in the new Millennium for classic rock.
After The New Cars, the 2005 partial-reunion that included Greg Hawkes and Elliot Easton from the original band (with Todd Rundgren taking the role of Ocasek) it was almost inevitable there would be a full reunion and album.
Move Like This, the first Cars studio album in 24 years, could never be a complete reunion, however. Bass player and second vocalist Benjamin Orr (the voice of such Cars classics as ‘Drive’ and ‘Just What I Needed’) died in 2000, but such was his contribution to the band and chemistry between the original quintet, the remaining four musicians decided not to replace him.
Even without Orr Move Like This sounds exactly as I expected – a mix of that quirky late 70’s to mid-80’s new wave and melodic power pop-rock that The Cars didn’t just excel at but damn near had copyright on.
Songs such as ‘Blue Tip,’ ‘Too Late’ and ‘Free’ are strong examples of that trademark sound in action, while ‘Keep on Knocking’ is a punchy Cars rocker.
‘Sad Song’ recalls the vibe of ‘Let’s Go’ and ‘My Best Friend’s Girl’ while ‘Soon’ and ‘Take Another Look’ become the ‘Drive’ songs of the album. Neither, however, comes close to capturing the majesty or atmosphere of that all-time classic.
And therein lies the problem for this listener.
There are some good songs here and a couple of great ones, but as a package the ten songs never match the truly classic Cars songs of the past, perhaps helping confirm they were truly a band of their time.
Once leaders, now followers (ironically of their own tyre tracks).
And as much as Ocasek’s quirky and distinct vocal is as much a part of The Cars sound as his songs, the counterbalance of Orr’s warmer vocal taking on three or four numbers per album is sadly, and greatly, missed.
The Cars have produced a new Millennium model that is based on the original but with four doors and a detuned engine.
Some will be happy driving both; others may even prefer the newer model.
I much prefer the five-door bigger engine original.
And it had a better radio.
Santi Chacon - Sheltered From The Cold
FabricationsHQ has provided me with the opportunity to connect with various musicians (and their music) I may otherwise have never become aware of, a case in point being when guitarist Santi Chacon contacted me/ the site.
And I'm very glad he did.
Chacon’s instrumental music is a hybrid of ambient new age, smooth jazz and a little latin, the result being a very listenable sound with its own very distinct groove.
Sheltered From The Cold is an album of ten tracks capturing all the elements described above and although I enjoy listening to what Chacon musically creates, I'm drawn more to how he musically emotes.
This is a musician who clearly loves to play, evident in the natural flow of his solo performances.
And although the Sheltered tunes are compositions (as opposed to full improvisations) they carry that spark of spontaneity and freshness of sound.
The opener, ‘A Gift,’ creates a lovely ambience backed by a light, percussive beat, setting the template for the album. ‘Sentimentally Yours,’ for example, follows a similar form but there are other colours on display too – ‘Awaiting’ features a fusion-lite lead over an acoustic foundation while the title track is a delicate, solely acoustic number.
What makes the high quality of many of the tracks on Sheltered all the more surprising is the fact that Chacon is still very much an amateur musician, and one working on his own. Newer, post-Sheltered material that includes percussive rhythms and virtual drum machine beats is being created solely by Chacon – from composition and performance to recording and final mixing.
Of course it’s all relative – if Iron Maiden and Metallica are what musically move you and the Pat Metheny’s and Lee Ritenour’s of the world don’t rock your amps, then Santi Chacon’s Sheltered From The Cold isn’t going to be your next purchase.
But if you have an ear and appreciation for relaxed, cool-groove instrumental solo guitar work then it’s an album well worth checking out and spending time with.
And I'm very glad he did.
Chacon’s instrumental music is a hybrid of ambient new age, smooth jazz and a little latin, the result being a very listenable sound with its own very distinct groove.
Sheltered From The Cold is an album of ten tracks capturing all the elements described above and although I enjoy listening to what Chacon musically creates, I'm drawn more to how he musically emotes.
This is a musician who clearly loves to play, evident in the natural flow of his solo performances.
And although the Sheltered tunes are compositions (as opposed to full improvisations) they carry that spark of spontaneity and freshness of sound.
The opener, ‘A Gift,’ creates a lovely ambience backed by a light, percussive beat, setting the template for the album. ‘Sentimentally Yours,’ for example, follows a similar form but there are other colours on display too – ‘Awaiting’ features a fusion-lite lead over an acoustic foundation while the title track is a delicate, solely acoustic number.
What makes the high quality of many of the tracks on Sheltered all the more surprising is the fact that Chacon is still very much an amateur musician, and one working on his own. Newer, post-Sheltered material that includes percussive rhythms and virtual drum machine beats is being created solely by Chacon – from composition and performance to recording and final mixing.
Of course it’s all relative – if Iron Maiden and Metallica are what musically move you and the Pat Metheny’s and Lee Ritenour’s of the world don’t rock your amps, then Santi Chacon’s Sheltered From The Cold isn’t going to be your next purchase.
But if you have an ear and appreciation for relaxed, cool-groove instrumental solo guitar work then it’s an album well worth checking out and spending time with.
Ivan Drever - Bless the Wind
There are probably as many genres or styles of music I dislike or find it hard to appreciate as there are those that rock my Muirsical world.
But that’s probably true for a lot of folk.
And talking of a lot of folk…
Traditional folk music, much like traditional country, does nothing for me.
But here I am listening to, appreciating and reviewing Bless the Wind by Ivan Drever, an album best described as a blend of traditional and contemporary acoustic-based folk.
There’s good reason for the album being an exception to one of my Muirsical rules however.
Orkney born singer-songwriter Ivan Drever has been recording and releasing music (as a solo performer, collaboratively and within band format) for some twenty-five years and has the knack of regularly producing highly appealing and eminently listenable tunes, aided by his very distinct, Orcadian accentuated baritone vocal.
That’s a combination I can appreciate, enjoy and find impossible to ignore.
And it’s a combination that, on Bless the Wind, works exceptionally well – the voice of the songs carries an instant warmth and charm, while the tunes themselves are both inviting and comfortable.
The twelve tracks that make up Bless the Wind may carry a commonality in their origins but each is very much its own song, helped in part by subtle differences in arrangements and/ or instrumentation.
For example the first two numbers, ‘The Wordsmith‘ and ‘Crazy Some Days,' are both acoustic-based mid-tempo tunes but the opener includes a light percussive layer courtesy of Les MacPherson while ‘Crazy’ features just voice, acoustic guitars and some lovely little electric guitar interjections by Andy Murray.
Further proof that the album hits all the right spots is the fact that even the country-tinged numbers have me tapping a finger or foot as opposed to looking for the Skip-To-Next-Track button.
I can almost hear Jim Reeves singing along to the country-pop of ‘Bring Me Down,’ but that’s no bad thing and not overly surprising – Ivan Drever grew up listening to a lot of that legendary singer’s music.
The last song, ‘Give Me Your Sweetheart,’ is a true sing-a-long that could be, to quote Mr Drever from the lyric-booklet, “sung in the pub at the end of the night by many people who can’t sing!”
Indeed.
But, thankfully, that’s not the arrangement Ivan Drever chose to close out what is without doubt one of his finest folk-based offerings to date.
But that’s probably true for a lot of folk.
And talking of a lot of folk…
Traditional folk music, much like traditional country, does nothing for me.
But here I am listening to, appreciating and reviewing Bless the Wind by Ivan Drever, an album best described as a blend of traditional and contemporary acoustic-based folk.
There’s good reason for the album being an exception to one of my Muirsical rules however.
Orkney born singer-songwriter Ivan Drever has been recording and releasing music (as a solo performer, collaboratively and within band format) for some twenty-five years and has the knack of regularly producing highly appealing and eminently listenable tunes, aided by his very distinct, Orcadian accentuated baritone vocal.
That’s a combination I can appreciate, enjoy and find impossible to ignore.
And it’s a combination that, on Bless the Wind, works exceptionally well – the voice of the songs carries an instant warmth and charm, while the tunes themselves are both inviting and comfortable.
The twelve tracks that make up Bless the Wind may carry a commonality in their origins but each is very much its own song, helped in part by subtle differences in arrangements and/ or instrumentation.
For example the first two numbers, ‘The Wordsmith‘ and ‘Crazy Some Days,' are both acoustic-based mid-tempo tunes but the opener includes a light percussive layer courtesy of Les MacPherson while ‘Crazy’ features just voice, acoustic guitars and some lovely little electric guitar interjections by Andy Murray.
Further proof that the album hits all the right spots is the fact that even the country-tinged numbers have me tapping a finger or foot as opposed to looking for the Skip-To-Next-Track button.
I can almost hear Jim Reeves singing along to the country-pop of ‘Bring Me Down,’ but that’s no bad thing and not overly surprising – Ivan Drever grew up listening to a lot of that legendary singer’s music.
The last song, ‘Give Me Your Sweetheart,’ is a true sing-a-long that could be, to quote Mr Drever from the lyric-booklet, “sung in the pub at the end of the night by many people who can’t sing!”
Indeed.
But, thankfully, that’s not the arrangement Ivan Drever chose to close out what is without doubt one of his finest folk-based offerings to date.
Noel Gallagher's High Flying Birds
Noel Gallagher’s debut solo release was one of the most anticipated albums of 2011, certainly in the UK.
And, unlike the highly publicised but perhaps predictably ponderous Lou Reed & Metallica collaboration, Lulu, these High Flying Birds live up to their name.
After the acrimonious split between the Gallaghers and brother Liam getting out the studio door first with Beady Eye and their debut Different Gear Still Speeding, a lot of eyes and ears were on Noel.
Could he could deliver outside of the huge success that was Oasis?
The answer is he can, and has.
Love or loathe Oasis, Noel Gallagher is unarguably one of Britain’s best modern pop & rock songwriters. So there was very little chance of High Flying Birds being anything other than an accomplished release.
However while I don’t completely agree with the gushing 5 Star reviews that can be found with monotonous regularity from the Oasis hardcore and Über-fans, there is no doubt with High Flying Birds Noel Gallagher has presented his best collection of songs since the early and classic Oasis albums.
But it can be argued that was always a distinct possibility as a criticism made against the latter albums was that by allowing more writing input from the other members there was a dilution of product.
Talking of Oasis, there are a couple of 'Wonderwall' references and a handful of familiar sounding hooks, harmonies or arrangements.
