2020 Album Reviews
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Rosie Abbott – Magnified
Magnified is the third album from Nottingham native (but Chesterfield-based) singer-songwriter multi-instrumentalist Rosie Abbott.
Recorded during lockdown at her home studio, Magnified is a collection of 16 songs from Rosie Abbott that are, indeed, magnified snapshots of the emotional and the personal (many of which are introspective or reflective).
In short, place in the universe considerations that range from the smaller details to the bigger picture.
There is however an up-beat positivity to much of the music that accompanies such lyrical themes, collectively showcasing an intriguing and highly individualistic talent.
One such example is 'Alice Died,' a musically charming song inspired by actress/ chorus dancer Alice Barker (who died peacefully in her sleep at 103 years old) that lyrically reflects on the happiness of life and achievement, not the of sadness of passing.
Rosie Abbott’s songs, harmonies and melodies twist and wind their way through imaginative arrangements that often hint at classic retro influences such as Bowie, The Beach Boys, Laura Nyro, Kate Bush and, occasionally, Queen’s clever and sometimes quirky mid 70s wall of harmonies and counter-harmonies.
The title track, which opens up the album in delightful fashion, manages to coalesce nearly all those influences.
Full of unusual chord progressions and rhythms that morph expertly (exemplified by the slightly off-kilter waltz of 'I Miss You,' with its lockdown effect lyric) there is a subtlety on display and a lightness of touch, as well as a confidence in the artist’s own abilities (Rosie Abbott not only plays everything, she records and masters her own material).
As listenable and likeable as Magnified is, this last point may be the album’s undoing, certainly in bigger picture terms – Rosie Abbott’s songs deserve more than the home-made lo-fi vibe they are given here.
Make no mistake this is quality song writing, with tracks such as the aforementioned 'Magnified,' the slow lounge-soul of 'Hold On,' the quirkier pop charm of 'The Look In Our Eyes' and acoustically fashioned brace 'Sure Enough' & 'Always Time' hinting at what a major talent Rosie Abbott could be given stronger, bolder production.
But Magnified isn’t without its home-made charm; indeed it has enough moments of quirkiness and personality to overcome the limited production gripes.
Another strength of the album is that, by allowing some songs to breeze by as shorter pieces or vignettes (the instrumental 'Malestroit Style' is akin to something Todd Rundgren would cook up back when he was A Wizard, A True Star), the interest is kept up over the large number of tracks, even though perhaps a couple could arguably have been omitted.
But such track culling considerations misses the point of Rosie Abbott’s very individual and impressive talent.
Clearly her own artist, Magnified is a highly stylistic and very enjoyable listen; Rosie Abbott’s fascinating muse also makes her one to definitely keep an eye and ear on.
Adam Norsworthy & Ross Muir
FabricationsHQ
Recorded during lockdown at her home studio, Magnified is a collection of 16 songs from Rosie Abbott that are, indeed, magnified snapshots of the emotional and the personal (many of which are introspective or reflective).
In short, place in the universe considerations that range from the smaller details to the bigger picture.
There is however an up-beat positivity to much of the music that accompanies such lyrical themes, collectively showcasing an intriguing and highly individualistic talent.
One such example is 'Alice Died,' a musically charming song inspired by actress/ chorus dancer Alice Barker (who died peacefully in her sleep at 103 years old) that lyrically reflects on the happiness of life and achievement, not the of sadness of passing.
Rosie Abbott’s songs, harmonies and melodies twist and wind their way through imaginative arrangements that often hint at classic retro influences such as Bowie, The Beach Boys, Laura Nyro, Kate Bush and, occasionally, Queen’s clever and sometimes quirky mid 70s wall of harmonies and counter-harmonies.
The title track, which opens up the album in delightful fashion, manages to coalesce nearly all those influences.
