2012 Muirsical Reviews (Summaries)
The section dedicated to some of the releases that pass through FabricationsHQ and deserving of an honourable – and sometimes dishonourable – mention.
The page is updated periodically with current-month reviews added at the top of the page. Earlier/ previous month's reviews will be re-ordered alphabetically.
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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.
The page is updated periodically with current-month reviews added at the top of the page. Earlier/ previous month's reviews will be re-ordered alphabetically.
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Jeff Scott Soto - Damage Control
Singer Jeff Scott
Soto doesn’t have a host of platinum sales to his name but he has the respect
of his peers for being not just one of the most consistent rock vocalists in
the business but also one of the most versatile and sought after.
Career highlights include a clutch of solid solo albums, fronting the Swedish-based heavy rock band Talisman for seventeen years and seven albums and, more lately, adding some operatic touches to his rock vocals for the touring work undertaken with the Trans-Siberian Orchestra.
Soto is best described as a rock tenor but he is deceptively rangy – this is a singer who used to trade his vocals licks against the fast and furious fretboard runs of Yngwie Malmsteen and would later put his own vocal stamp on the Journey greatest hits catalogue when he fronted the band for a year between 2006 and 2007.
And Damage Control is best described as an album that heavily, melodically, loudly and clearly proclaims this is a singer at his vocal and musical peak.
Damage Control takes its lead from Jeff Scott Soto’s last two, very different studio outings, Beautiful Mess and W.E.T.
The former, Soto’s 2008 solo album, had a lighter vibe and showcased the singer’s soul and funk influences.
W.E.T. on the other hand was a 2009 collaborative project with guitarist Robert Säll and multi-instrumentalist Erik Martensson. They turned up the amps and delivered big vocals, big riffs and a big sound.
Damage Control isn’t reinventing any wheel but then it doesn’t have to.
While it doesn't follow the funkified vibe of Beautiful Mess it has plenty of hooks and melodies like that album and incorporates the energy, power and punch of W.E.T.
‘Give a Little More’ makes you sit up and pay attention immediately with its punchy, heavy riff-driven arrangement but it also carries plenty of melody.
The title track continues in the same vein as the big-riffed opener, as do songs like ‘Look Inside Your Heart,’ but tunes such as ‘Die a Little’ and ‘How to Love Again’ still shine in amongst the heavier numbers with their hook-laden choruses.
And that's because Jeff Scott Soto has an inherent sense of what makes for vibrant and very listenable melodic rock and heavy pop.
The almost obligatory-for-the-genre power ballads on Damage Control are 'Bonafide’ and the closer ‘Never Ending War,’ with the latter one of the best songs on the album.
There is also a Deluxe Edition of the album featuring three bonus tracks, the most interesting of which is ‘Afraid to Die,’ daring to dip its toes in the waters of progressive metal. And it splashes about rather purposefully and confidently.
Since being dropped rather unceremoniously by Journey (who decided to return to something more akin to their classic sound and vocality) Jeff Scott Soto – with Beautiful Mess, W.E.T, Damage Control and the recent announcement that he is to be part of the touring Queen Extravaganza show – has gone from strength to strength.
And it couldn’t happen to a more deserving rock tenor.
Career highlights include a clutch of solid solo albums, fronting the Swedish-based heavy rock band Talisman for seventeen years and seven albums and, more lately, adding some operatic touches to his rock vocals for the touring work undertaken with the Trans-Siberian Orchestra.
Soto is best described as a rock tenor but he is deceptively rangy – this is a singer who used to trade his vocals licks against the fast and furious fretboard runs of Yngwie Malmsteen and would later put his own vocal stamp on the Journey greatest hits catalogue when he fronted the band for a year between 2006 and 2007.
And Damage Control is best described as an album that heavily, melodically, loudly and clearly proclaims this is a singer at his vocal and musical peak.
Damage Control takes its lead from Jeff Scott Soto’s last two, very different studio outings, Beautiful Mess and W.E.T.
The former, Soto’s 2008 solo album, had a lighter vibe and showcased the singer’s soul and funk influences.
W.E.T. on the other hand was a 2009 collaborative project with guitarist Robert Säll and multi-instrumentalist Erik Martensson. They turned up the amps and delivered big vocals, big riffs and a big sound.
Damage Control isn’t reinventing any wheel but then it doesn’t have to.
While it doesn't follow the funkified vibe of Beautiful Mess it has plenty of hooks and melodies like that album and incorporates the energy, power and punch of W.E.T.
‘Give a Little More’ makes you sit up and pay attention immediately with its punchy, heavy riff-driven arrangement but it also carries plenty of melody.
The title track continues in the same vein as the big-riffed opener, as do songs like ‘Look Inside Your Heart,’ but tunes such as ‘Die a Little’ and ‘How to Love Again’ still shine in amongst the heavier numbers with their hook-laden choruses.
And that's because Jeff Scott Soto has an inherent sense of what makes for vibrant and very listenable melodic rock and heavy pop.
The almost obligatory-for-the-genre power ballads on Damage Control are 'Bonafide’ and the closer ‘Never Ending War,’ with the latter one of the best songs on the album.
There is also a Deluxe Edition of the album featuring three bonus tracks, the most interesting of which is ‘Afraid to Die,’ daring to dip its toes in the waters of progressive metal. And it splashes about rather purposefully and confidently.
Since being dropped rather unceremoniously by Journey (who decided to return to something more akin to their classic sound and vocality) Jeff Scott Soto – with Beautiful Mess, W.E.T, Damage Control and the recent announcement that he is to be part of the touring Queen Extravaganza show – has gone from strength to strength.
And it couldn’t happen to a more deserving rock tenor.
Talon: The Best Of Eagles - The Classic Collection
The best tribute acts certainly have their musical place.
Especially those that provide an excellent and affordable alternative to the arena acts or over-priced artists (thank you, Mr Promoter) that the ordinary fan is never going to be able to get a ticket for.
Or will never see in his or her town.
Talon fill that role particularly well and the UK’s premier Eagles tribute band have just celebrated 15 years of touring and performing by releasing their own Best Of Eagles material.
The Classic Collection is a 2CD anthology featuring many of the signature Eagles numbers Talon have performed over the years.
It also includes a couple of Don Henley songs for good measure (‘The Boys Of Summer’ and ‘Dirty Laundry’) and gives a nod to the musical legacy of Joe Walsh (‘Funk #49’ by The James Gang).
But if a tribute band is a performing band, created to bring an artist’s music to life on the live stage, isn’t a recording of that material – and studio material at that – somewhat redundant?
Ordinarily I would agree, but Talon is no ordinary tribute band…
The founders of Talon, Chris Lloyd (lead vocals, acoustic guitars) and Peter Anderson (lead vocals, guitars), have worked hard to put together not just one of the best touring tribute acts in the business but a solid band in their own right.
Talon released an album of all-original material in 2005 but this all-new set of Eagles recordings represents the band at the height of their 15-years-and-counting tribute powers.
The core of Talon is completed by Jonny Miller (lead vocals, bass guitar) and Tony Vegas (lead vocals, guitars), giving the band four lead singers and their two, three and four part harmonies are as good as any vocally orientated band you care to mention.
Proof of those harmonic abilities comes courtesy of tracks such as ‘Seven Bridges Road’ and the short a cappella introduction (‘Silver Dagger’) to ‘Take It Easy.’