‘AKA… Broken Arrow’ and ‘(Stranded On) The Wrong Beach’ would sit comfortably on just about any Oasis album, but this is a more cohesive and thoughtful set of songs than the Cigarettes and Alcohol swagger of Gallagher’s previous band.
From the orchestrated opener ‘Everybody’s On The Run’ (with it’s blend of modern pop and seventies soft-rock) to the rock ‘n’ shuffle of songs like ‘Dream On’ and ‘The Death of You and Me’ and on to the anthemic closer ‘Stop The Clocks’ (an unreleased Oasis number that has found a perfect home here) this is a solid ten track release.
Some may insert the word "safe" in place of "solid," but it’s perhaps more a case of comfortable territory for Gallagher’s first post-Oasis outing – although the dance beat of ‘AKA… What a Life!’ is an interesting musical side-step.
No major surprises but no sonic slip-ups either.
And, unlike the highly publicised but perhaps predictably ponderous Lou Reed & Metallica collaboration, Lulu, these High Flying Birds live up to their name.
After the acrimonious split between the Gallaghers and brother Liam getting out the studio door first with Beady Eye and their debut Different Gear Still Speeding, a lot of eyes and ears were on Noel.
Could he could deliver outside of the huge success that was Oasis?
The answer is he can, and has.
Love or loathe Oasis, Noel Gallagher is unarguably one of Britain’s best modern pop & rock songwriters. So there was very little chance of High Flying Birds being anything other than an accomplished release.
However while I don’t completely agree with the gushing 5 Star reviews that can be found with monotonous regularity from the Oasis hardcore and Über-fans, there is no doubt with High Flying Birds Noel Gallagher has presented his best collection of songs since the early and classic Oasis albums.
But it can be argued that was always a distinct possibility as a criticism made against the latter albums was that by allowing more writing input from the other members there was a dilution of product.
Talking of Oasis, there are a couple of 'Wonderwall' references and a handful of familiar sounding hooks, harmonies or arrangements.
‘AKA… Broken Arrow’ and ‘(Stranded On) The Wrong Beach’ would sit comfortably on just about any Oasis album, but this is a more cohesive and thoughtful set of songs than the Cigarettes and Alcohol swagger of Gallagher’s previous band.
From the orchestrated opener ‘Everybody’s On The Run’ (with it’s blend of modern pop and seventies soft-rock) to the rock ‘n’ shuffle of songs like ‘Dream On’ and ‘The Death of You and Me’ and on to the anthemic closer ‘Stop The Clocks’ (an unreleased Oasis number that has found a perfect home here) this is a solid ten track release.
Some may insert the word "safe" in place of "solid," but it’s perhaps more a case of comfortable territory for Gallagher’s first post-Oasis outing – although the dance beat of ‘AKA… What a Life!’ is an interesting musical side-step.
No major surprises but no sonic slip-ups either.
Rory Gallagher - Notes From San Francisco
Notes From San Francisco is the previously unreleased Rory Gallagher album, recorded in 1977/ 78.
Its 2011 release comes complete with a live set from San Francisco, recorded in December 1979.
The album was originally shelved primarily due to Gallagher’s disappointment and disillusionment with the mixes and not being able to get the sound he wanted.
Although this release has been cleaned up and remixed you can actually hear, and to some degree ‘feel,’ why he had such worries with many of the tracks.
Not that 'Notes' is a bad album (Gallagher, as a rule, did not do bad albums), but some of the songs do sound flat.
The songs that were later re-recorded (for 1978’s ‘Photo-Finish’) sound far more energetic and feature brighter arrangements.
There are only a handful of songs on ‘Notes’ that have never been heard before (many eventually resurfaced in some ‘bonus track’ shape or ‘alternative version’ form), but it’s still one for the collection – primarily because of the live CD that comes with the album.
Although Stage Struck is the definitive document of Gallagher’s live performances from the late 70’s (recorded during the 1979 world tour) there is only a five song crossover between the respective albums and Live in San Francisco becomes the perfect companion to Stage Struck.
Its 2011 release comes complete with a live set from San Francisco, recorded in December 1979.
The album was originally shelved primarily due to Gallagher’s disappointment and disillusionment with the mixes and not being able to get the sound he wanted.
Although this release has been cleaned up and remixed you can actually hear, and to some degree ‘feel,’ why he had such worries with many of the tracks.
Not that 'Notes' is a bad album (Gallagher, as a rule, did not do bad albums), but some of the songs do sound flat.
The songs that were later re-recorded (for 1978’s ‘Photo-Finish’) sound far more energetic and feature brighter arrangements.
There are only a handful of songs on ‘Notes’ that have never been heard before (many eventually resurfaced in some ‘bonus track’ shape or ‘alternative version’ form), but it’s still one for the collection – primarily because of the live CD that comes with the album.
Although Stage Struck is the definitive document of Gallagher’s live performances from the late 70’s (recorded during the 1979 world tour) there is only a five song crossover between the respective albums and Live in San Francisco becomes the perfect companion to Stage Struck.
Kassidy - Hope St.
Kassidy - singers/ guitarists Barrie James O’Neill, Chris Potter, Hamish Fingland and Lewis Andrew - seem to have come out of nowhere and caught people unawares with just how strong a debut Hope St. is.
But then Kassidy are a relatively new and young (all in their early 20s) band, formed in Glasgow at the end of 2009 around a mutual love for classic vocal harmony and acoustic guitars.
The band released three well received EP’s in 2010 before working on an album.
Kassidy and Hope St. hark back to the days of classic Americana and heavy acoustic folk, with vocal harmonies to the fore.
The overall band sound is augmented by drums, electric guitar, some keyboards and a string arrangement or two, but at the core of the album are the voices, harmonies and ringing acoustic guitars of the foursome.
The album opens with the catchy ‘Stray Cat’ before ‘That Old Song’ creates what could be a four minute soundtrack to any old Wild West story you care to mention.
‘I Don’t Know’ is infectious sing-a-long; ‘Waking Up Sideways’ slows the pace before ‘The Lost’ ups the fast-strumming acoustic tempo again.
And so it continues for twelve songs, classic and quality throwback Americana but set in the modern musical world. Part sixties vocal-guitar folk, part alternative rock. Crosby, Stills, Nash & Young meet the Kings of Leon.
What makes Hope St. all the more remarkable is initial recordings with producer Jim Abiss created something the boys didn’t feel represented them as a band.
Scrapping the album (retaining only the alternative rock of ‘The Betrayal’ from the original recordings) they worked with Thomas McNeice (who the band refers to as a fifth member) who knew exactly what was needed.
It took around three weeks to produce what became the confident and ridiculously mature Hope St.
Already a strong attraction on the festival circuit, Kassidy have now found their way to Hope St.
Hopefully Success Avenue is just around the corner.
But then Kassidy are a relatively new and young (all in their early 20s) band, formed in Glasgow at the end of 2009 around a mutual love for classic vocal harmony and acoustic guitars.
The band released three well received EP’s in 2010 before working on an album.
Kassidy and Hope St. hark back to the days of classic Americana and heavy acoustic folk, with vocal harmonies to the fore.
The overall band sound is augmented by drums, electric guitar, some keyboards and a string arrangement or two, but at the core of the album are the voices, harmonies and ringing acoustic guitars of the foursome.
The album opens with the catchy ‘Stray Cat’ before ‘That Old Song’ creates what could be a four minute soundtrack to any old Wild West story you care to mention.
‘I Don’t Know’ is infectious sing-a-long; ‘Waking Up Sideways’ slows the pace before ‘The Lost’ ups the fast-strumming acoustic tempo again.
And so it continues for twelve songs, classic and quality throwback Americana but set in the modern musical world. Part sixties vocal-guitar folk, part alternative rock. Crosby, Stills, Nash & Young meet the Kings of Leon.
What makes Hope St. all the more remarkable is initial recordings with producer Jim Abiss created something the boys didn’t feel represented them as a band.
Scrapping the album (retaining only the alternative rock of ‘The Betrayal’ from the original recordings) they worked with Thomas McNeice (who the band refers to as a fifth member) who knew exactly what was needed.
It took around three weeks to produce what became the confident and ridiculously mature Hope St.
Already a strong attraction on the festival circuit, Kassidy have now found their way to Hope St.
Hopefully Success Avenue is just around the corner.
Pat Metheny - What's It All About
Since the last Pat Metheny Group album appearance in 2005, Mr Metheny has kept himself busy with various collaborative, duo and trio projects and, more recently, a couple of exceptional but radically different solo releases.
Following last years innovative Orchestrion album (Feature Review on this site), Metheny has returned to a more natural environment for his 2011 offering, the sounds of the solo acoustic guitar.
Being Pat Metheny however, it isn’t just another acoustic guitar album...
What’s It All About features the baritone guitar, an instrument featuring lower tuning than standard. Its longer scale lengths and heavier strings also allow the instrument to carry the tones associated with bass or double bass guitars.
Metheny first featured his baritone guitars (made for the musician by Canadian luthier Linda Manzer) on his 2003 solo album One Quiet Night.
The album featured some wonderfully crafted Metheny tunes but also included his 6 string take of ‘Don’t Know Why’ (the Norah Jones hit) and a beautiful interpretation of Gerry Marsden’s ‘Ferry Cross the Mersey.’
Interpreting classic songs like ‘Mersey’ with such interesting instrumentation and tuning clearly inspired What’s It All About, a covers album featuring primarily ‘60’s and early 70’s pop classics, performed on the baritone guitar.
There are a couple of exceptions to the baritone rule, however…
The opener is Metheny’s interpretation of the Paul Simon classic ‘Sound of Silence,’ but where the original features the voices of Paul Simon and Art Garfunkle, this instrumental version features Metheny’s custom built Pikasso guitar (also made by Linda Manzer), a 42 string three necked instrument that brings a unique sound, tone and resonance to musical proceedings.
It’s a captivating almost traditional Japanese sound, and a wonderful cover.
The baritone guitar features on seven of the other nine songs, each carrying the core of the original tune but with that Metheny and baritone stamp.
Highlights include Terry Kirkman’s lovely pop ballad ‘Cherish’ (a hit for both The Association and David Cassidy), Burt Bacharach and Hal David’s ‘Alfie’ (most successfully covered by Dionnne Warwick, Cilla Black and Cher), The Carpenters hit ‘Rainy Days and Mondays’ (written by Roger Nichols and Paul Williams) and the Lennon & McCartney classic ‘And I Love Her.’
The latter is performed on nylon-string guitar, while the other non-baritone tune (The Chantays surf rock tune ‘Pipeline’) is performed on standard acoustic guitar.