Full of unusual chord progressions and rhythms that morph expertly (exemplified by the slightly off-kilter waltz of 'I Miss You,' with its lockdown effect lyric) there is a subtlety on display and a lightness of touch, as well as a confidence in the artist’s own abilities (Rosie Abbott not only plays everything, she records and masters her own material).
As listenable and likeable as Magnified is, this last point may be the album’s undoing, certainly in bigger picture terms – Rosie Abbott’s songs deserve more than the home-made lo-fi vibe they are given here.
Make no mistake this is quality song writing, with tracks such as the aforementioned 'Magnified,' the slow lounge-soul of 'Hold On,' the quirkier pop charm of 'The Look In Our Eyes' and acoustically fashioned brace 'Sure Enough' & 'Always Time' hinting at what a major talent Rosie Abbott could be given stronger, bolder production.
But Magnified isn’t without its home-made charm; indeed it has enough moments of quirkiness and personality to overcome the limited production gripes.
Another strength of the album is that, by allowing some songs to breeze by as shorter pieces or vignettes (the instrumental 'Malestroit Style' is akin to something Todd Rundgren would cook up back when he was A Wizard, A True Star), the interest is kept up over the large number of tracks, even though perhaps a couple could arguably have been omitted.
But such track culling considerations misses the point of Rosie Abbott’s very individual and impressive talent.
Clearly her own artist, Magnified is a highly stylistic and very enjoyable listen; Rosie Abbott’s fascinating muse also makes her one to definitely keep an eye and ear on.
Adam Norsworthy & Ross Muir
FabricationsHQ
AC/DC – Power Up
Each and every AC/DC studio album, certainly since Bon Scott’s last hurrah of Highway To Hell, is eagerly anticipated by their huge legion of fans (and you can’t argue with 30 million certified and counting Back in Black sales that proved there was AC/DC life after the death of Bon Scott).
This time the anticipation is based around a reformed unit that, since the passing of uber-rhythm guitarist Malcolm Young (as big a part of the AC/DC sound as his brother Angus’s Whole Lotta riffage and Bon Scott or Brian Johnson’s purposeful, powerful and, in the latter’s case, gravelly vocal) lessened in stature through ever-diminishing line-up returns and an eventual hiatus.
Brian Johnson, drummer Phil Rudd and bassist Cliff Williams all left at different times (for very different reasons) a year or two after 2014’s Rock Or Bust album (Johnson & Rudd) or following the completion of the Rock or Bust World Tour (Williams); however the final straw for many a fan (although just as many celebrated) was the "Axl/DC" variant of the band that completed said tour.
And so to Power Up (or PWR/UP) and the good news of the reunion between Angus Young and cousin Stevie Young (who replaced the late Malcolm Young in 2014) and Messrs Johnson, Rudd & Williams.
Sadly, that’s where most of the good news ends.
It doesn’t help that all twelve songs that make up the album have been culled by Angus Young from the unused song archives (all tracks are credited to Angus & Malcolm Young) because frankly, for the most part, that’s just what Power Up sounds like, a (well produced) collection of songs that weren’t good enough to cut the mustard first time around.
The infectiously riffed lead-off single 'Shot in the Dark' is a fairly strong offering, opening number 'Realize' has that AC/DC swagger ‘n’ spark of old, the faster paced boogie of 'Demon’s Fire' does indeed have a little fire about it (but even it’s a re-tread) but that’s about it – songs such as 'Rejection,' 'Kick You When You’re Down,' 'No Man’s Land' and 'Systems Down' tend to plod on as opposed to power up.
To be fair Stevie Young has the "Malcolm Sound" of open chords & full gain down pat and the Rudd & Williams pairing have always been a tight as a bass drum, 4/4 rhythm machine but every riff, hook or chorus call sounds like a diluted version of something that has gone before (take a bow 'Witch’s Spell' and start-stop riffage of album closer 'Code Red').
The counter-argument is, of course, that such formulaic tendencies are what AC/DC have always based their rock and roll template of success on; either way Power Up is primarily copy and paste AC/DC.