Vocally, the Talon singers each take on the role of a specific Eagles voice:
Chris Lloyd is Don Henley in range and emotive delivery (shining on material such as ‘The Last Resort’) while Peter Anderson takes the Glenn Frey leads (and his bass-baritone backing vocals bring warmth and depth to the harmonies).
Tony Vegas covers the Joe Walsh sung material and Jonny Miller’s soft-vocal deliveries are a perfect fit for the ballads associated with Timothy B Schmit (‘I Can’t Tell You Why’ is one of many highlights on the album).
The vocal roles described above are not an exact science and there can be a choice of lead Talon-ite dependant on the Eagles song and singer.
For example ‘One of These Nights’ (originally sung by Don Henley) features a husky vocal from Miller while Vegas takes the lead on the classic slow ballad ‘Take It to the Limit’ (originally sung by Randy Meisner).
But the Talon foursome don’t have the same tonalities as their Eagles counterparts and are very much their own vocalists, paying homage to those instantly recognisable Eagles voices while delivering the lyrics with fondness and respect.
The perfect definition of “musical tribute.”
And The Classic Collection is the perfect exclamation point to Talon’s first fifteen years.
Especially those that provide an excellent and affordable alternative to the arena acts or over-priced artists (thank you, Mr Promoter) that the ordinary fan is never going to be able to get a ticket for.
Or will never see in his or her town.
Talon fill that role particularly well and the UK’s premier Eagles tribute band have just celebrated 15 years of touring and performing by releasing their own Best Of Eagles material.
The Classic Collection is a 2CD anthology featuring many of the signature Eagles numbers Talon have performed over the years.
It also includes a couple of Don Henley songs for good measure (‘The Boys Of Summer’ and ‘Dirty Laundry’) and gives a nod to the musical legacy of Joe Walsh (‘Funk #49’ by The James Gang).
But if a tribute band is a performing band, created to bring an artist’s music to life on the live stage, isn’t a recording of that material – and studio material at that – somewhat redundant?
Ordinarily I would agree, but Talon is no ordinary tribute band…
The founders of Talon, Chris Lloyd (lead vocals, acoustic guitars) and Peter Anderson (lead vocals, guitars), have worked hard to put together not just one of the best touring tribute acts in the business but a solid band in their own right.
Talon released an album of all-original material in 2005 but this all-new set of Eagles recordings represents the band at the height of their 15-years-and-counting tribute powers.
The core of Talon is completed by Jonny Miller (lead vocals, bass guitar) and Tony Vegas (lead vocals, guitars), giving the band four lead singers and their two, three and four part harmonies are as good as any vocally orientated band you care to mention.
Proof of those harmonic abilities comes courtesy of tracks such as ‘Seven Bridges Road’ and the short a cappella introduction (‘Silver Dagger’) to ‘Take It Easy.’
Vocally, the Talon singers each take on the role of a specific Eagles voice:
Chris Lloyd is Don Henley in range and emotive delivery (shining on material such as ‘The Last Resort’) while Peter Anderson takes the Glenn Frey leads (and his bass-baritone backing vocals bring warmth and depth to the harmonies).
Tony Vegas covers the Joe Walsh sung material and Jonny Miller’s soft-vocal deliveries are a perfect fit for the ballads associated with Timothy B Schmit (‘I Can’t Tell You Why’ is one of many highlights on the album).
The vocal roles described above are not an exact science and there can be a choice of lead Talon-ite dependant on the Eagles song and singer.
For example ‘One of These Nights’ (originally sung by Don Henley) features a husky vocal from Miller while Vegas takes the lead on the classic slow ballad ‘Take It to the Limit’ (originally sung by Randy Meisner).
But the Talon foursome don’t have the same tonalities as their Eagles counterparts and are very much their own vocalists, paying homage to those instantly recognisable Eagles voices while delivering the lyrics with fondness and respect.
The perfect definition of “musical tribute.”
And The Classic Collection is the perfect exclamation point to Talon’s first fifteen years.
Tracie Hunter - Vasilisa
In 2005 a number of rock music critics tipped The Tracie Hunter Band and their debut album, Race, as the next big things.
They weren’t, but the fact they didn’t make their musical mark in any significant terms says more about what sells and gets noticed in the Naughties than it does about the quality of the band or the album.
Race was a collection of punchy, edgy rock songs with a very modern sound that also included some nice changes of pace such as the title track. But therein lay the problem – if it’s not X-Factored, Pop-Idol'd or an established rock brand performing the greatest hits (or writing, recording and performing in the style of their greatest hits), the musical majority don’t seem to be interested.
I sincerely hope Vasilisa, the new album from Tracie Hunter, doesn’t suffer the same limited-recognition fate because, like Race, this is a fresh-sounding release and another that shows off Hunter’s clean and clear vocal talents.
But, song-wise, it couldn’t be more different.
Vasilisa is a collection of 10 acoustically arranged songs or ballads that showcase the softer side of Tracie Hunter and the album has a totally different tone and texture from Race.
The understated ‘Colour Me’ opens the album beautifully before the first of four covers makes an appearance.
‘Junkman,’ a duet with Joe Elliott and featuring lead guitar from Elliott’s Def Leppard band-mate Phil Collen, will already be familiar to a lot of rock fans.
The song, written by Joe Droukas, was released in 2011 as the lead-off single (it had originally been intended to release Vasilisa towards the end of that year) and gained some attention and airplay.
Those of us old enough will also recall the original duet.
In 1979 the song appeared on an album by singer Genya Ravan and also featured the very distinctive voice of Ian Hunter – father of Tracie Hunter.
That’s quite the rock connection, but to her credit Tracie Hunter has never used the fact iconic front man and rock legend Ian Hunter is her dad as any sort of leverage. “Daughter of Ian Hunter” has never been splashed across any Tracie Hunter product. She stands on her own vocal and artistic merits.
Joe Elliott was a perfect choice for ‘Junkman.’ Elliott is a huge Ian Hunter/ Mott the Hoople fan and his huskier tones compliment Hunter’s purer notes perfectly.
But it’s not every vocal duet that works so well...
'King of Tides’ features Spike (Jonathan Gray), the gravel-voiced front man of British raucous and roll band The Quireboys.
But lovely song that ‘King of Tides’ is, Spike’s drier deliveries are more grate than great and almost lost behind Hunter’s stronger vocal.
But other than voicing concern about ‘King of Tides,’ there is nothing else on Vasilisa to be concerned about.
There’s originals such as the lovely ‘Perfume and Cigarettes’ and ‘Marylebone,’ featuring Tracie Hunter Band guitarist Nik Underwood (who appears on nine of the ten tracks) and a reflective ballad interpretation of the Buzzcock’s punky power-pop hit ‘Ever Fallen in Love.’
And closing out Vasilisa is a wonderful, stripped-back cover of Hazel O’Connor’s ‘Will You’ before the album ends with Ian Hunter’s ‘3000 Miles.’
Vasilisa is a warm, welcoming and relaxed album of great songs and lovely, sometimes poignant vocals from Tracie Hunter.
Let’s just hope this time her voice is heard above the (in) crowd.
They weren’t, but the fact they didn’t make their musical mark in any significant terms says more about what sells and gets noticed in the Naughties than it does about the quality of the band or the album.
Race was a collection of punchy, edgy rock songs with a very modern sound that also included some nice changes of pace such as the title track. But therein lay the problem – if it’s not X-Factored, Pop-Idol'd or an established rock brand performing the greatest hits (or writing, recording and performing in the style of their greatest hits), the musical majority don’t seem to be interested.