There is a bonus track on the MP3 download version of the album, Thelonious Monk’s ‘Round Midnight.’ Many music critics are already citing it as the definitive solo guitar version of the jazz standard.
But then Pat Metheny is not too sloppy when it comes to playing a guitar, and listening to a natural talent like Metheny on natural instrumentation – whether it be 6 string baritone or a 42 string Sound of Silence – is the perfect antidote to the all too commonplace Sound of Muzak.
Following last years innovative Orchestrion album (Feature Review on this site), Metheny has returned to a more natural environment for his 2011 offering, the sounds of the solo acoustic guitar.
Being Pat Metheny however, it isn’t just another acoustic guitar album...
What’s It All About features the baritone guitar, an instrument featuring lower tuning than standard. Its longer scale lengths and heavier strings also allow the instrument to carry the tones associated with bass or double bass guitars.
Metheny first featured his baritone guitars (made for the musician by Canadian luthier Linda Manzer) on his 2003 solo album One Quiet Night.
The album featured some wonderfully crafted Metheny tunes but also included his 6 string take of ‘Don’t Know Why’ (the Norah Jones hit) and a beautiful interpretation of Gerry Marsden’s ‘Ferry Cross the Mersey.’
Interpreting classic songs like ‘Mersey’ with such interesting instrumentation and tuning clearly inspired What’s It All About, a covers album featuring primarily ‘60’s and early 70’s pop classics, performed on the baritone guitar.
There are a couple of exceptions to the baritone rule, however…
The opener is Metheny’s interpretation of the Paul Simon classic ‘Sound of Silence,’ but where the original features the voices of Paul Simon and Art Garfunkle, this instrumental version features Metheny’s custom built Pikasso guitar (also made by Linda Manzer), a 42 string three necked instrument that brings a unique sound, tone and resonance to musical proceedings.
It’s a captivating almost traditional Japanese sound, and a wonderful cover.
The baritone guitar features on seven of the other nine songs, each carrying the core of the original tune but with that Metheny and baritone stamp.
Highlights include Terry Kirkman’s lovely pop ballad ‘Cherish’ (a hit for both The Association and David Cassidy), Burt Bacharach and Hal David’s ‘Alfie’ (most successfully covered by Dionnne Warwick, Cilla Black and Cher), The Carpenters hit ‘Rainy Days and Mondays’ (written by Roger Nichols and Paul Williams) and the Lennon & McCartney classic ‘And I Love Her.’
The latter is performed on nylon-string guitar, while the other non-baritone tune (The Chantays surf rock tune ‘Pipeline’) is performed on standard acoustic guitar.
There is a bonus track on the MP3 download version of the album, Thelonious Monk’s ‘Round Midnight.’ Many music critics are already citing it as the definitive solo guitar version of the jazz standard.
But then Pat Metheny is not too sloppy when it comes to playing a guitar, and listening to a natural talent like Metheny on natural instrumentation – whether it be 6 string baritone or a 42 string Sound of Silence – is the perfect antidote to the all too commonplace Sound of Muzak.
Stevie Nicks - In Your Dreams
This long awaited Stevie Nicks album (some ten years after her last solo outing) was, as it turns out, worth that wait.
The opener, 'Secret Love,' is a new recording of a song Nicks wrote in 1976.
It was considered for Fleetwood Mac’s classic Rumours album but never went beyond demo stage.
It’s a traditional mid-tempo Stevie Nicks and a solid enough opener, but is not close to being the best number of the thirteen presented on In Your Dreams.
The song ‘For What it’s Worth’ harks back to the best of the singer’s lighter, poignant musical moments while ‘New Orleans’ is one of those more delicate Nicks numbers that the singer seems to be able to create and sing with ease.
The rockier numbers match and compliment the lighter material – the title track is bright, melodic rock and roll, ‘Wide Sargasso Sea’ carries a swagger all its own and ‘Ghosts Are Gone’ allows Nicks to shake off the lace and stamp the high-heeled leather boots.
Stevie Nicks defining musical characteristics are without doubt her distinct vocal tonality, vibrato and the personal and/ or wistful lyrics. Yet the highlight of the album may well be, ironically, the one song that doesn’t feature the latter trait.
‘Annabel Lee’ is based around the words of the Edgar Allan Poe poem carrying the same name.
The 19th century American poet and author’s work (based on a man’s undying love for a woman, even after her death) has been given the trademark Stevie Nicks soft-rock treatment and the combination of Poe’s prose, the musical accompaniment and Nicks interpretation of the poetic words have produced one of the prettiest songs she has ever recorded.
The album nearly ends on another highlight with the lovely, orchestrated ‘Italian Summer’ but strangely that song has been sequenced as the penultimate number with ‘Cheaper Than Free’ closing proceedings.
The latter features Dave Stewart (co-producer of the album and co-writer of half the songs) dueting with Nicks but unfortunately the song just isn’t strong enough to close out the album. It doesn’t add anything to musical proceedings and In Your Dreams becomes a stronger album with the song removed, in this listener’s opinion.
But that said, what we have here is not only the first Stevie Nicks album in ten years but the best Stevie Nicks album since the 80’s, when the singer just wanted to Rock a Little outside of Fleetwood Mac.
And she did. And she does. Very successfully.
The opener, 'Secret Love,' is a new recording of a song Nicks wrote in 1976.
It was considered for Fleetwood Mac’s classic Rumours album but never went beyond demo stage.
It’s a traditional mid-tempo Stevie Nicks and a solid enough opener, but is not close to being the best number of the thirteen presented on In Your Dreams.
The song ‘For What it’s Worth’ harks back to the best of the singer’s lighter, poignant musical moments while ‘New Orleans’ is one of those more delicate Nicks numbers that the singer seems to be able to create and sing with ease.
The rockier numbers match and compliment the lighter material – the title track is bright, melodic rock and roll, ‘Wide Sargasso Sea’ carries a swagger all its own and ‘Ghosts Are Gone’ allows Nicks to shake off the lace and stamp the high-heeled leather boots.
Stevie Nicks defining musical characteristics are without doubt her distinct vocal tonality, vibrato and the personal and/ or wistful lyrics. Yet the highlight of the album may well be, ironically, the one song that doesn’t feature the latter trait.
‘Annabel Lee’ is based around the words of the Edgar Allan Poe poem carrying the same name.
The 19th century American poet and author’s work (based on a man’s undying love for a woman, even after her death) has been given the trademark Stevie Nicks soft-rock treatment and the combination of Poe’s prose, the musical accompaniment and Nicks interpretation of the poetic words have produced one of the prettiest songs she has ever recorded.
The album nearly ends on another highlight with the lovely, orchestrated ‘Italian Summer’ but strangely that song has been sequenced as the penultimate number with ‘Cheaper Than Free’ closing proceedings.
The latter features Dave Stewart (co-producer of the album and co-writer of half the songs) dueting with Nicks but unfortunately the song just isn’t strong enough to close out the album. It doesn’t add anything to musical proceedings and In Your Dreams becomes a stronger album with the song removed, in this listener’s opinion.
But that said, what we have here is not only the first Stevie Nicks album in ten years but the best Stevie Nicks album since the 80’s, when the singer just wanted to Rock a Little outside of Fleetwood Mac.
And she did. And she does. Very successfully.
The Outfield - Replay
The Outfield are a bit of an enigma.
The polished power-pop rock trio never had a chart album or single in the UK (their home country) even in their most successful decade of the 1980’s
Yet their commercial and hook laden sound, courtesy of primary song writer and guitarist John Spinks and the high tenor pipes of bass player and lead vocalist Tony Lewis, certainly wasn’t missed or ignored in the U.S.
They hit a home run Stateside in 1985 when their debut release, Play Deep, became a Top 10 album and went triple platinum.
Similarly the song ‘Your Love’ from Play Deep was a Top 10 hit in the States.
It went on to become their biggest hit and helped define their signature sound.
There were further chart successes and platinum sales in the U.S. but times and musical fashions change. By the early 90’s later but no less strong albums by The Outfield had failed to make any significant impact.
And so to the Millennium and the fact that, sadly, history will probably record that Replay met the same fate.
What makes that more unfortunate is Replay is a cracking little album, full of the melodic musical quality that made the band so successful in the U.S. in the first place. It also features original drummer Alan Jackman, who returned permanently in 2009.
‘Aladdin’s Cave’ opens proceedings in fine style but the album really grabs your attention when ‘California Sun’ follows. The lead single and a great slice of melodic hard pop, it became a success on many a regional AOR chart.
‘A Long, Long Time Ago,’ also made itself known on radio-based charts.
Then there's ‘In Your Company,’ sounding like the Police in their later creative period. But just about every album from The Outfield has at least one such song, which comes in part from Tony Lewis (who hasn't lost a vocal step as regards his clean upper tenor register and range) having a vocal similarity to Sting.
‘Who Would You Be’ and ‘Shake Your Thing’ rock the album up a little and as Replay continues it becomes evident this is their strongest and most complete album since Rockeye, the 1992 album that showcased the band at their melodic rockiest.
But for all the slices of hard pop and chiming melodic guitar riffs on Replay the most interesting song is ‘Disraeli Years.’
It's a clever homage and nod to arguably the greatest ever power-trio and if you don’t know who the song refers to from just the title, shame on you – no Cream for you with your desert.
But it’s those catchy melodies, harmonies and hooks that define The Outfield and why songs like ‘California Sun’ and ‘A Long, Long Time Ago’ aren’t mainstream hits in the U.S. or even the U.K. is anyone’s guess.
I guess because The Outfield are still a bit of an enigma.
But a bloody good one.
The polished power-pop rock trio never had a chart album or single in the UK (their home country) even in their most successful decade of the 1980’s
Yet their commercial and hook laden sound, courtesy of primary song writer and guitarist John Spinks and the high tenor pipes of bass player and lead vocalist Tony Lewis, certainly wasn’t missed or ignored in the U.S.
They hit a home run Stateside in 1985 when their debut release, Play Deep, became a Top 10 album and went triple platinum.
Similarly the song ‘Your Love’ from Play Deep was a Top 10 hit in the States.
It went on to become their biggest hit and helped define their signature sound.
There were further chart successes and platinum sales in the U.S. but times and musical fashions change. By the early 90’s later but no less strong albums by The Outfield had failed to make any significant impact.
And so to the Millennium and the fact that, sadly, history will probably record that Replay met the same fate.