Just about every other music reviewer, critic and AC/DC fan will applaud the Schoolboy’s New Clothes being paraded here (et tu, Rolling Stone?) but Power Up is ironically titled given the lack of genuinely High Voltage rock and roll on display.
Ross Muir
FabricationsHQ
This time the anticipation is based around a reformed unit that, since the passing of uber-rhythm guitarist Malcolm Young (as big a part of the AC/DC sound as his brother Angus’s Whole Lotta riffage and Bon Scott or Brian Johnson’s purposeful, powerful and, in the latter’s case, gravelly vocal) lessened in stature through ever-diminishing line-up returns and an eventual hiatus.
Brian Johnson, drummer Phil Rudd and bassist Cliff Williams all left at different times (for very different reasons) a year or two after 2014’s Rock Or Bust album (Johnson & Rudd) or following the completion of the Rock or Bust World Tour (Williams); however the final straw for many a fan (although just as many celebrated) was the "Axl/DC" variant of the band that completed said tour.
And so to Power Up (or PWR/UP) and the good news of the reunion between Angus Young and cousin Stevie Young (who replaced the late Malcolm Young in 2014) and Messrs Johnson, Rudd & Williams.
Sadly, that’s where most of the good news ends.
It doesn’t help that all twelve songs that make up the album have been culled by Angus Young from the unused song archives (all tracks are credited to Angus & Malcolm Young) because frankly, for the most part, that’s just what Power Up sounds like, a (well produced) collection of songs that weren’t good enough to cut the mustard first time around.
The infectiously riffed lead-off single 'Shot in the Dark' is a fairly strong offering, opening number 'Realize' has that AC/DC swagger ‘n’ spark of old, the faster paced boogie of 'Demon’s Fire' does indeed have a little fire about it (but even it’s a re-tread) but that’s about it – songs such as 'Rejection,' 'Kick You When You’re Down,' 'No Man’s Land' and 'Systems Down' tend to plod on as opposed to power up.
To be fair Stevie Young has the "Malcolm Sound" of open chords & full gain down pat and the Rudd & Williams pairing have always been a tight as a bass drum, 4/4 rhythm machine but every riff, hook or chorus call sounds like a diluted version of something that has gone before (take a bow 'Witch’s Spell' and start-stop riffage of album closer 'Code Red').
The counter-argument is, of course, that such formulaic tendencies are what AC/DC have always based their rock and roll template of success on; either way Power Up is primarily copy and paste AC/DC.
Just about every other music reviewer, critic and AC/DC fan will applaud the Schoolboy’s New Clothes being paraded here (et tu, Rolling Stone?) but Power Up is ironically titled given the lack of genuinely High Voltage rock and roll on display.
Ross Muir
FabricationsHQ
Adam's Curse - What The Ancients Knew About Us
Singer-songwriter-guitarist Barry Kinane (main man of Irish rock band Glyder who delivered five albums and shared European stages with the likes of Metallica, Thin Lizzy and Slash before splitting) has always had a penchant for storytelling within his personal or real life lyricism and song themes.
Such storytelling is to the fore in new band project Adam’s Curse featuring Kinane, drummer Brendan Gilligan (who played many decades ago with Kinane in metal band Cursed Earth) and bassist John Treacy.
Having played in a covers band for a number of years the trio made the perfect platform for a new band, once Barry Kinane got his rock-writing bug back (more recent post Glyder solo releases from Kinane focus on his other musical love, traditional Irish folk).
And going by the quality of What The Ancients Knew About Us, we should all be very glad he did get that rock writing bug back.
Musically, 'Vibe for Philo' opens proceedings in strong, mid-tempo rocking form while its title tells you exactly who the lyric pays homage to (and Dublin’s annual Vibe For Philo tribute event).