I sincerely hope Vasilisa, the new album from Tracie Hunter, doesn’t suffer the same limited-recognition fate because, like Race, this is a fresh-sounding release and another that shows off Hunter’s clean and clear vocal talents.
But, song-wise, it couldn’t be more different.
Vasilisa is a collection of 10 acoustically arranged songs or ballads that showcase the softer side of Tracie Hunter and the album has a totally different tone and texture from Race.
The understated ‘Colour Me’ opens the album beautifully before the first of four covers makes an appearance.
‘Junkman,’ a duet with Joe Elliott and featuring lead guitar from Elliott’s Def Leppard band-mate Phil Collen, will already be familiar to a lot of rock fans.
The song, written by Joe Droukas, was released in 2011 as the lead-off single (it had originally been intended to release Vasilisa towards the end of that year) and gained some attention and airplay.
Those of us old enough will also recall the original duet.
In 1979 the song appeared on an album by singer Genya Ravan and also featured the very distinctive voice of Ian Hunter – father of Tracie Hunter.
That’s quite the rock connection, but to her credit Tracie Hunter has never used the fact iconic front man and rock legend Ian Hunter is her dad as any sort of leverage. “Daughter of Ian Hunter” has never been splashed across any Tracie Hunter product. She stands on her own vocal and artistic merits.
Joe Elliott was a perfect choice for ‘Junkman.’ Elliott is a huge Ian Hunter/ Mott the Hoople fan and his huskier tones compliment Hunter’s purer notes perfectly.
But it’s not every vocal duet that works so well...
'King of Tides’ features Spike (Jonathan Gray), the gravel-voiced front man of British raucous and roll band The Quireboys.
But lovely song that ‘King of Tides’ is, Spike’s drier deliveries are more grate than great and almost lost behind Hunter’s stronger vocal.
But other than voicing concern about ‘King of Tides,’ there is nothing else on Vasilisa to be concerned about.
There’s originals such as the lovely ‘Perfume and Cigarettes’ and ‘Marylebone,’ featuring Tracie Hunter Band guitarist Nik Underwood (who appears on nine of the ten tracks) and a reflective ballad interpretation of the Buzzcock’s punky power-pop hit ‘Ever Fallen in Love.’
And closing out Vasilisa is a wonderful, stripped-back cover of Hazel O’Connor’s ‘Will You’ before the album ends with Ian Hunter’s ‘3000 Miles.’
Vasilisa is a warm, welcoming and relaxed album of great songs and lovely, sometimes poignant vocals from Tracie Hunter.
Let’s just hope this time her voice is heard above the (in) crowd.
RPWL - Beyond Man and Time
RPWL have come a long way from the Pink Floyd covers band they started life as some fifteen years ago.
And with Beyond Man and Time the German progressive rock band have stretched further than before with their first truly conceptual release.
But the neat trick is they have retained that distinct RPWL sound and musical accessibility that allows the rock fan who may not be immersed in, or even particularly like, the world of modern or neo-prog to appreciate and truly enjoy what RPWL produce.
Because even at their proggiest (FabricationsHQ technical term), or on their longest compositions, RPWL can produce melody, hooks and a punchy riff or a haunting ambience that will appeal to a wider audience than the neo-prog norm.
RPWL have also come a long way since their 2000 debut album, God Has Failed.
Originally named after the surnames of the four original founding members, only the W and L remain – Kalle Wallner (guitars) and Yogi Lang (lead vocals, keyboards).
But then Wallner and Lang are integral parts of the RPWL sound.
Wallner’s drifting, soaring lead work and Lang’s distinct, accent-stressed vocal (and a style where mellow is more) are the key ingredients in any RPWL release, ably accompanied by Markus Jehle on piano and keyboards who adds layers and textures to the sound with a cinematic grandiose, solo or subtle touch as required.
Like Jehle, drummer Marc Turiaux has been with the band a few years now but the latest recruit is Austrian bass player Werner Taus, who replaced original member Chris Postl when he left towards the end of 2010.
Beyond Man and Time is taken from the opening line of Friedrich Nietzsche's Thus Spoke Zarathustra and the German philosopher’s novel is the background for or inspiration behind the album’s concept (but not a direct correlation).
Most of the songs feature a metaphorical character and although the overall concept is a little abstract, musically it all hangs together extremely well.
In fact if you ignore the concept or metaphors you are still left with 70+ minutes of great music – although the story could probably be presented more concisely in an hour.
But there is no doubt however that the listener will get a lot more out of Beyond Man and Time on repeat listens – both musically and conceptually – than from only one hearing. And it’s pretty strong on first listen.
The instrumental ‘Transformed’ serves as an introduction to the album which begins its conceptual journey with ‘We Are What We Are (the Keeper),’ a rhythmic yet very melodic piece (especially on the chorus) that describes the musical accessibility of this band perfectly.
The title track has a lush warm quality to it (with some nice harmony lead lines from Wallner), while ‘Unchain the Earth (The Scientist)’ is chock full of atmosphere and melody.
And so the album continues, with each song having a clear, individual identity and story but linked not just by concept but by the musical atmosphere RPWL have created throughout.
Other notable tracks include ‘Unchain the Earth (the Scientist)’ with its mix of sharp, angular chords (recalling Rush in their mid-80’s period) and melancholic, acoustic passages and the 16 minute opus ‘The Fisherman.’
The latter features Indian and near-eastern musical influences before heading into more traditional rock and prog rock territory (including some great solo remarks from Jehle and Wallner) before returning to its opening statement.
It might well be RPWL’s best song to date.
There are certainly comparisons to be made to bands such as Porcupine Tree and there are most definitely classic prog nods to the Pink Floyd sound (unsurprising, considering the band’s origins).
But, as proved by the excellent studio brace of World Through My Eyes (2005) and The RPWL Experience (2008) and reinforced by Beyond Man and Time, nobody quite sounds like RPWL.
And with Beyond Man and Time the German progressive rock band have stretched further than before with their first truly conceptual release.
But the neat trick is they have retained that distinct RPWL sound and musical accessibility that allows the rock fan who may not be immersed in, or even particularly like, the world of modern or neo-prog to appreciate and truly enjoy what RPWL produce.
Because even at their proggiest (FabricationsHQ technical term), or on their longest compositions, RPWL can produce melody, hooks and a punchy riff or a haunting ambience that will appeal to a wider audience than the neo-prog norm.
RPWL have also come a long way since their 2000 debut album, God Has Failed.
Originally named after the surnames of the four original founding members, only the W and L remain – Kalle Wallner (guitars) and Yogi Lang (lead vocals, keyboards).
But then Wallner and Lang are integral parts of the RPWL sound.
Wallner’s drifting, soaring lead work and Lang’s distinct, accent-stressed vocal (and a style where mellow is more) are the key ingredients in any RPWL release, ably accompanied by Markus Jehle on piano and keyboards who adds layers and textures to the sound with a cinematic grandiose, solo or subtle touch as required.
Like Jehle, drummer Marc Turiaux has been with the band a few years now but the latest recruit is Austrian bass player Werner Taus, who replaced original member Chris Postl when he left towards the end of 2010.
Beyond Man and Time is taken from the opening line of Friedrich Nietzsche's Thus Spoke Zarathustra and the German philosopher’s novel is the background for or inspiration behind the album’s concept (but not a direct correlation).
Most of the songs feature a metaphorical character and although the overall concept is a little abstract, musically it all hangs together extremely well.