What makes that more unfortunate is Replay is a cracking little album, full of the melodic musical quality that made the band so successful in the U.S. in the first place. It also features original drummer Alan Jackman, who returned permanently in 2009.
‘Aladdin’s Cave’ opens proceedings in fine style but the album really grabs your attention when ‘California Sun’ follows. The lead single and a great slice of melodic hard pop, it became a success on many a regional AOR chart.
‘A Long, Long Time Ago,’ also made itself known on radio-based charts.
Then there's ‘In Your Company,’ sounding like the Police in their later creative period. But just about every album from The Outfield has at least one such song, which comes in part from Tony Lewis (who hasn't lost a vocal step as regards his clean upper tenor register and range) having a vocal similarity to Sting.
‘Who Would You Be’ and ‘Shake Your Thing’ rock the album up a little and as Replay continues it becomes evident this is their strongest and most complete album since Rockeye, the 1992 album that showcased the band at their melodic rockiest.
But for all the slices of hard pop and chiming melodic guitar riffs on Replay the most interesting song is ‘Disraeli Years.’
It's a clever homage and nod to arguably the greatest ever power-trio and if you don’t know who the song refers to from just the title, shame on you – no Cream for you with your desert.
But it’s those catchy melodies, harmonies and hooks that define The Outfield and why songs like ‘California Sun’ and ‘A Long, Long Time Ago’ aren’t mainstream hits in the U.S. or even the U.K. is anyone’s guess.
I guess because The Outfield are still a bit of an enigma.
But a bloody good one.
Presto Ballet - Love What You've Done With The Place
I caught sight of a magazine article back in March featuring guitarist Kurdt Vanderhoof talking about the then-just-released third Presto Ballet album, Invisible Places, and the fact that the concept behind the Presto project was to unashamedly recall the sounds of classic ‘70s progressive rock.
The ex-Metal Church musician also stated that Presto Ballet only used analogue recording and instrumentation (no digitised trickery here).
Those comments led directly to the purchase of the first three Presto Ballet albums and this review of the fourth, Love What You’ve Done With The Place.
Described as an EP, LWYDWTP is actually (when including the bonus track on the CD edition) a six track, 40 minute album, harking back to old-school prog ‘n’ vinyl.
Presto Ballet do indeed take their lead from classic prog and the likes of early Yes and Kansas, but there are neo/ modern prog influences here as well.
Unlike many who ply their trade in the latter genres however, Presto keep their prog workouts more controlled and concise (yes, I’m talking to you, Transatlantic).
Since Invisible Places singer Ronny Munroe (who was part of the final incarnation of Metal Church) has taken over from original Presto vocalist Scott Damon Albright.
Musically there is no significant shift in policy, sound or style but Munroe brings a slightly rockier, rougher edge vocally to proceedings.
A good example is the cover of ‘Faith Healer,’ a song from the classic back catalogue of The Sensational Alex Harvey Band.
Its gritty power suits Munroe and by keeping it close to the original and not progging it up it becomes an interesting musical closer to proceedings, carrying a different musical energy from other Presto songs (‘Faith Healer’ is the bonus track mentioned earlier).
But prog is what the band are about and prog is most definitely what you get here. ‘King of the Stars’ is a great example of the best of both prog worlds (70’s prog meets The Flower Kings), while ‘The Clock’ is reminiscent of early Genesis with its little hints of ‘The Knife’ but without ever sounding like that prog classic.
And special mention to ‘Looking Glass’ with its melodic prog rock shine – if Presto were more mainstream this is unquestionably a song that would get serious airplay on American rock radio.
I was never likely to be, or ever was, part of the congregation at Vanderhoof’s Metal Church, but as regards Presto Ballet?
Long may their Prog rock.
The ex-Metal Church musician also stated that Presto Ballet only used analogue recording and instrumentation (no digitised trickery here).
Those comments led directly to the purchase of the first three Presto Ballet albums and this review of the fourth, Love What You’ve Done With The Place.
Described as an EP, LWYDWTP is actually (when including the bonus track on the CD edition) a six track, 40 minute album, harking back to old-school prog ‘n’ vinyl.
Presto Ballet do indeed take their lead from classic prog and the likes of early Yes and Kansas, but there are neo/ modern prog influences here as well.
Unlike many who ply their trade in the latter genres however, Presto keep their prog workouts more controlled and concise (yes, I’m talking to you, Transatlantic).
Since Invisible Places singer Ronny Munroe (who was part of the final incarnation of Metal Church) has taken over from original Presto vocalist Scott Damon Albright.
Musically there is no significant shift in policy, sound or style but Munroe brings a slightly rockier, rougher edge vocally to proceedings.
A good example is the cover of ‘Faith Healer,’ a song from the classic back catalogue of The Sensational Alex Harvey Band.
Its gritty power suits Munroe and by keeping it close to the original and not progging it up it becomes an interesting musical closer to proceedings, carrying a different musical energy from other Presto songs (‘Faith Healer’ is the bonus track mentioned earlier).
But prog is what the band are about and prog is most definitely what you get here. ‘King of the Stars’ is a great example of the best of both prog worlds (70’s prog meets The Flower Kings), while ‘The Clock’ is reminiscent of early Genesis with its little hints of ‘The Knife’ but without ever sounding like that prog classic.
And special mention to ‘Looking Glass’ with its melodic prog rock shine – if Presto were more mainstream this is unquestionably a song that would get serious airplay on American rock radio.
I was never likely to be, or ever was, part of the congregation at Vanderhoof’s Metal Church, but as regards Presto Ballet?
Long may their Prog rock.
Chris Rea - Santo Spirito Blues
“…I’ll do happy blues… up-tempo, lots of off-the-wall guitar, to try and shake off the blues.”
The above comment is the very definition of Spirito Blues, the latest album from Chris Rea.
And the quote comes from the acclaimed singer songwriter himself, who also happens to be a great six-stringer and one of the finest slide blues guitarists in the business.
Santo Spirito Blues follows the form of most of Chris Rea’s releases over the last decade.
It’s an album rooted in the blues, a road the musician purposely found himself travelling at the start of the Millennium after he recovered from serious illness and an operation with a predicted 50% chance of survival.
The album and its up-beat tempo is typified by tracks such as ‘Rock and Roll Tonight’ with its Stones-esque rhythm and riffing and ‘Never Tie me Down,’ a song for the young man with his life still ahead of him.
It’s not a one dimensional album, however, and Rea does deliver a tune or three in amongst the thirteen tracks that’s more laid back or slow blues.
The two lightest pieces on Santo Spirito Blues close out proceedings – the smoky blues of ‘Lose My Heart in You’ and the country-blues tinged ballad ‘I Will Go On.’
The album comes in two flavours.
There’s the standard album release reviewed here and a multi-disc set.
The box-set edition is a five disc release featuring three CD’s and two DVD’s.
The DVD’s are two films written and directed by Rea.
One is what is described as “a raw and brutally honest” film on bullfighting, while the other is about a man’s journey on a search for the truth in the city of Florence.
The soundtracks to both films are featured on two of the CD's while the other CD is the Santo Spirito Blues album.
The multi-disc version is yet another ambitious and interesting release from Rea (who has in the past recorded and released an 11 CD Blues set) and, having started with a comment from Mr Rea, it’s only fitting we finish with another:
“I love creating things and passionately believe artists should be looking to try new ways of bringing what we do to the public. There should be no rules whatsoever and, for God’s sake, there are alternatives to TV talent shows.”
Amen to that, Chris.
The above comment is the very definition of Spirito Blues, the latest album from Chris Rea.
And the quote comes from the acclaimed singer songwriter himself, who also happens to be a great six-stringer and one of the finest slide blues guitarists in the business.
Santo Spirito Blues follows the form of most of Chris Rea’s releases over the last decade.
It’s an album rooted in the blues, a road the musician purposely found himself travelling at the start of the Millennium after he recovered from serious illness and an operation with a predicted 50% chance of survival.
The album and its up-beat tempo is typified by tracks such as ‘Rock and Roll Tonight’ with its Stones-esque rhythm and riffing and ‘Never Tie me Down,’ a song for the young man with his life still ahead of him.
It’s not a one dimensional album, however, and Rea does deliver a tune or three in amongst the thirteen tracks that’s more laid back or slow blues.
The two lightest pieces on Santo Spirito Blues close out proceedings – the smoky blues of ‘Lose My Heart in You’ and the country-blues tinged ballad ‘I Will Go On.’
The album comes in two flavours.
There’s the standard album release reviewed here and a multi-disc set.
The box-set edition is a five disc release featuring three CD’s and two DVD’s.
The DVD’s are two films written and directed by Rea.
One is what is described as “a raw and brutally honest” film on bullfighting, while the other is about a man’s journey on a search for the truth in the city of Florence.
The soundtracks to both films are featured on two of the CD's while the other CD is the Santo Spirito Blues album.
The multi-disc version is yet another ambitious and interesting release from Rea (who has in the past recorded and released an 11 CD Blues set) and, having started with a comment from Mr Rea, it’s only fitting we finish with another:
“I love creating things and passionately believe artists should be looking to try new ways of bringing what we do to the public. There should be no rules whatsoever and, for God’s sake, there are alternatives to TV talent shows.”
Amen to that, Chris.
Alan Reed - Dancing with Ghosts EP
Alan Reed’s first studio steps as a solo artist couldn’t have been better named or planned.
Dancing with Ghosts is an EP featuring acoustic arrangements of five songs that cover the singer’s musical past, present and future.
Having been the front man and voice of Scottish rock progressives Pallas for some twenty-five years it’s no surprise that two Pallas songs make an appearance and both are excellent choices.
‘Sanctuary’ was the first song Alan Reed co-wrote with Pallas and is one of the band’s best songs.
‘Who's to Blame?’ is given a reworking closer to Reed’s original demo of the song, including the incorporation of a sitar, courtesy of Mark Spencer (who also provides keyboards on a couple of numbers).
Pallas songs tend to carry a wall-of-sound intensity so it’s refreshing to hear stripped down versions that allow Reed’s voice to breathe more freely within the songs and become the featured instrument.
Prior to Pallas, Reed sang with Abel Ganz and ‘Kean on the Job’ makes an acoustic reappearance here. A lovely little song enhanced by a simple arrangement.
The other two songs indicate where Alan Reed is presently and where he is heading as both will feature on his forthcoming solo album First in a Field of One.
‘Teardrops in the Rain’ is a true solo performance featuring Reed on acoustic guitar. The version that will appear on First in a Field of One however will be more full bodied, making this acoustic arrangement a bit of a collector’s item.