While Phil Lynott was a massive influence on Barry Kinane the clever twist is 'Vibe For Philo' doesn’t try to emulate Thin Lizzy in any trademark twin guitars or Lynott vocal lines style (although there are little lyrical and guitar lick nods); indeed if any Lizzy comparisons are to be made across the album it’s in that legendary band’s earlier three-piece sound and their amalgam of Celtic, folk, blues and rock.
Following number 'Stargazer' (a reworking of an old Barry Kinane number first recorded by Glyder) is a funky and melodic little song that sounds like its desperate to shift musical gear into a more rock reggae number.
The bluesy undercurrent of 'Tattoos and Loneliness' then provides the perfect reflective musical vehicle (complete with tasty little guitar solo) for a clever lyric about a girl’s memories through the ink on her skin.
Barry Kinane's real-life lyricism is front and topical centre on the edgy, Celtic-tinged rock of the very 2020 'Borrowed Time' ("madmen pulling strings") and 'Poison Spring' ("birds don’t sing… the air of death around"), an electric-folk plea for Mother Earth.
Other highlights across the twelve track album include throwaway-but-fun pop-rocker 'Satellite' and the angry rock of 'Unmask Your Face' (an unsubtle swipe at keyboard troll warriors and media censorship).
Two more older songs also make their mark, the acoustically framed "do-be-do" charm of 'My Canoe' and the singer-songwriter protest of 'Funeral of My Soul' (the tortured artist in lyrical guise).
If there’s a criticism, it’s that with so many song ideas coming from Barry Kinane after a long lay-off from writing rock based material (coupled with the inclusion of a few older songs of varying styles) Adam’s Curse don’t quite know who they are yet (the fragility of the Celtic-folk title track and closing number, the similarly Celtic affected rock ballad 'Starlight,' being cases in not quite sure point).
But with a more focussed direction and, more importantly, some decent exposure and a fair hearing, Adam’s Curse (named after that very W.B. Yeats poem curio lovers) may yet get carried on the same winds that bore Glyder to some pretty decent heights.
Ross Muir
FabricationsHQ
Such storytelling is to the fore in new band project Adam’s Curse featuring Kinane, drummer Brendan Gilligan (who played many decades ago with Kinane in metal band Cursed Earth) and bassist John Treacy.
Having played in a covers band for a number of years the trio made the perfect platform for a new band, once Barry Kinane got his rock-writing bug back (more recent post Glyder solo releases from Kinane focus on his other musical love, traditional Irish folk).
And going by the quality of What The Ancients Knew About Us, we should all be very glad he did get that rock writing bug back.
Musically, 'Vibe for Philo' opens proceedings in strong, mid-tempo rocking form while its title tells you exactly who the lyric pays homage to (and Dublin’s annual Vibe For Philo tribute event).
While Phil Lynott was a massive influence on Barry Kinane the clever twist is 'Vibe For Philo' doesn’t try to emulate Thin Lizzy in any trademark twin guitars or Lynott vocal lines style (although there are little lyrical and guitar lick nods); indeed if any Lizzy comparisons are to be made across the album it’s in that legendary band’s earlier three-piece sound and their amalgam of Celtic, folk, blues and rock.
Following number 'Stargazer' (a reworking of an old Barry Kinane number first recorded by Glyder) is a funky and melodic little song that sounds like its desperate to shift musical gear into a more rock reggae number.
The bluesy undercurrent of 'Tattoos and Loneliness' then provides the perfect reflective musical vehicle (complete with tasty little guitar solo) for a clever lyric about a girl’s memories through the ink on her skin.
Barry Kinane's real-life lyricism is front and topical centre on the edgy, Celtic-tinged rock of the very 2020 'Borrowed Time' ("madmen pulling strings") and 'Poison Spring' ("birds don’t sing… the air of death around"), an electric-folk plea for Mother Earth.
Other highlights across the twelve track album include throwaway-but-fun pop-rocker 'Satellite' and the angry rock of 'Unmask Your Face' (an unsubtle swipe at keyboard troll warriors and media censorship).