In fact if you ignore the concept or metaphors you are still left with 70+ minutes of great music – although the story could probably be presented more concisely in an hour.
But there is no doubt however that the listener will get a lot more out of Beyond Man and Time on repeat listens – both musically and conceptually – than from only one hearing. And it’s pretty strong on first listen.
The instrumental ‘Transformed’ serves as an introduction to the album which begins its conceptual journey with ‘We Are What We Are (the Keeper),’ a rhythmic yet very melodic piece (especially on the chorus) that describes the musical accessibility of this band perfectly.
The title track has a lush warm quality to it (with some nice harmony lead lines from Wallner), while ‘Unchain the Earth (The Scientist)’ is chock full of atmosphere and melody.
And so the album continues, with each song having a clear, individual identity and story but linked not just by concept but by the musical atmosphere RPWL have created throughout.
Other notable tracks include ‘Unchain the Earth (the Scientist)’ with its mix of sharp, angular chords (recalling Rush in their mid-80’s period) and melancholic, acoustic passages and the 16 minute opus ‘The Fisherman.’
The latter features Indian and near-eastern musical influences before heading into more traditional rock and prog rock territory (including some great solo remarks from Jehle and Wallner) before returning to its opening statement.
It might well be RPWL’s best song to date.
There are certainly comparisons to be made to bands such as Porcupine Tree and there are most definitely classic prog nods to the Pink Floyd sound (unsurprising, considering the band’s origins).
But, as proved by the excellent studio brace of World Through My Eyes (2005) and The RPWL Experience (2008) and reinforced by Beyond Man and Time, nobody quite sounds like RPWL.
Anderson / Wakeman - The Living Tree In Concert Part One
This latest release from the two ex-Yes men and good friends is a classic example of an album doing exactly what it say son the tin.
The Living Tree In Concert Part One will almost certainly not be the only live release from the pair but it does represent their 2010 collaborative album almost to the full:
seven of the nine The Living Tree tracks are present and accounted for.
Four stripped-down Yes classics are included for good musical measure and the final song on the album, The Meeting, sees the pair revisiting their piano and vocal led piece from the 1989 release Anderson Bruford Wakeman Howe.
Rick Wakeman was part of the classic Yes line-up while Jon Anderson was unarguably the most essential part of the band during their most creative and classic periods.
The seminal vocalist and lyricist was the voice of Yes for around thirty-five of their forty years up until the band moved on without him in 2008 (Yes decided to continue/ tour with replacement singer Benoit David rather than wait for Anderson to recover from a very serious respiratory illness).
While Yes struggle to musically progress without Anderson, the singer has certainly moved on from Yes.
Since recovering, finding his voice again and working with Rick Wakeman, Anderson has released a solo album, issued the beautiful long-form single Open and is reportedly still working on not just a sequel to his 1976 concept album Olias of Sunhillow but a potential project with Wakeman and another pivotal member of Yes past, guitarist Trevor Rabin.
Jon Anderson’s voice may be a shade thinner now but at 67 years young he can still deliver purity of note and, as regards melodic phrasing, puts many singers half his age to shame.
And on this live album The Living Tree songs – almost note-for-note copies of the studio versions – have an additional vibrancy.
Rick Wakeman most certainly plays his part and for a keyboard player still known for big sounds, banks of instruments and layered arrangements it’s a testament to his own musical intelligence and abilities that he is equally at home on solo piano, deft keyboard touches and stripped down arrangements.
He and Anderson are clearly simpatico when it comes to their music.
The only negative is actually a compliment to the quality of the album.
With so many Living Tree songs on display, plus the bonus of the rearranged Yes numbers (including a reggae-lite version of 'Time and a Word'), there is an argument that outside of the faithful or hardcore fan there is now no need to own a copy of The Living Tree studio album.
Jon Anderson and Rick Wakeman. Too competent live for their own good.
The Living Tree In Concert Part One will almost certainly not be the only live release from the pair but it does represent their 2010 collaborative album almost to the full:
seven of the nine The Living Tree tracks are present and accounted for.
Four stripped-down Yes classics are included for good musical measure and the final song on the album, The Meeting, sees the pair revisiting their piano and vocal led piece from the 1989 release Anderson Bruford Wakeman Howe.
Rick Wakeman was part of the classic Yes line-up while Jon Anderson was unarguably the most essential part of the band during their most creative and classic periods.
The seminal vocalist and lyricist was the voice of Yes for around thirty-five of their forty years up until the band moved on without him in 2008 (Yes decided to continue/ tour with replacement singer Benoit David rather than wait for Anderson to recover from a very serious respiratory illness).
While Yes struggle to musically progress without Anderson, the singer has certainly moved on from Yes.
Since recovering, finding his voice again and working with Rick Wakeman, Anderson has released a solo album, issued the beautiful long-form single Open and is reportedly still working on not just a sequel to his 1976 concept album Olias of Sunhillow but a potential project with Wakeman and another pivotal member of Yes past, guitarist Trevor Rabin.
Jon Anderson’s voice may be a shade thinner now but at 67 years young he can still deliver purity of note and, as regards melodic phrasing, puts many singers half his age to shame.
And on this live album The Living Tree songs – almost note-for-note copies of the studio versions – have an additional vibrancy.
Rick Wakeman most certainly plays his part and for a keyboard player still known for big sounds, banks of instruments and layered arrangements it’s a testament to his own musical intelligence and abilities that he is equally at home on solo piano, deft keyboard touches and stripped down arrangements.
He and Anderson are clearly simpatico when it comes to their music.
The only negative is actually a compliment to the quality of the album.
With so many Living Tree songs on display, plus the bonus of the rearranged Yes numbers (including a reggae-lite version of 'Time and a Word'), there is an argument that outside of the faithful or hardcore fan there is now no need to own a copy of The Living Tree studio album.
Jon Anderson and Rick Wakeman. Too competent live for their own good.
Black Country Communion - Live Over Europe
Live Over Europe is not so much a new 2012 album as the soundtrack to the DVD of the same name (released in October of last year).
It was perhaps inevitable the set would be released as a live CD however as it captures the supergroup in what many would see – or more accurately hear – as being their natural environment.
The pedigree of Joe Bonamassa and Glen Hughes as live performers is well proven and the rock chops of Derek Sherinian and Jason Bonham is hardly in question, with that pairs live credentials including Alice Cooper, Dream Theater (Sherinian), Paul Rodgers, Foreigner and Led Zeppelin reunions (Bonham), to name a few of many.
The quartet's collective musical chemistry as Black Country Communion is much in evidence on their brace of studio albums and, live, it simply spills across the concert stage like a dry ice machine on overload.
Recorded during the summer of 2011 at three German shows (Hamburg, Munich and Berlin) the set-list contains no surprises, but it’s a perfect showcase for the band’s strengths. It also doubles as an excellent Best Of for those who are still unfamiliar with their material.
Live Over Europe consists of six tracks from the band's debut album and eight from 2, with the only non-BCC songs (other than the pre-recorded introductory instrumental) being Bonamassa’s ‘The Ballad of John Henry’ (from his album of the same name) and Deep Purple’s ‘Burn,’ an iconic slice of classic rock history that is a staple of any set featuring Glen Hughes.
Performance is heavy rock solid as would be expected but the overall sound, courtesy of producer Kevin Shirley, also helps capture the band at their live best.
The drums are big, round and sharp while the bass punches through to drive the songs along – as perfectly exemplified on the opener ‘Black Country.’