‘Begin Again’ could well be autobiographical in title but deals with, to quote the artist, “the often contradictory nature of Scottish identity.”
Up-tempo, Celtic in arrangement and featuring percussion from Scott Higham, it carries a musical and vocal vibrancy that sets it apart from the other tracks.
As with ‘Teardrops,’ a different version of ‘Begin Again’ will appear on the full length solo album.
On Dancing with Ghosts Alan Reed has successfully revisited some old friends while introducing a couple of new ones.
It has also exorcized the ghosts of Pallas past, allowing him to move on to the fresh musical fields of his future.
Dancing with Ghosts is an EP featuring acoustic arrangements of five songs that cover the singer’s musical past, present and future.
Having been the front man and voice of Scottish rock progressives Pallas for some twenty-five years it’s no surprise that two Pallas songs make an appearance and both are excellent choices.
‘Sanctuary’ was the first song Alan Reed co-wrote with Pallas and is one of the band’s best songs.
‘Who's to Blame?’ is given a reworking closer to Reed’s original demo of the song, including the incorporation of a sitar, courtesy of Mark Spencer (who also provides keyboards on a couple of numbers).
Pallas songs tend to carry a wall-of-sound intensity so it’s refreshing to hear stripped down versions that allow Reed’s voice to breathe more freely within the songs and become the featured instrument.
Prior to Pallas, Reed sang with Abel Ganz and ‘Kean on the Job’ makes an acoustic reappearance here. A lovely little song enhanced by a simple arrangement.
The other two songs indicate where Alan Reed is presently and where he is heading as both will feature on his forthcoming solo album First in a Field of One.
‘Teardrops in the Rain’ is a true solo performance featuring Reed on acoustic guitar. The version that will appear on First in a Field of One however will be more full bodied, making this acoustic arrangement a bit of a collector’s item.
‘Begin Again’ could well be autobiographical in title but deals with, to quote the artist, “the often contradictory nature of Scottish identity.”
Up-tempo, Celtic in arrangement and featuring percussion from Scott Higham, it carries a musical and vocal vibrancy that sets it apart from the other tracks.
As with ‘Teardrops,’ a different version of ‘Begin Again’ will appear on the full length solo album.
On Dancing with Ghosts Alan Reed has successfully revisited some old friends while introducing a couple of new ones.
It has also exorcized the ghosts of Pallas past, allowing him to move on to the fresh musical fields of his future.
Lou Reed & Metallica - Lulu
There is absolutely no question the most anticipated and publicised release of 2011 is Lulu, the collaborative project between Lou Reed and Metallica.
Neither artist needs any introduction but suffice to say Metallica are the most commercially successful heavy metal band ever and Lou Reed is one of the most iconic names in rock and roll.
But Metallica, as discussed by hardcore fan and critic alike, have lost their away in recent years especially in quality control.
With that in mind, this collaboration was always going to be a risk, because getting together with Lou Reed to create music for Reed’s dark and disturbing lyrics delivered in his drawling, angry narrative style was always going to be either a genuine artistic statement or a complete disaster.
Turns out it’s the latter.
Lulu is led by Reed and his lyrics, which are based on a femme fatale and amoral character featuring in plays by German writer Frank Wedekind.
As regards those lyrical themes, and the musical content, titles like ‘Pumping Blood,’ ‘Mistress Dread’ and ‘Frustration’ tell you all you need to know.
I never was and never will be the biggest Metallica or Lou Reed fan, so this was probably never going to work for me. But the trouble is I don’t know who it will work for or who it is aimed at, other than the artists themselves.
Lulu may well be the very definition of musical self-indulgence.
That said, although many fans, critics and reviewers have already labelled it as rubbish, I’m drawn to a second conclusion:
This isn’t just the worst album of the year; it’s a contender for one of the worst rock albums, ever. But, equally, there will be the inevitable highly positive reviews from high-brow music papers or magazines that will try and convince you of its challenging musicality, innovation or artistic merit.
Sadly however that will be a classic case of The Emperor’s New (musical) Clothes.
Because this is not musically challenging (other than trying to listen to it), is hardly innovative and doesn't merit an artistic label.
It’s musically morose, ponderous, carries no redeeming features and as regards the part played by Metallica, dreadfully misguided.
Neither artist needs any introduction but suffice to say Metallica are the most commercially successful heavy metal band ever and Lou Reed is one of the most iconic names in rock and roll.
But Metallica, as discussed by hardcore fan and critic alike, have lost their away in recent years especially in quality control.
With that in mind, this collaboration was always going to be a risk, because getting together with Lou Reed to create music for Reed’s dark and disturbing lyrics delivered in his drawling, angry narrative style was always going to be either a genuine artistic statement or a complete disaster.
Turns out it’s the latter.
Lulu is led by Reed and his lyrics, which are based on a femme fatale and amoral character featuring in plays by German writer Frank Wedekind.
As regards those lyrical themes, and the musical content, titles like ‘Pumping Blood,’ ‘Mistress Dread’ and ‘Frustration’ tell you all you need to know.
I never was and never will be the biggest Metallica or Lou Reed fan, so this was probably never going to work for me. But the trouble is I don’t know who it will work for or who it is aimed at, other than the artists themselves.
Lulu may well be the very definition of musical self-indulgence.
That said, although many fans, critics and reviewers have already labelled it as rubbish, I’m drawn to a second conclusion:
This isn’t just the worst album of the year; it’s a contender for one of the worst rock albums, ever. But, equally, there will be the inevitable highly positive reviews from high-brow music papers or magazines that will try and convince you of its challenging musicality, innovation or artistic merit.
Sadly however that will be a classic case of The Emperor’s New (musical) Clothes.
Because this is not musically challenging (other than trying to listen to it), is hardly innovative and doesn't merit an artistic label.
It’s musically morose, ponderous, carries no redeeming features and as regards the part played by Metallica, dreadfully misguided.
Seasick Steve - You Can't Teach an Old Dog New Tricks
It’s not very often you can genuinely categorise an artist as unique or, at the very least, having a very individual sound. But one musician does immediately come to mind.
Seasick Steve became an overnight success in the UK after appearing on ‘Jools Holland’s Hootenanny’ show in 2006, performing his brand of blues on his personalised instrumentation – the three-string ‘Trance Wonder’ guitar and ‘Mississippi Drum Machine’ (a wooden box for stamping out the beat).
That appearance (promoting his first solo record and second album overall) led to a successful string of dates, festival appearances and further albums.
And now, in 2011, the man born Steven Gene Wold has delivered his fifth album and best work to date.
There is little room for the three-string and stomp box on New Tricks however as it follows the trend set on more recent releases and not the trademark sounds of the earlier albums.
Similar to albums such as Started Out with Nothin’ and I Still Got Most of it Left (the best title for a blues album, ever), New Tricks features a strong mix of material, the use of more traditional instrumentation (primarily slide, electric, acoustic guitars and drums) and guest musicians including John Paul Jones.
The long narrative tracks, staples of earlier albums (where the singer told stories from his days of being a hobo, tramp and bum - “I’ve been all three”), are also posted missing.
Here we have a short, sharp 43 minutes of 12 songs (with 2 bonus songs on the iTunes version) mixing great old-school blues with more contemporary numbers.
It’s a great album, with some stand-out moments.
The opener, ‘Treasures,’ features the singer on acoustic guitar and in reflective voice, with a violin solo incorporated for added poignancy.
The title track then steps up and gets in your face with its punchy blues-rock and is a song that wouldn’t be out of place on a Joe Bonamassa album.
And so it continues throughout the album, the songs switching from acoustic Seasick Steve (as perfectly exemplified on the foot-tapping sing-a-long fun of ‘Whiskey Ballad’) to grittier drum and guitar driven numbers like ‘Back in the Doghouse’ and the slide ‘n’ shuffle of ‘Party.’
Greg Allman and the aforementioned Mr Bonamassa both released excellent albums earlier in 2011 and now so too has Seasick Steve, who deserves to be mentioned in the same sentence and musical circles as those two greats of old-school blues and modern blues respectively.
And with New Tricks, the seventy-year-young bluester has caught the essence of both, proving the title of the album is a little tongue in cheek or misleading.
You can indeed teach an old dog, who already has some great tricks of his own, new ones.
Seasick Steve became an overnight success in the UK after appearing on ‘Jools Holland’s Hootenanny’ show in 2006, performing his brand of blues on his personalised instrumentation – the three-string ‘Trance Wonder’ guitar and ‘Mississippi Drum Machine’ (a wooden box for stamping out the beat).
That appearance (promoting his first solo record and second album overall) led to a successful string of dates, festival appearances and further albums.
And now, in 2011, the man born Steven Gene Wold has delivered his fifth album and best work to date.
There is little room for the three-string and stomp box on New Tricks however as it follows the trend set on more recent releases and not the trademark sounds of the earlier albums.
Similar to albums such as Started Out with Nothin’ and I Still Got Most of it Left (the best title for a blues album, ever), New Tricks features a strong mix of material, the use of more traditional instrumentation (primarily slide, electric, acoustic guitars and drums) and guest musicians including John Paul Jones.
The long narrative tracks, staples of earlier albums (where the singer told stories from his days of being a hobo, tramp and bum - “I’ve been all three”), are also posted missing.
Here we have a short, sharp 43 minutes of 12 songs (with 2 bonus songs on the iTunes version) mixing great old-school blues with more contemporary numbers.
It’s a great album, with some stand-out moments.
The opener, ‘Treasures,’ features the singer on acoustic guitar and in reflective voice, with a violin solo incorporated for added poignancy.
The title track then steps up and gets in your face with its punchy blues-rock and is a song that wouldn’t be out of place on a Joe Bonamassa album.
And so it continues throughout the album, the songs switching from acoustic Seasick Steve (as perfectly exemplified on the foot-tapping sing-a-long fun of ‘Whiskey Ballad’) to grittier drum and guitar driven numbers like ‘Back in the Doghouse’ and the slide ‘n’ shuffle of ‘Party.’
Greg Allman and the aforementioned Mr Bonamassa both released excellent albums earlier in 2011 and now so too has Seasick Steve, who deserves to be mentioned in the same sentence and musical circles as those two greats of old-school blues and modern blues respectively.
And with New Tricks, the seventy-year-young bluester has caught the essence of both, proving the title of the album is a little tongue in cheek or misleading.
You can indeed teach an old dog, who already has some great tricks of his own, new ones.
The Sky - The Sky
Robert Fleischman has had a fair old career in the music business.