Two more older songs also make their mark, the acoustically framed "do-be-do" charm of 'My Canoe' and the singer-songwriter protest of 'Funeral of My Soul' (the tortured artist in lyrical guise).
If there’s a criticism, it’s that with so many song ideas coming from Barry Kinane after a long lay-off from writing rock based material (coupled with the inclusion of a few older songs of varying styles) Adam’s Curse don’t quite know who they are yet (the fragility of the Celtic-folk title track and closing number, the similarly Celtic affected rock ballad 'Starlight,' being cases in not quite sure point).
But with a more focussed direction and, more importantly, some decent exposure and a fair hearing, Adam’s Curse (named after that very W.B. Yeats poem curio lovers) may yet get carried on the same winds that bore Glyder to some pretty decent heights.
Ross Muir
FabricationsHQ
The Allman Betts Band – Bless Your Heart
There’s a discernible confidence and wide-screen scope at musical play on Bless Your Heart, the second album from The Allman Betts Band.
That’s in no small part down to the quality of a now fully synchronised septet – band leaders and dual singer-guitarists Devon Allman and Duane Betts, in the company of Berry Duane Oakley (bass, vocals), Johnny Stachela (guitar, vocals), John Ginty (keyboards), R Scott Bryan (percussion, vocals) and John Lum (drums) – but it’s also significant they should open with a number that would ordinarily be your definitive, slow-build to sound-swelling southern closer.
By opening with 'Pale Horse Rider' both band and album make a statement, one that speaks of purposeful southern meets (wild) western imagery intent.
A quite striking opening with forlorn, lost-soul opening ("I’ve been lost for way too long… baby I need you, I just need you") 'Pale Horse Rider' builds slowly but assuredly to a guitars play-off slice of highly effective, in the southern saddle, comfort.
Having caught the attention in grand, soundtrack scale the band ensure that attention is secured through the southern gospel blues sway of 'Carolina Song' before the contrasting 'King Crawler' kicks in in all its slide guitar and horn blowin’ glory (if the Rolling Stones had been from Memphis).
But such contrast only tells you half the musical story – the rhythmic and drifting 'Ashes of My Lovers' manages to meld the essence of The Doors with harmonica Americana before Messrs Allman, Betts and band tip their hats to the aforementioned pair’s fathers on 'Savannah’s Dream.'
A tune that acts as both an Allman Brothers homage and an enjoyable, twelve minute gallop across the plains of its title, 'Savannah’s Dream' is a flight of twin-guitar fancy harmonies and individual soloing (including a tasty little keyboard excursion mid-song) over a syncopated rhythm and subtle but bubbly little bass lines.
Also making their mark are the Skynyrd-tinged 'Magnolia Road' (lyrically semi-autobiographical to Devon Allman and Duane Betts, yet interestingly written by band collaborator Stoll Vaughan), the rock and honky tonk roll of 'Airboats and Cocaine,' the acoustically framed 'Rivers Run' and piano-led southern ballad 'Congratulations,' which closes out the album.
But it’s hard to maintain such an exceptionally high standard across 13 tracks and a double album’s worth of 70 minutes – the breezy, mid-tempo 'Summer Rain' never gets out of first gear while Devon Allman’s deeper vocal on 'Much Obliged' come across more as a Johnny Cash pastiche than the Cash/ Springsteen Americana they were aiming for.
Similarly, a little pruning of the otherwise effective Berry Duane Oakley penned (and sung) eight minute number 'The Doctor’s Daughter' (a bluesy and floaty affair) wouldn’t have hurt.
To be fair however Devon Allman has stated this is "a band having a love affair with being a band" and that shines through on Bless Your Heart (the album is broader and deeper in scope than impressive 2019 debut album Down to the River).
And when The Allman Betts Band are on southern point, as they are for the majority of Bless Your Heart, they aren’t just a good band with Allman Brothers DNA they're a great one, on their own southern merit.