Not that the bass guitar is the lead instrument of BCC. The focal, and vocal, points of the band are loudly and clearly Bonamassa’s guitar work and the voice of Glen Hughes.
In the case of the former, there is never any worry that the modern blues rock maestro’s six-string deliveries will be anything but exemplary, but Hughes has the tendency to be a loose canon vocally. There are times when his exceptional vocal talent takes over a song, leading to more than a touch of the Mariah Carey's.
And that’s never a good thing.
No such problems here – with BCC Hughes is one part of a four-piece taking its lead and influence from the best of classic, British heavy rock.
And while there are the obligatory screams and vocal punches that come with that territory, the live histrionics heard on some of his own, more vocally orientated soul and funk-based material is posted missing.
Highlights are too many to mention but a Muirsical nod must go to the Bonamassa-led ‘The Battle for Hadrian’s Wall’ (which would sit comfortably on any of his solo albums) and the emotive ‘Cold,’ one of the band’s best songs and perhaps Hughes finest BCC vocal to date.
BCC are one of the few supergroups that truly deliver and Live Over Europe is excellent proof of that, showcasing a band that are as tight live as they are in the studio.
It was perhaps inevitable the set would be released as a live CD however as it captures the supergroup in what many would see – or more accurately hear – as being their natural environment.
The pedigree of Joe Bonamassa and Glen Hughes as live performers is well proven and the rock chops of Derek Sherinian and Jason Bonham is hardly in question, with that pairs live credentials including Alice Cooper, Dream Theater (Sherinian), Paul Rodgers, Foreigner and Led Zeppelin reunions (Bonham), to name a few of many.
The quartet's collective musical chemistry as Black Country Communion is much in evidence on their brace of studio albums and, live, it simply spills across the concert stage like a dry ice machine on overload.
Recorded during the summer of 2011 at three German shows (Hamburg, Munich and Berlin) the set-list contains no surprises, but it’s a perfect showcase for the band’s strengths. It also doubles as an excellent Best Of for those who are still unfamiliar with their material.
Live Over Europe consists of six tracks from the band's debut album and eight from 2, with the only non-BCC songs (other than the pre-recorded introductory instrumental) being Bonamassa’s ‘The Ballad of John Henry’ (from his album of the same name) and Deep Purple’s ‘Burn,’ an iconic slice of classic rock history that is a staple of any set featuring Glen Hughes.
Performance is heavy rock solid as would be expected but the overall sound, courtesy of producer Kevin Shirley, also helps capture the band at their live best.
The drums are big, round and sharp while the bass punches through to drive the songs along – as perfectly exemplified on the opener ‘Black Country.’
Not that the bass guitar is the lead instrument of BCC. The focal, and vocal, points of the band are loudly and clearly Bonamassa’s guitar work and the voice of Glen Hughes.
In the case of the former, there is never any worry that the modern blues rock maestro’s six-string deliveries will be anything but exemplary, but Hughes has the tendency to be a loose canon vocally. There are times when his exceptional vocal talent takes over a song, leading to more than a touch of the Mariah Carey's.
And that’s never a good thing.
No such problems here – with BCC Hughes is one part of a four-piece taking its lead and influence from the best of classic, British heavy rock.
And while there are the obligatory screams and vocal punches that come with that territory, the live histrionics heard on some of his own, more vocally orientated soul and funk-based material is posted missing.
Highlights are too many to mention but a Muirsical nod must go to the Bonamassa-led ‘The Battle for Hadrian’s Wall’ (which would sit comfortably on any of his solo albums) and the emotive ‘Cold,’ one of the band’s best songs and perhaps Hughes finest BCC vocal to date.
BCC are one of the few supergroups that truly deliver and Live Over Europe is excellent proof of that, showcasing a band that are as tight live as they are in the studio.
Jes Falcon - Fake Bluff
Every so often I’m reminded just how important the Internet has become as regards music and its promotion, because without it I certainly wouldn’t have heard Jes Falcon’s work.
Or heard of Jes Falcon for that matter.
Late last year Jes Falcon contacted me to ask if I would be interested in hearing his debut album, Purest Falcon, or a few tracks from what has since become album number two, Fake Bluff.
Fake Bluff is a mix of new material and re-recordings of tracks that first appeared on Purest Falcon, but featuring far stronger production values (Purest Falcon is described by the artist himself as a “big demo”).
Originally from Spain but living in Amsterdam, Jes Falcon has a very distinct vocal sound, both in accent and vocality, and delivers songs best described as alternative rock.
I would go further – if the Punk movement had got tired of their own brand of music one day and decided to invent their own form of slightly off-centre guitar-riff rock they may well have created songs like ‘Nights Are Not the Same Without You’ and ‘No Cover.’
Which means that musically Jes Falcon is not for everyone – Boston based Skope magazine were very favourable to what the singer songwriter has produced but previous reviews and comments have varied from “creative genius” to “horrid.”
That’s quite a critical swing, but both are wide of the musical mark.
Falcon's voice and to some degree the style of songs are very much an acquired taste, but there is a discordant warmth and charm to both.
Prime examples are the quirky ‘San Francisco Square’ (but then I was probably always going to like it on title alone) and the lighter ‘She Came with the Rain.’
This is one of those albums and one of those artists where you can only really be sure what you think after playing Fake Bluff a number of times.
But this is also one of those albums and one of those artists that’s a little bit different from the standard rock norm.
And for that reason alone they deserve to be given a listen and receive a fair hearing from the Skope’s and FabricationsHQ’s of the world.
To make your own minds up head on over to Soundcloud where four songs from Fake Bluff can be heard: http://soundcloud.com/jes-falcon
Or heard of Jes Falcon for that matter.
Late last year Jes Falcon contacted me to ask if I would be interested in hearing his debut album, Purest Falcon, or a few tracks from what has since become album number two, Fake Bluff.
Fake Bluff is a mix of new material and re-recordings of tracks that first appeared on Purest Falcon, but featuring far stronger production values (Purest Falcon is described by the artist himself as a “big demo”).
Originally from Spain but living in Amsterdam, Jes Falcon has a very distinct vocal sound, both in accent and vocality, and delivers songs best described as alternative rock.
I would go further – if the Punk movement had got tired of their own brand of music one day and decided to invent their own form of slightly off-centre guitar-riff rock they may well have created songs like ‘Nights Are Not the Same Without You’ and ‘No Cover.’
Which means that musically Jes Falcon is not for everyone – Boston based Skope magazine were very favourable to what the singer songwriter has produced but previous reviews and comments have varied from “creative genius” to “horrid.”
That’s quite a critical swing, but both are wide of the musical mark.
Falcon's voice and to some degree the style of songs are very much an acquired taste, but there is a discordant warmth and charm to both.
Prime examples are the quirky ‘San Francisco Square’ (but then I was probably always going to like it on title alone) and the lighter ‘She Came with the Rain.’
This is one of those albums and one of those artists where you can only really be sure what you think after playing Fake Bluff a number of times.
But this is also one of those albums and one of those artists that’s a little bit different from the standard rock norm.
And for that reason alone they deserve to be given a listen and receive a fair hearing from the Skope’s and FabricationsHQ’s of the world.
To make your own minds up head on over to Soundcloud where four songs from Fake Bluff can be heard: http://soundcloud.com/jes-falcon
The Johnson Brothers - Out of the Blue
As regards gravel-voiced blues singers and as the official website for the Johnson Brothers says, Paul ‘Ginty’ Johnson is “undoubtedly one of the best voices you never heard.”