But although the singer has released various solo albums (from rock-orientated to ambient), been part of bands including Channel and the Vinnie Vincent Invasion and scored a number TV and film soundtracks, he seems destined to always be known as “the first front man of Journey” (preceding Steve Perry by nine months).
Hopefully however that often-used quote can now be superseded by “the front man of The Sky,” the band project first announced by the singer in early 2009.
The Sky are a breath of fresh musical air and their eponymously titled debut album blows the cobwebs off a somewhat stale musical state of affairs, certainly as regards current trends for glossy no substance pop and retro-rock.
It’s high-energy. It’s guitars up front with a vibrant, open sound that gives the songs room to resonate. No keyboards or over-produced numbers here ladies and gentlemen, because The Sky have captured the essence of 90’s guitar driven alternative rock while creating their own sonic stamp.
This is rock music and rock vocal with attitude.
Although there are a few rough edges on this eleven track debut outing, The Sky already sound like a cohesive unit, all singing from the same music sheet.
The rhythm section of Andre LaBelle (drums) and Steve Barber (bass) drive the songs along with purpose, while the guitars of Brady Cole and Stephan LaJaunie are as integral to The Sky sound as Fleischman’s lead vocal.
Any questions about what the listener is going to experience or what the band is about are quickly answered when ‘All I Want’ bangs frenetically and loudly at your door until ‘Boomerang’ with it’s more brooding but no less punchy riff decides not to wait and just kicks it in. The power-punk rock and roll of ‘In and Out’ then introduces itself by jumping up and down on what’s left.
The second half of the album allows The Sky to change its colours a little.
‘Revelation’ and ‘Smile’ turn it down a notch or three and while the latter works far better than the former, the bottom line is both songs deliver the necessary change of pace that stops the album from being one-dimensional in pace and intensity.
The final two songs may not carry the swagger of the opening brace, but ‘Time’ is one of the highlights of the album. It has a radio-friendly vibe with harmony and backing vocals countered by edgy guitar riffs.
The slow-tempo closer ‘Sunshine’ has a Beatles meets Oasis quality about it and Fleischman even manages to sound a little Lennon-esque as he tells us to “spread a little sunshine, everything will be fine.”
The debut album from The Sky may not be perfect but considering the amount of manufactured music about these days it makes a hell of a statement.
And it’s a statement that deserves to be heard.
But although the singer has released various solo albums (from rock-orientated to ambient), been part of bands including Channel and the Vinnie Vincent Invasion and scored a number TV and film soundtracks, he seems destined to always be known as “the first front man of Journey” (preceding Steve Perry by nine months).
Hopefully however that often-used quote can now be superseded by “the front man of The Sky,” the band project first announced by the singer in early 2009.
The Sky are a breath of fresh musical air and their eponymously titled debut album blows the cobwebs off a somewhat stale musical state of affairs, certainly as regards current trends for glossy no substance pop and retro-rock.
It’s high-energy. It’s guitars up front with a vibrant, open sound that gives the songs room to resonate. No keyboards or over-produced numbers here ladies and gentlemen, because The Sky have captured the essence of 90’s guitar driven alternative rock while creating their own sonic stamp.
This is rock music and rock vocal with attitude.
Although there are a few rough edges on this eleven track debut outing, The Sky already sound like a cohesive unit, all singing from the same music sheet.
The rhythm section of Andre LaBelle (drums) and Steve Barber (bass) drive the songs along with purpose, while the guitars of Brady Cole and Stephan LaJaunie are as integral to The Sky sound as Fleischman’s lead vocal.
Any questions about what the listener is going to experience or what the band is about are quickly answered when ‘All I Want’ bangs frenetically and loudly at your door until ‘Boomerang’ with it’s more brooding but no less punchy riff decides not to wait and just kicks it in. The power-punk rock and roll of ‘In and Out’ then introduces itself by jumping up and down on what’s left.
The second half of the album allows The Sky to change its colours a little.
‘Revelation’ and ‘Smile’ turn it down a notch or three and while the latter works far better than the former, the bottom line is both songs deliver the necessary change of pace that stops the album from being one-dimensional in pace and intensity.
The final two songs may not carry the swagger of the opening brace, but ‘Time’ is one of the highlights of the album. It has a radio-friendly vibe with harmony and backing vocals countered by edgy guitar riffs.
The slow-tempo closer ‘Sunshine’ has a Beatles meets Oasis quality about it and Fleischman even manages to sound a little Lennon-esque as he tells us to “spread a little sunshine, everything will be fine.”
The debut album from The Sky may not be perfect but considering the amount of manufactured music about these days it makes a hell of a statement.
And it’s a statement that deserves to be heard.
Judie Tzuke - One Tree Less
Since her emergence in 1979 with the stunning and hugely successful ‘Stay With Me Till Dawn,’ Judie Tzuke has established herself as one of the best British female singer songwriters of the last three decades.
In recent years however you could be forgiven for assuming that, like her contemporary Kate Bush, she had semi-retired from the recording studio with the occasional solo album appearing for good musical measure.
Nothing could be further from the truth.
Through the successes of the 1980’s and beyond Judie Tzuke hasn’t just continued to release solo albums, she has continued to release solid and eminently listenable solo albums, a number of which match the quality of critically acclaimed Tzuke classics like her debut album Welcome to the Cruise.
But artistic times and musical fashions change.
As the 90’s became the Millennium a large percentage of the most commercial and successful music became formulated, cookie-cutter product, driven by MTV visuals.
Many classic artists – or at least those not re-recording, or touring, the hits – found their albums of generally strong, new material slipping under the radar and missing out on the promotion or airplay they deserved.
I have a horrible feeling One Tree Less will meet that same fate.
And that would be a shame, because it’s the latest in what is becoming a fairly long list of Judie Tzuke gems.
One Tree Less, Tzuke’s seventeenth studio album, is perhaps a lighter affair than the singer’s previous Millennium releases, but that only adds to its charm.
It becomes a musical foil to rockier albums like the excellent 2004 release The End of the Beginning.
There are rocky, up-tempo moments like ‘Moving Target’ (which, along with the title track, has to be an instant addition to any Judie Tzuke Best Of) but the album primarily features slower tempo numbers, ballads or acoustically structured songs.
Yet the album never loses momentum, and that’s down to the quality of song.
And the quality of vocal…
There was always a maturity in Judie Tzuke’s songwriting, but these days there is also a maturity in her voice.
Judie Tzuke still has her defining, distinct tones but there is a vocal breathiness that enriches both voice and song, generating instant warmth, especially on ballads like ‘Just You and I,’ ‘Truth’ and ‘Till it’s Over.’
Judie Tzuke continues to tour and her voice, performances and songs – both old and new – make her a great draw on the live circuit.
That’s only justice.
But the fact I can guarantee One Tree Less won’t chart significantly, if at all, or receive the level of interest, critical acclaim or sales success it deserves?
That’s damn near criminal.
In recent years however you could be forgiven for assuming that, like her contemporary Kate Bush, she had semi-retired from the recording studio with the occasional solo album appearing for good musical measure.
Nothing could be further from the truth.
Through the successes of the 1980’s and beyond Judie Tzuke hasn’t just continued to release solo albums, she has continued to release solid and eminently listenable solo albums, a number of which match the quality of critically acclaimed Tzuke classics like her debut album Welcome to the Cruise.
But artistic times and musical fashions change.
As the 90’s became the Millennium a large percentage of the most commercial and successful music became formulated, cookie-cutter product, driven by MTV visuals.
Many classic artists – or at least those not re-recording, or touring, the hits – found their albums of generally strong, new material slipping under the radar and missing out on the promotion or airplay they deserved.
I have a horrible feeling One Tree Less will meet that same fate.
And that would be a shame, because it’s the latest in what is becoming a fairly long list of Judie Tzuke gems.
One Tree Less, Tzuke’s seventeenth studio album, is perhaps a lighter affair than the singer’s previous Millennium releases, but that only adds to its charm.
It becomes a musical foil to rockier albums like the excellent 2004 release The End of the Beginning.
There are rocky, up-tempo moments like ‘Moving Target’ (which, along with the title track, has to be an instant addition to any Judie Tzuke Best Of) but the album primarily features slower tempo numbers, ballads or acoustically structured songs.
Yet the album never loses momentum, and that’s down to the quality of song.
And the quality of vocal…
There was always a maturity in Judie Tzuke’s songwriting, but these days there is also a maturity in her voice.
Judie Tzuke still has her defining, distinct tones but there is a vocal breathiness that enriches both voice and song, generating instant warmth, especially on ballads like ‘Just You and I,’ ‘Truth’ and ‘Till it’s Over.’
Judie Tzuke continues to tour and her voice, performances and songs – both old and new – make her a great draw on the live circuit.
That’s only justice.
But the fact I can guarantee One Tree Less won’t chart significantly, if at all, or receive the level of interest, critical acclaim or sales success it deserves?
That’s damn near criminal.
The Union - Siren's Song
There’s many an album that comes out to a trumpeted fanfare but also suffers from the age old Emperor’s New Clothes syndrome.
Released to loud and long applause, but based on previous, artist reputation or anticipation more than actual product, artistic merit or audio quality.
Last year, it was the debut album from The Union that fell into the Emperor’s category of applause based on anticipation.
It was a good first offering but truth be told it was just that.
It had some tasty tracks, but was never going to be a contender for best debut album of all-time.
The anticipation and reaction came from the fact the band is based around ex-Thunder guitarist Luke Morley and singer Peter Shoulder, formerly of Winterville.
Morley is an excellent six-stringer with a special predilection for modern-edged blues rock and Shoulder’s blues ‘n’ soul rock voice usually makes you pay attention no matter what the song.
But that was the problem for me – on the debut the pair’s song writing wasn’t consistently strong enough or, perhaps more accurately, simply didn’t separate itself from the blues rock crowd, whether the old-stagers or any of the new kids on the blues block. Songs like ‘Black Monday’ shone, but it wasn’t a complete album.
However the follow-up, Siren’s Song, is a far more accomplished album with a much higher standard of song writing. It’s a pretty damn solid sophomore release.
Their respective abilities were never in doubt, but on this album Morley and Shoulder’s writing, musical chemistry and creativity have truly formed The Union that is Siren’s Song.
The title track opens proceedings with a self-assured swagger and it’s that self assurance that dominates the album – I doubt they would have considered songs such as the melancholic ‘Orion’ or the smokey 4am piano blues of ‘If I Could Make You Mine’ for the debut.