Ross Muir
FabricationsHQ
That’s in no small part down to the quality of a now fully synchronised septet – band leaders and dual singer-guitarists Devon Allman and Duane Betts, in the company of Berry Duane Oakley (bass, vocals), Johnny Stachela (guitar, vocals), John Ginty (keyboards), R Scott Bryan (percussion, vocals) and John Lum (drums) – but it’s also significant they should open with a number that would ordinarily be your definitive, slow-build to sound-swelling southern closer.
By opening with 'Pale Horse Rider' both band and album make a statement, one that speaks of purposeful southern meets (wild) western imagery intent.
A quite striking opening with forlorn, lost-soul opening ("I’ve been lost for way too long… baby I need you, I just need you") 'Pale Horse Rider' builds slowly but assuredly to a guitars play-off slice of highly effective, in the southern saddle, comfort.
Having caught the attention in grand, soundtrack scale the band ensure that attention is secured through the southern gospel blues sway of 'Carolina Song' before the contrasting 'King Crawler' kicks in in all its slide guitar and horn blowin’ glory (if the Rolling Stones had been from Memphis).
But such contrast only tells you half the musical story – the rhythmic and drifting 'Ashes of My Lovers' manages to meld the essence of The Doors with harmonica Americana before Messrs Allman, Betts and band tip their hats to the aforementioned pair’s fathers on 'Savannah’s Dream.'
A tune that acts as both an Allman Brothers homage and an enjoyable, twelve minute gallop across the plains of its title, 'Savannah’s Dream' is a flight of twin-guitar fancy harmonies and individual soloing (including a tasty little keyboard excursion mid-song) over a syncopated rhythm and subtle but bubbly little bass lines.
Also making their mark are the Skynyrd-tinged 'Magnolia Road' (lyrically semi-autobiographical to Devon Allman and Duane Betts, yet interestingly written by band collaborator Stoll Vaughan), the rock and honky tonk roll of 'Airboats and Cocaine,' the acoustically framed 'Rivers Run' and piano-led southern ballad 'Congratulations,' which closes out the album.
But it’s hard to maintain such an exceptionally high standard across 13 tracks and a double album’s worth of 70 minutes – the breezy, mid-tempo 'Summer Rain' never gets out of first gear while Devon Allman’s deeper vocal on 'Much Obliged' come across more as a Johnny Cash pastiche than the Cash/ Springsteen Americana they were aiming for.
Similarly, a little pruning of the otherwise effective Berry Duane Oakley penned (and sung) eight minute number 'The Doctor’s Daughter' (a bluesy and floaty affair) wouldn’t have hurt.
To be fair however Devon Allman has stated this is "a band having a love affair with being a band" and that shines through on Bless Your Heart (the album is broader and deeper in scope than impressive 2019 debut album Down to the River).
And when The Allman Betts Band are on southern point, as they are for the majority of Bless Your Heart, they aren’t just a good band with Allman Brothers DNA they're a great one, on their own southern merit.
Ross Muir
FabricationsHQ
Anvil – Legal at Last
Latest Anvil album Legal at Last coincides with the Canadian metal-heads undertaking a gruelling three month tour of UK and Europe to play for their fans on the other side of the pond.
In short, this is a band seriously dedicated to their musical cause, having ploughed their heavy metal furrow for more than forty years, first as the band Lips then as Anvil since 1981 debut album Hard 'N' Heavy – all under the guidance of ever-presents Steve "Lips" Kudlow (lead vocals, guitars) and drummer Robb Reiner.
Bassist Chris Robertson joined the ranks in 2014.
While the band are always a weighty proposition on album (well, with a name like Anvil…) they have never broken into the big time – Anvil have a hard-core fan base but most rock fans will be aware of them as a perennial support act or from the 2008 film Anvil! The story of Anvil, a behind the scenes rockumentary that became a surprise success.