And with the greatest of respect to Ginty and those around the East Midlands of England who know him or have heard him, it’s an accurate statement.
But that hasn’t stopped the former Measham miner from making a name and voice for himself around his local area and touring as the Johnson Brothers with guitarist and good friend Keith Buck for nigh on 20 years.
And now he has made a name and voice for himself with an album and cause that deserve to be heard and acknowledged further afield.
Keith Buck recently reunited with Ginty Johnson to put together Out of the Blue, a compilation/ covers album featuring personal favourites performed and recorded by the pair over the years.
It’s a great little album of light rock, acoustic based pop and some blues but more significantly – and importantly – it’s all in a great cause.
Proceeds from Out of the Blue will be donated to Macmillan Cancer Support and Cancer Research UK.
While raising money for such important charities should be applauded it should also be noted that for Keith Buck it’s a subject close to home.
And for Paul Ginty Johnson it couldn’t be more personal.
Keith’s father Cecil (also a Measham miner), lost his life to cancer in 2006 but the bigger shock was when Ginty was diagnosed with terminal cancer in January 2011.
So for Paul Ginty Johnson the album wasn’t just a labour of love, it became a labour of necessity to help raise money for two excellent charities.
Musically, it’s hard not to smile when listening to Out of the Blue – there is warmth within each recording and the enjoyment of performance is evident throughout.
Songs like ‘Moonshadow’ and ‘Father and Son’ by Yusuf Islam (you may remember him better as Cat Stevens) sit comfortably alongside the Johnson Brothers blues treatments given to numbers such ‘Fire and Water’ and ‘Don’t Say You Love Me‘ by Free.
Other modern day blues-tinged rock numbers featured include ‘Muddy Waters Blues’ by Paul Rodgers and ‘Love Ain’t No Stranger’ by Whitesnake.
I can think of no higher compliment to the 15 track CD than to state that even without the serious cause behind Out of the Blue this is a worthwhile purchase.
Further information on the CD can be obtained at: www.gintyjohnson.co.uk
And with the greatest of respect to Ginty and those around the East Midlands of England who know him or have heard him, it’s an accurate statement.
But that hasn’t stopped the former Measham miner from making a name and voice for himself around his local area and touring as the Johnson Brothers with guitarist and good friend Keith Buck for nigh on 20 years.
And now he has made a name and voice for himself with an album and cause that deserve to be heard and acknowledged further afield.
Keith Buck recently reunited with Ginty Johnson to put together Out of the Blue, a compilation/ covers album featuring personal favourites performed and recorded by the pair over the years.
It’s a great little album of light rock, acoustic based pop and some blues but more significantly – and importantly – it’s all in a great cause.
Proceeds from Out of the Blue will be donated to Macmillan Cancer Support and Cancer Research UK.
While raising money for such important charities should be applauded it should also be noted that for Keith Buck it’s a subject close to home.
And for Paul Ginty Johnson it couldn’t be more personal.
Keith’s father Cecil (also a Measham miner), lost his life to cancer in 2006 but the bigger shock was when Ginty was diagnosed with terminal cancer in January 2011.
So for Paul Ginty Johnson the album wasn’t just a labour of love, it became a labour of necessity to help raise money for two excellent charities.
Musically, it’s hard not to smile when listening to Out of the Blue – there is warmth within each recording and the enjoyment of performance is evident throughout.
Songs like ‘Moonshadow’ and ‘Father and Son’ by Yusuf Islam (you may remember him better as Cat Stevens) sit comfortably alongside the Johnson Brothers blues treatments given to numbers such ‘Fire and Water’ and ‘Don’t Say You Love Me‘ by Free.
Other modern day blues-tinged rock numbers featured include ‘Muddy Waters Blues’ by Paul Rodgers and ‘Love Ain’t No Stranger’ by Whitesnake.
I can think of no higher compliment to the 15 track CD than to state that even without the serious cause behind Out of the Blue this is a worthwhile purchase.
Further information on the CD can be obtained at: www.gintyjohnson.co.uk
Little Fire - The Little Fire EP
Little Fire (the performance name of Scottish singer songwriter Jamie McGeechan) is not a household name, but on the basis of this release and his ever-growing reputation in his hometown of Ayr, Ayrshire and other areas including Glasgow, he may very well become one.
Since winning the 2010 Burns an’ a’ That! Ayrplay Battle of the Bands event Little Fire and his acoustic guitar have gone from musical strength to strength.
He opened the grand finale night of the 2011 Burns an’ a’ That! festival, has performed live on national television, received national radio airplay, supported The Secret Sisters, Damien Rice and King Creosote amongst others and will be supporting Joan Armatrading in London during her 2012 UK tour.
The Little Fire EP comprises just four tracks (one song is featured twice) and totals just over 14 minutes.
It’s short, but it’s sweet and the perfect taster for what is hoped to be a debut album later in the year.
And having a song feature twice highlights one of Little Fire’s strongest skills...
Jamie McGeechan’s ear for melody and ability to write a tune that can be rearranged for a chosen mood or tempo sets him apart from the myriad of one-dimensional singer songwriter guitarists that exist.
Many songs can be rearranged of course, but producing variations where each has melodic value and its own musical resonance… that’s a talent.
‘All I Need in Life,’ a performance favourite, is the two-for-one song featured.
The lead-off track is the more commonly performed up-tempo version while the alternative rendition is a slow-tempo acoustic ballad. The former is bright, breezy and uplifting while the latter is more introspective, reflecting on just what is important in life. Both carry an equal amount of musical warmth and weight.
‘You Mean Something to Me’ is another staple of Little Fire’s live sets and the EP version has a working demo charm about it, complete with drum accompaniment to help drive the mid-paced number. This is one of those songs that having heard it once you will be humming or singing the chorus/ title line for the rest of the day.
’Fire Me Up Now,’ with just a hint of alternative acoustic Americana, is the punchiest number on display, both musically and vocally.
If someone like Jackson Browne had turned up with it, it wouldn’t be off the Bob Harris radio show.
Ayrshire is currently producing a remarkable number of young, talented bands or solo performers and Jamie McGeechan is one of the individuals leading the charge.
There may only be a Little Fire right now but Jamie McGeechan may be burning bright in the not too distant future.
To hear the tracks from the EP (as well as other Little Fire songs) or to purchase, follow the link: http://littlefiremusic.com/links
Since winning the 2010 Burns an’ a’ That! Ayrplay Battle of the Bands event Little Fire and his acoustic guitar have gone from musical strength to strength.
He opened the grand finale night of the 2011 Burns an’ a’ That! festival, has performed live on national television, received national radio airplay, supported The Secret Sisters, Damien Rice and King Creosote amongst others and will be supporting Joan Armatrading in London during her 2012 UK tour.
The Little Fire EP comprises just four tracks (one song is featured twice) and totals just over 14 minutes.
It’s short, but it’s sweet and the perfect taster for what is hoped to be a debut album later in the year.
And having a song feature twice highlights one of Little Fire’s strongest skills...
Jamie McGeechan’s ear for melody and ability to write a tune that can be rearranged for a chosen mood or tempo sets him apart from the myriad of one-dimensional singer songwriter guitarists that exist.
Many songs can be rearranged of course, but producing variations where each has melodic value and its own musical resonance… that’s a talent.
‘All I Need in Life,’ a performance favourite, is the two-for-one song featured.