And outside of lighter interludes like ‘Make Up Your Mind’ or the slow blues of ‘Cut the Line’ there’s a fair old helping of dirty riffing rock ‘n’ blues in the shape of ‘Obsession’ and ‘The Remedy,’ to name but two.
This isn’t a good album, this is a very good album and on the basis of the second helping the third time may well be the charm. Looking forward to it already.
Meantime, it’s back to Siren’s Song for a well deserved repeat blast or five.
Released to loud and long applause, but based on previous, artist reputation or anticipation more than actual product, artistic merit or audio quality.
Last year, it was the debut album from The Union that fell into the Emperor’s category of applause based on anticipation.
It was a good first offering but truth be told it was just that.
It had some tasty tracks, but was never going to be a contender for best debut album of all-time.
The anticipation and reaction came from the fact the band is based around ex-Thunder guitarist Luke Morley and singer Peter Shoulder, formerly of Winterville.
Morley is an excellent six-stringer with a special predilection for modern-edged blues rock and Shoulder’s blues ‘n’ soul rock voice usually makes you pay attention no matter what the song.
But that was the problem for me – on the debut the pair’s song writing wasn’t consistently strong enough or, perhaps more accurately, simply didn’t separate itself from the blues rock crowd, whether the old-stagers or any of the new kids on the blues block. Songs like ‘Black Monday’ shone, but it wasn’t a complete album.
However the follow-up, Siren’s Song, is a far more accomplished album with a much higher standard of song writing. It’s a pretty damn solid sophomore release.
Their respective abilities were never in doubt, but on this album Morley and Shoulder’s writing, musical chemistry and creativity have truly formed The Union that is Siren’s Song.
The title track opens proceedings with a self-assured swagger and it’s that self assurance that dominates the album – I doubt they would have considered songs such as the melancholic ‘Orion’ or the smokey 4am piano blues of ‘If I Could Make You Mine’ for the debut.
And outside of lighter interludes like ‘Make Up Your Mind’ or the slow blues of ‘Cut the Line’ there’s a fair old helping of dirty riffing rock ‘n’ blues in the shape of ‘Obsession’ and ‘The Remedy,’ to name but two.
This isn’t a good album, this is a very good album and on the basis of the second helping the third time may well be the charm. Looking forward to it already.
Meantime, it’s back to Siren’s Song for a well deserved repeat blast or five.
The Waterboys - An Appointment with Mr Yeats
Basing an album around the words of poet and playwright William Butler Yeats (1865-1939) may seem a strange or risky thing to do, but in the case of Mike Scott and his latest band of Waterboys (and girls) it’s actually the perfect thing to do.
And somewhat inevitable.
Scott (who briefly studied literature at the University of Edinburgh) has always been a huge fan of Yeats’ work and English literature had made appearances before in Waterboys music. ‘Whole of the Moon’ is, in part, a tribute to C. S. Lewis and the writer and novelist is referenced in a couple of other songs.
And An Appointment With Mr Yeats is not the first time Mike Scott or The Waterboys have used the words of the Irish poet.
‘The Stolen Child’ (1988) and ‘Love and Death’ (1993) feature the words of Yeats and Scott sang interpretations of some of Yeats’ poems at the Abbey Theatre in Dublin for the Yeats International Festival in 1991.
So in reality An Appointment With Mr Yeats, which was preceded by five shows in March 2010 at the Abbey Theatre, has been 20 years in the making.
And in making this particular Appointment, The Waterboys may have produced their best work since the successful run of albums in the 1980’s.
But the there are good and obvious reasons for that…
Mike Scott’s fondness for Yeats and being so in tune with his work means the poems transition from the world of literature to the world of “rock, folk and faery music” (to quote Scott) were always going to be treated with respect and performed with genuine passion. A true musical labour of love
It’s an expanded Waterboys line-up that appears on Appointment, which also features the musicians who performed at the Abbey Theatre shows.
Players include long-time Waterboy Steve Wikham (whose rock fiddle is as distinct and as much a part of the sound as Mike Scott’s voice), Irish singer Katie Kim, multi-instrumentalist Kate St. John, flautist Sarah Allen and James Hallawell on keyboards.
From the opening vibrancy of ‘The Hosting of The Shee’ to the theatrical ‘News for the Delphic Oracle,’ past the psychedelic rock of ‘A Full Moon in March’ and the violin-led blues of ‘The Lake of Innisfree,’ there is something here for every fan of Mike Scott and The Waterboys.
And from the light folk-rock of ‘Sweet Dancer’ and the waltz of ‘White Birds’ to the poignant ‘Let the Earth Bear Witness’ and ‘The Faery’s Last Song,’ there is also something here for every fan of rock, folk ‘n’ roll.
And, hopefully, for the fans of William Butler Yeats. Or those just discovering him for the first time.
And somewhat inevitable.
Scott (who briefly studied literature at the University of Edinburgh) has always been a huge fan of Yeats’ work and English literature had made appearances before in Waterboys music. ‘Whole of the Moon’ is, in part, a tribute to C. S. Lewis and the writer and novelist is referenced in a couple of other songs.
And An Appointment With Mr Yeats is not the first time Mike Scott or The Waterboys have used the words of the Irish poet.
‘The Stolen Child’ (1988) and ‘Love and Death’ (1993) feature the words of Yeats and Scott sang interpretations of some of Yeats’ poems at the Abbey Theatre in Dublin for the Yeats International Festival in 1991.
So in reality An Appointment With Mr Yeats, which was preceded by five shows in March 2010 at the Abbey Theatre, has been 20 years in the making.
And in making this particular Appointment, The Waterboys may have produced their best work since the successful run of albums in the 1980’s.
But the there are good and obvious reasons for that…
Mike Scott’s fondness for Yeats and being so in tune with his work means the poems transition from the world of literature to the world of “rock, folk and faery music” (to quote Scott) were always going to be treated with respect and performed with genuine passion. A true musical labour of love
It’s an expanded Waterboys line-up that appears on Appointment, which also features the musicians who performed at the Abbey Theatre shows.
Players include long-time Waterboy Steve Wikham (whose rock fiddle is as distinct and as much a part of the sound as Mike Scott’s voice), Irish singer Katie Kim, multi-instrumentalist Kate St. John, flautist Sarah Allen and James Hallawell on keyboards.
From the opening vibrancy of ‘The Hosting of The Shee’ to the theatrical ‘News for the Delphic Oracle,’ past the psychedelic rock of ‘A Full Moon in March’ and the violin-led blues of ‘The Lake of Innisfree,’ there is something here for every fan of Mike Scott and The Waterboys.
And from the light folk-rock of ‘Sweet Dancer’ and the waltz of ‘White Birds’ to the poignant ‘Let the Earth Bear Witness’ and ‘The Faery’s Last Song,’ there is also something here for every fan of rock, folk ‘n’ roll.
And, hopefully, for the fans of William Butler Yeats. Or those just discovering him for the first time.
John Wetton - Raised in Captivity
British singer, songwriter and bass player John Wetton has been performing for some forty years and his reputation as one of the voices of rock was established while playing with, or fronting, many bands including King Crimson, UK and most famously Asia.
Unfortunately his solo albums tend to take second place as regards praise, quality of product and sales, which is a shame because although some of those albums don’t equate to the best of John Wetton they have certainly their musical moments.
That is certainly true of Raised in Captivity.
The polished melodic rock or AOR sounds more commonly associated with Wetton are on the backburner on this album, his sixth solo outing.
Raised in Captivity carries an edgier, sharper and altogether more rocky sound than has been heard on recent Asia releases or the iCon albums recorded with Asia band mate Geoff Downes (Asia Lite in everything but name).
And, quite frankly, that makes for a refreshing musical change.
Interestingly, Raised in Captivity is as much another collaborative project as a solo work.
Multi-instrumentalist Billy Sherwood plays a major part performing, producing and mixing while just about every song features a noted guest musician.
Most of the guest artists are guitarists (including Steve Morse, Steve Hackett, Robert Fripp and Mick Box) but the keyboards of Geoff Downes and original Yes member Tony Kaye also make appearances.
The opener ‘Lost for Words’ immediately sets the tone with its punchy, fast pace while the tile track could best be defined as edgy melodic rock.
The lighter side of John Wetton is still on display, with songs like ‘Steffi’s Ring,’ ‘The Devil and the Opera House’ (with Wetton’s old UK sparring partner Eddie Jobson on violin) and the orchestrated ‘Mighty Rivers’ (featuring Dutch soprano Anneke Van Giersbergen) sitting comfortably with beefier tracks like ‘The Human Condition’ and the heavy rock pop harmonies of ‘New Star Rising.’
The sound and energy of the album was very much intentional with Wetton himself confirming the decision to record with Sherwood in Los Angeles was his, in order to capture the “edge and energy” he wanted.
A far cry from the play-it-safe and tame affair that was Omega, last year's Asia album.
That last comment is not something the majority of Asia fans will agree with or accept but the fact remains Omega, whilst being fairly successful, doesn't come close to matching the song quality of the more musically adventurous Raised in Captivity.
Unfortunately his solo albums tend to take second place as regards praise, quality of product and sales, which is a shame because although some of those albums don’t equate to the best of John Wetton they have certainly their musical moments.
That is certainly true of Raised in Captivity.
The polished melodic rock or AOR sounds more commonly associated with Wetton are on the backburner on this album, his sixth solo outing.
Raised in Captivity carries an edgier, sharper and altogether more rocky sound than has been heard on recent Asia releases or the iCon albums recorded with Asia band mate Geoff Downes (Asia Lite in everything but name).
And, quite frankly, that makes for a refreshing musical change.
Interestingly, Raised in Captivity is as much another collaborative project as a solo work.
Multi-instrumentalist Billy Sherwood plays a major part performing, producing and mixing while just about every song features a noted guest musician.
Most of the guest artists are guitarists (including Steve Morse, Steve Hackett, Robert Fripp and Mick Box) but the keyboards of Geoff Downes and original Yes member Tony Kaye also make appearances.
The opener ‘Lost for Words’ immediately sets the tone with its punchy, fast pace while the tile track could best be defined as edgy melodic rock.
The lighter side of John Wetton is still on display, with songs like ‘Steffi’s Ring,’ ‘The Devil and the Opera House’ (with Wetton’s old UK sparring partner Eddie Jobson on violin) and the orchestrated ‘Mighty Rivers’ (featuring Dutch soprano Anneke Van Giersbergen) sitting comfortably with beefier tracks like ‘The Human Condition’ and the heavy rock pop harmonies of ‘New Star Rising.’