The lead-off track is the more commonly performed up-tempo version while the alternative rendition is a slow-tempo acoustic ballad. The former is bright, breezy and uplifting while the latter is more introspective, reflecting on just what is important in life. Both carry an equal amount of musical warmth and weight.
‘You Mean Something to Me’ is another staple of Little Fire’s live sets and the EP version has a working demo charm about it, complete with drum accompaniment to help drive the mid-paced number. This is one of those songs that having heard it once you will be humming or singing the chorus/ title line for the rest of the day.
’Fire Me Up Now,’ with just a hint of alternative acoustic Americana, is the punchiest number on display, both musically and vocally.
If someone like Jackson Browne had turned up with it, it wouldn’t be off the Bob Harris radio show.
Ayrshire is currently producing a remarkable number of young, talented bands or solo performers and Jamie McGeechan is one of the individuals leading the charge.
There may only be a Little Fire right now but Jamie McGeechan may be burning bright in the not too distant future.
To hear the tracks from the EP (as well as other Little Fire songs) or to purchase, follow the link: http://littlefiremusic.com/links
Paul McCartney - Kisses on the Bottom
In 2012 Paul McCartney returned to his childhood to revisit some of his favourite musical friends that were both influences and an inspiration to the boy who would become one of the most successful songwriters and famous recording artists of the 20th century.
Kisses on the Bottom is primarily a collection of standards from the American popular music era of the late ‘20s to the early ‘50s, with two new McCartney numbers thrown into the mix for good measure.
Classics such as ‘The Glory of Love’ (recorded by Benny Goodman amongst many others) and Irving Berlin’s ‘Always’ sit alongside less well-known numbers like ‘More I Cannot Wish You,’ written by Frank Loesser.
A better known Loesser tune, ‘The Inch Worm’ (the popular children’s song made famous by Danny Kaye in the movie Hans Christian Andersen), also makes an appearance and is one of the highlights of an album best described as Easy Listening.
The two new numbers, ‘My Valentine’ and ‘Only Our Hearts,’ feature guest appearances from Eric Clapton (acoustic guitar) and Stevie Wonder (harmonica) respectively and have been written and arranged in such a way as to sit perfectly alongside the standards.
The arrangements on the album aren’t big band or fully orchestrated.
These are low-key, piano or guitar with double bass smoky jazz-bar renditions, with McCartney’s vocals backed by Diana Krall and her band.
Light, orchestrated scores appear, but very sparingly.
In fact Kisses has more in common with Barry Manilow’s 2:00 AM Paradise Café album of 1984 than it does the more recent American Songbook releases by Rod Stewart.
Many of the songs on Kisses on the Bottom are timeless, but this is not a Paul McCartney release I'll be going back to time and again.
It does have a soft-brush across the snare drum charm about it, however, but that’s not the only reasons it merits a review…
The major advantage to downloadable audio is its instant availability.
The major disadvantage is the overall sound quality which, dependant on the format of the audio and playback options, can range from pretty listenable to bloody awful.
McCartney took that issue on board with this release and the album, with jazz producer Tommy LiPuma at the controls, has been mastered specifically for iTunes to optimize sound quality when downloaded.
Paul McCartney is one of the first name players to cater directly for the ever-growing download audience and for that alone I applaud him.
But I certainly won’t be giving him Kisses on the Bottom.
Kisses on the Bottom is primarily a collection of standards from the American popular music era of the late ‘20s to the early ‘50s, with two new McCartney numbers thrown into the mix for good measure.
Classics such as ‘The Glory of Love’ (recorded by Benny Goodman amongst many others) and Irving Berlin’s ‘Always’ sit alongside less well-known numbers like ‘More I Cannot Wish You,’ written by Frank Loesser.
A better known Loesser tune, ‘The Inch Worm’ (the popular children’s song made famous by Danny Kaye in the movie Hans Christian Andersen), also makes an appearance and is one of the highlights of an album best described as Easy Listening.
The two new numbers, ‘My Valentine’ and ‘Only Our Hearts,’ feature guest appearances from Eric Clapton (acoustic guitar) and Stevie Wonder (harmonica) respectively and have been written and arranged in such a way as to sit perfectly alongside the standards.
The arrangements on the album aren’t big band or fully orchestrated.
These are low-key, piano or guitar with double bass smoky jazz-bar renditions, with McCartney’s vocals backed by Diana Krall and her band.
Light, orchestrated scores appear, but very sparingly.
In fact Kisses has more in common with Barry Manilow’s 2:00 AM Paradise Café album of 1984 than it does the more recent American Songbook releases by Rod Stewart.
Many of the songs on Kisses on the Bottom are timeless, but this is not a Paul McCartney release I'll be going back to time and again.
It does have a soft-brush across the snare drum charm about it, however, but that’s not the only reasons it merits a review…
The major advantage to downloadable audio is its instant availability.
The major disadvantage is the overall sound quality which, dependant on the format of the audio and playback options, can range from pretty listenable to bloody awful.
McCartney took that issue on board with this release and the album, with jazz producer Tommy LiPuma at the controls, has been mastered specifically for iTunes to optimize sound quality when downloaded.
Paul McCartney is one of the first name players to cater directly for the ever-growing download audience and for that alone I applaud him.
But I certainly won’t be giving him Kisses on the Bottom.
Bill Nelson - Songs of the Blossom Tree Optimists
This was the first 2012 album reviewed and played at FabricationsHQ.
Bu that was always a possibility because Bill Nelson is the most prolific and productive artist I know.
And SotBTO will probably be the first of a number of 2012 releases from the English singer songwriter multi-instrumentalist, certainly if previous years' output are anything to go by…
In 2011 Bill Nelson celebrated 40 years as a recording and performing artist by releasing a comprehensive 8CD anthology and three solo albums.
2010 saw the release of four solo albums and 2006 was a six-album year.
In many ways SotBTO is a companion piece to 2011's Model Village, Nelson's instrumental album themed around the concept of sleepy, rural English life.
This time however the audio scenes created depict Spring and Summer evenings, with vocals/ lyrics over keyboard created orchestral sounds and percussion.
The song titles are so descriptive that other than the brief outline just given I have no need to provide any further information – ‘Rambling Through the Meadows,’ ‘One Summer Night,’ and Gathered in at Gloaming’ tell it better than I could.
They are not always that obvious however – Nelson also has a wonderful habit of providing some of the most imaginative or thought-provoking titles (‘Memory is a Data Cloud Forever Primed with Rain’ is a personal favourite).
But Nelson also has the wonderful habit of providing some of the most imaginative or difficult-to-label material, which is the main reason he will never threaten the charts (and hasn’t done so since the rock guitar days of Be Bop Deluxe, his later Red Noise project and the occasional early-80's forays into radio-friendly land).
But SotBTO is a warm, charming and accessible little album and a welcome addition to my small collection of Nelson musical marvels.
And it's a relatively small collection because although I would count myself a fan of Bill Nelson and his studio creations (I own around a dozen of his eighty-plus solo album output) that’s all I need to satisfy my Nelson needs.
Because while Bill Nelson albums are always worth a listen, many are disposable after a play or two.
Nelson has made the same sort of comment about his own work in the past but then this is an artist who crafts albums in quick succession, sometimes recording a number of radically different pieces in the same session (which are then separated for use on various albums).
But there is more musical creativity in a single Bill Nelson album than there is in the career of a typical MTV era artist or the popular but stereotypical acts.