The sound and energy of the album was very much intentional with Wetton himself confirming the decision to record with Sherwood in Los Angeles was his, in order to capture the “edge and energy” he wanted.
A far cry from the play-it-safe and tame affair that was Omega, last year's Asia album.
That last comment is not something the majority of Asia fans will agree with or accept but the fact remains Omega, whilst being fairly successful, doesn't come close to matching the song quality of the more musically adventurous Raised in Captivity.
Steven Wilson - Grace for Drowning
Steven Wilson has provided a two-for-one experience with his second official solo release (there have been various projects under different names or collaborations), because Grace for Drowning is two separate albums in one presentation.
Both are musically challenging in places, artistically creative and very much what you would expect from the driving force behind Porcupine Tree and their ambient-to-dark progressive releases.
One of the albums is more accessible than the other but that comes from Wilson’s creativity – he is always pushing musical boundaries and exploring many genres. But the trick is to explore without losing your way.
On Grace for Drowning Wilson has taken what he describes as "the golden period for music” as his inspiration. That period is the late 60’s to early 70’s, when music expanded dramatically from short pop song to experimental, psychedelic and progressive album-based soundscapes.
That starting point along with Wilson’s progressive musicality, abilities as a multi-instrumentalist (guitar is his first weapon of choice), producer and sound mixer meant Grace for Drowning was always going to get a spin or three here at FabricationsHQ.
CD1, titled ‘Deform to Form a Star,’ covers all the bases within its 40 minute trip through Wilson’s musically creative mind.
From the short but haunting piano-based opener ‘Grace For Drowning’ the album kicks in to ‘Sectarian,’ complete with sharp and angular chords, wild saxophone interjections and shades of light and dark. It sounds like early King Crimson at their experimental best with that Steven Wilson touch (but then with Wilson being a fan of King Crimson and involved in creating new 5.1 and stereo mixes of the back catalogue that’s perhaps not a surprise).
The title track of CD1 is a wonderful and lyrical soft prog number and the whole album is an interesting (and in places quite exhilarating) listen, helped in part by the fact the longest piece, ‘Remainder The Black Dog,’ is under 10 minutes long. It’s the most challenging song on the first album, mixing dark prog with jazz stylings, but is held in check due to its length.
Not so with CD2, which brings me to my earlier comment about losing your way…
Titled ‘Like Dust I Have Cleared from My Eye’ it’s a little more challenging than ‘Deform’ but that’s primarily because of the central piece, ‘Raider Ii.’
The 23 minute excursion into progressive jazz loses its way half way through in a flood of musical meanderings and a clash of styles as opposed to a mix of styles.
It gets so lost it couldn’t find its way back with the latest Jazz Nav, let alone a Sat Nav.
Smothered by ‘Raider Ii’ the other four tracks struggle to breath, but the short-but-sweet acoustic instrumental ‘Belle De Jour’ and the melodic tones of CD2’s title track still manage to shine.
Criticisms of wandering too far aside, Grace For Drowning is well worth the listen and is without doubt one of Steven Wilson’s strongest artistic statements to date.
Both are musically challenging in places, artistically creative and very much what you would expect from the driving force behind Porcupine Tree and their ambient-to-dark progressive releases.
One of the albums is more accessible than the other but that comes from Wilson’s creativity – he is always pushing musical boundaries and exploring many genres. But the trick is to explore without losing your way.
On Grace for Drowning Wilson has taken what he describes as "the golden period for music” as his inspiration. That period is the late 60’s to early 70’s, when music expanded dramatically from short pop song to experimental, psychedelic and progressive album-based soundscapes.
That starting point along with Wilson’s progressive musicality, abilities as a multi-instrumentalist (guitar is his first weapon of choice), producer and sound mixer meant Grace for Drowning was always going to get a spin or three here at FabricationsHQ.
CD1, titled ‘Deform to Form a Star,’ covers all the bases within its 40 minute trip through Wilson’s musically creative mind.
From the short but haunting piano-based opener ‘Grace For Drowning’ the album kicks in to ‘Sectarian,’ complete with sharp and angular chords, wild saxophone interjections and shades of light and dark. It sounds like early King Crimson at their experimental best with that Steven Wilson touch (but then with Wilson being a fan of King Crimson and involved in creating new 5.1 and stereo mixes of the back catalogue that’s perhaps not a surprise).
The title track of CD1 is a wonderful and lyrical soft prog number and the whole album is an interesting (and in places quite exhilarating) listen, helped in part by the fact the longest piece, ‘Remainder The Black Dog,’ is under 10 minutes long. It’s the most challenging song on the first album, mixing dark prog with jazz stylings, but is held in check due to its length.
Not so with CD2, which brings me to my earlier comment about losing your way…
Titled ‘Like Dust I Have Cleared from My Eye’ it’s a little more challenging than ‘Deform’ but that’s primarily because of the central piece, ‘Raider Ii.’
The 23 minute excursion into progressive jazz loses its way half way through in a flood of musical meanderings and a clash of styles as opposed to a mix of styles.
It gets so lost it couldn’t find its way back with the latest Jazz Nav, let alone a Sat Nav.
Smothered by ‘Raider Ii’ the other four tracks struggle to breath, but the short-but-sweet acoustic instrumental ‘Belle De Jour’ and the melodic tones of CD2’s title track still manage to shine.
Criticisms of wandering too far aside, Grace For Drowning is well worth the listen and is without doubt one of Steven Wilson’s strongest artistic statements to date.
Yes - Fly From Here
Yes are giants of classic progressive rock, but with Fly From Here they have taken a giant step back.
Thirty-one years back to be exact.
Fly From Here is also the first Yes album to feature singer Benoît David (whose previous includes fronting the Yes tribute band Close To The Edge).
David replaced Jon Anderson in 2008 when the band decided to continue/ tour without their seminal singer (who was then suffering from a serious respiratory illness).
But my disappointment in Fly From Here has less to do with the absence of Anderson and more to do with déjà vu all over again and a handful of cover versions…
In 1980 Yes featured vocalist Trevor Horn and keyboard player Geoff Downs, the pair better known at the time as the new-wave techno-pop duo The Buggles.
Yes recorded one album with Horn and Downes, Drama (the only other Yes album not to feature Jon Anderson).
And so to 2011 and the return of Horn (as producer), Downes (seemingly at the behest of Horn) and the recording of an album whose 24 minute theme/ title track is based around a 31-year-old Buggles song.
A clear attempt to try and recapture the Drama of a past era.
That's not pioneering progressive rock, that’s regressive rock.
'Fly From Here' is a good little song, but it’s not a Yes song. It’s a Buggles song.
And it’s not the only one.
There are multiple parts to the 24 minute 'Fly From Here' piece but the three core elements, and longest parts, are Buggles tunes.
Similarly the song ‘Life on a Film Set’ is a renamed Buggles creation.
And it’s not as if the band has done extensive rewriting of the songs or ‘Yessified’ them - the songs in question are pretty faithful covers, with the addition of some fine guitar flourishes from Steve Howe (one of the few positives on this album).
The other songs on Fly From Here are generally tame affairs, although the under-stated 'Hour of Need' in its edited state (the full-length version is available on the Japanese edition of the album) is a lovely little number.
And, ironically (or perhaps unsurprisingly), Benoît David doesn't sound/ sing like Jon Anderson on the album - he sounds/ sings more like Trevor Horn.
David clearly took his vocal cues on the Horn/ Downes tracks from the originals, three of which can be heard on the expanded re-release of The Buggles under-rated polished pop album Adventures in Modern Recording.
Yes had a genuine chance to progress with their first new album in ten years and an indication of what could have been comes from the up-tempo closer ‘Into the Storm.’ It's fresh power-pop prog, the best song on the album, was written while Oliver (son of Rick) Wakeman was part of the band and gives a hint of what could have been their future.
But instead they chose to look to their past, (re)create a bit of a Drama and record a handful of cover songs.
The mind buggles.
Sorry, I mean boggles.
No, sorry again. I was right the first time.
Thirty-one years back to be exact.
Fly From Here is also the first Yes album to feature singer Benoît David (whose previous includes fronting the Yes tribute band Close To The Edge).
David replaced Jon Anderson in 2008 when the band decided to continue/ tour without their seminal singer (who was then suffering from a serious respiratory illness).
But my disappointment in Fly From Here has less to do with the absence of Anderson and more to do with déjà vu all over again and a handful of cover versions…
In 1980 Yes featured vocalist Trevor Horn and keyboard player Geoff Downs, the pair better known at the time as the new-wave techno-pop duo The Buggles.
Yes recorded one album with Horn and Downes, Drama (the only other Yes album not to feature Jon Anderson).
And so to 2011 and the return of Horn (as producer), Downes (seemingly at the behest of Horn) and the recording of an album whose 24 minute theme/ title track is based around a 31-year-old Buggles song.
A clear attempt to try and recapture the Drama of a past era.
That's not pioneering progressive rock, that’s regressive rock.
'Fly From Here' is a good little song, but it’s not a Yes song. It’s a Buggles song.
And it’s not the only one.
There are multiple parts to the 24 minute 'Fly From Here' piece but the three core elements, and longest parts, are Buggles tunes.
Similarly the song ‘Life on a Film Set’ is a renamed Buggles creation.
And it’s not as if the band has done extensive rewriting of the songs or ‘Yessified’ them - the songs in question are pretty faithful covers, with the addition of some fine guitar flourishes from Steve Howe (one of the few positives on this album).
The other songs on Fly From Here are generally tame affairs, although the under-stated 'Hour of Need' in its edited state (the full-length version is available on the Japanese edition of the album) is a lovely little number.
And, ironically (or perhaps unsurprisingly), Benoît David doesn't sound/ sing like Jon Anderson on the album - he sounds/ sings more like Trevor Horn.
David clearly took his vocal cues on the Horn/ Downes tracks from the originals, three of which can be heard on the expanded re-release of The Buggles under-rated polished pop album Adventures in Modern Recording.
Yes had a genuine chance to progress with their first new album in ten years and an indication of what could have been comes from the up-tempo closer ‘Into the Storm.’ It's fresh power-pop prog, the best song on the album, was written while Oliver (son of Rick) Wakeman was part of the band and gives a hint of what could have been their future.
But instead they chose to look to their past, (re)create a bit of a Drama and record a handful of cover songs.
The mind buggles.
Sorry, I mean boggles.
No, sorry again. I was right the first time.