"Creative genius" is a phrase often misused, especially in the music business.
I would pin that label on Todd Rundgren and certainly Frank Zappa (while never being the greatest Zappa fan – another around-a-dozen-in-the-collection artist).
Why Bill Nelson, in artistically creative terms, is not mentioned in the same breath as the Rundgren’s and Zappa’s of this world is anyone’s guess.
Bu that was always a possibility because Bill Nelson is the most prolific and productive artist I know.
And SotBTO will probably be the first of a number of 2012 releases from the English singer songwriter multi-instrumentalist, certainly if previous years' output are anything to go by…
In 2011 Bill Nelson celebrated 40 years as a recording and performing artist by releasing a comprehensive 8CD anthology and three solo albums.
2010 saw the release of four solo albums and 2006 was a six-album year.
In many ways SotBTO is a companion piece to 2011's Model Village, Nelson's instrumental album themed around the concept of sleepy, rural English life.
This time however the audio scenes created depict Spring and Summer evenings, with vocals/ lyrics over keyboard created orchestral sounds and percussion.
The song titles are so descriptive that other than the brief outline just given I have no need to provide any further information – ‘Rambling Through the Meadows,’ ‘One Summer Night,’ and Gathered in at Gloaming’ tell it better than I could.
They are not always that obvious however – Nelson also has a wonderful habit of providing some of the most imaginative or thought-provoking titles (‘Memory is a Data Cloud Forever Primed with Rain’ is a personal favourite).
But Nelson also has the wonderful habit of providing some of the most imaginative or difficult-to-label material, which is the main reason he will never threaten the charts (and hasn’t done so since the rock guitar days of Be Bop Deluxe, his later Red Noise project and the occasional early-80's forays into radio-friendly land).
But SotBTO is a warm, charming and accessible little album and a welcome addition to my small collection of Nelson musical marvels.
And it's a relatively small collection because although I would count myself a fan of Bill Nelson and his studio creations (I own around a dozen of his eighty-plus solo album output) that’s all I need to satisfy my Nelson needs.
Because while Bill Nelson albums are always worth a listen, many are disposable after a play or two.
Nelson has made the same sort of comment about his own work in the past but then this is an artist who crafts albums in quick succession, sometimes recording a number of radically different pieces in the same session (which are then separated for use on various albums).
But there is more musical creativity in a single Bill Nelson album than there is in the career of a typical MTV era artist or the popular but stereotypical acts.
"Creative genius" is a phrase often misused, especially in the music business.
I would pin that label on Todd Rundgren and certainly Frank Zappa (while never being the greatest Zappa fan – another around-a-dozen-in-the-collection artist).
Why Bill Nelson, in artistically creative terms, is not mentioned in the same breath as the Rundgren’s and Zappa’s of this world is anyone’s guess.
Bruce Springsteen - Wrecking Ball
Before Wrecking Ball was even released it seemed everyone and their Aunty who was a fan of The Boss knew what to expect.
But with good reason.
First of all this is Bruce Springsteen, so no matter how good, bad or indifferent any album carrying his name turns out to be it’s going to be one of the most talked about releases of the given year.
Secondly, a number of the songs were given on-line pre-release airings and three have been performed live during earlier tours (‘Land of Hope and Dreams’ for example was first heard back in 1999).
And, as it’s an election year in the US, Mr Springsteen was almost inevitably going to have a voice on the subject whether during interviews or woven into his lyrics that speak of social and economic justices (or injustices).
Musically, the album has both a melodic rock and roll and heavy folk feel about it and those two styles are perfectly described by the opening brace of numbers.
The opener and first single ‘We Take Care of Our Own’ comes complete with big Springsteen sound and hooky chorus, while the second track, ‘Easy Money,’ has a pleasant, folksy-stomp to it.
Springsteen has stated the album has a lot in common with his 1982 solo album Nebraska and its sparse soundscapes, but the difference here is the songs are layered in a bigger production courtesy of Rob Aniello.
The producer also incorporated various instrumentation and sounds, including drum loops and mariachi horns (the latter on the acoustic campfire stomp of ‘We Are Alive’).
But various instrumentation and sounds apart, the problem with Wrecking Ball is some of the songs are just too similar and the folksy-based roots of many of the songs recall the 2006 Seeger Sessions (‘American Land’ was written during those very sessions).
Springsteen can turn his hand, vocal and lyric to a well delivered melancholic ballad but on an album like Wrecking Ball, with its social commentary lyrics, there is the danger of taking that a step or three too far.
‘Jack of All Trades’ is a slow-waltz for the unemployed but the perfectly titled ‘This Depression’ and ‘Rocky Ground’ move beyond melancholic and into morose.
Not that it’s all slow-tempo tales. 'Wrecking Ball' (written in 2009 for the closing and subsequent demolition of Giants Stadium in New Jersey) is a poignant and vibrant tune complete with that big Springsteen sound, while 'Land of Hope and Dreams' features a saxophone solo from the late, great Clarence Clemons.
The Big Man also appears on the title track.
While the legion of Springsteen fans will claim this to be another classic as it wings its way to the upper echelons of album charts across the world, Wrecking Ball is not The Boss' top banana.
And although weak in spots it has some genuinely powerful moments.
But with good reason.
First of all this is Bruce Springsteen, so no matter how good, bad or indifferent any album carrying his name turns out to be it’s going to be one of the most talked about releases of the given year.
Secondly, a number of the songs were given on-line pre-release airings and three have been performed live during earlier tours (‘Land of Hope and Dreams’ for example was first heard back in 1999).
And, as it’s an election year in the US, Mr Springsteen was almost inevitably going to have a voice on the subject whether during interviews or woven into his lyrics that speak of social and economic justices (or injustices).
Musically, the album has both a melodic rock and roll and heavy folk feel about it and those two styles are perfectly described by the opening brace of numbers.
The opener and first single ‘We Take Care of Our Own’ comes complete with big Springsteen sound and hooky chorus, while the second track, ‘Easy Money,’ has a pleasant, folksy-stomp to it.
Springsteen has stated the album has a lot in common with his 1982 solo album Nebraska and its sparse soundscapes, but the difference here is the songs are layered in a bigger production courtesy of Rob Aniello.
The producer also incorporated various instrumentation and sounds, including drum loops and mariachi horns (the latter on the acoustic campfire stomp of ‘We Are Alive’).
But various instrumentation and sounds apart, the problem with Wrecking Ball is some of the songs are just too similar and the folksy-based roots of many of the songs recall the 2006 Seeger Sessions (‘American Land’ was written during those very sessions).
Springsteen can turn his hand, vocal and lyric to a well delivered melancholic ballad but on an album like Wrecking Ball, with its social commentary lyrics, there is the danger of taking that a step or three too far.
‘Jack of All Trades’ is a slow-waltz for the unemployed but the perfectly titled ‘This Depression’ and ‘Rocky Ground’ move beyond melancholic and into morose.
Not that it’s all slow-tempo tales. 'Wrecking Ball' (written in 2009 for the closing and subsequent demolition of Giants Stadium in New Jersey) is a poignant and vibrant tune complete with that big Springsteen sound, while 'Land of Hope and Dreams' features a saxophone solo from the late, great Clarence Clemons.
The Big Man also appears on the title track.
While the legion of Springsteen fans will claim this to be another classic as it wings its way to the upper echelons of album charts across the world, Wrecking Ball is not The Boss' top banana.
And although weak in spots it has some genuinely powerful moments.