Indeed The Story of Anvil resulted in an upturn in the band’s fortunes with some prestigious support slots and (even) more touring.
It’s fair to say the film (which included sections of pathos) helped engender some affection for the band; it also has to be said however that at times the band veer into parody (whether this is self-conscious or not is difficult to say).
Eighteenth studio album Legal at Last is a more of the same please offering (why change the formula if that’s what you love to play and there is a reasonable audience) with elements that mix early Saxon, Motörhead and some NWOBHM played by a Canadian band (which, you could argue, is exactly how Anvil started out).
"Lips" Kudlow certainly has the guitar sound nailed and his vocals, whilst not reaching Biff Byford level, do a job.
Opening numbers ‘Legal at Last’ and ‘Nabbed in Nebraska’ are heads-down rockers with messages about the celebration of the legalisation of cannabis in Canada (hence the Anvil Bong cover) and the not so celebratory tale of travels in a US State that isn’t so relaxed (in more way than one).
Next up are an environmental brace, first 'Chemtrails' (conjuring up rapid-fire, punky Judas Priest but without the Halford level of vocal) followed by the slower and decidedly gritty 'Gasoline.'
'I’m Alive,' a paean to the power of rock and roll, has direct lineage to Saxon (including the listen-up whistle at the intro) while 'Talking to the Wall' and 'Glass House' feature more beefy "Lips" riffs and pounding rhythm work from Messrs Reiner and Robertson.
'Plastic in Paradise,' with another more obvious environmental message, drops the tempo (it's also a number reminiscent of early Black Sabbath) but 'Bottom Line' and 'Food for the Vulture' resume normal up-tempo services; the latter is not dissimilar to the title track and features very Motörhead-esque double kick drums.
Penultimate song 'Said and Done' reprises the early Sabbath template (with more environmental references) but closing (bonus track) 'No Time' is one of the album’s more interesting songs, given it seems to be a short, sharp, power-down piece of self-deprecating humour – it’s akin to Anvil covering Spinal Tap parodying Anvil.
But therein lies the true appeal of Anvil.
This is a rock/metal band who don’t take things too seriously, provide heads-down rock in spades and, above all, enjoy themselves – meaning maybe it’s also Legal at Last to enjoy Anvil for what and who they are.
Nelson McFarlane
FabricationsHQ
In short, this is a band seriously dedicated to their musical cause, having ploughed their heavy metal furrow for more than forty years, first as the band Lips then as Anvil since 1981 debut album Hard 'N' Heavy – all under the guidance of ever-presents Steve "Lips" Kudlow (lead vocals, guitars) and drummer Robb Reiner.
Bassist Chris Robertson joined the ranks in 2014.
While the band are always a weighty proposition on album (well, with a name like Anvil…) they have never broken into the big time – Anvil have a hard-core fan base but most rock fans will be aware of them as a perennial support act or from the 2008 film Anvil! The story of Anvil, a behind the scenes rockumentary that became a surprise success.
Indeed The Story of Anvil resulted in an upturn in the band’s fortunes with some prestigious support slots and (even) more touring.
It’s fair to say the film (which included sections of pathos) helped engender some affection for the band; it also has to be said however that at times the band veer into parody (whether this is self-conscious or not is difficult to say).
Eighteenth studio album Legal at Last is a more of the same please offering (why change the formula if that’s what you love to play and there is a reasonable audience) with elements that mix early Saxon, Motörhead and some NWOBHM played by a Canadian band (which, you could argue, is exactly how Anvil started out).
"Lips" Kudlow certainly has the guitar sound nailed and his vocals, whilst not reaching Biff Byford level, do a job.
Opening numbers ‘Legal at Last’ and ‘Nabbed in Nebraska’ are heads-down rockers with messages about the celebration of the legalisation of cannabis in Canada (hence the Anvil Bong cover) and the not so celebratory tale of travels in a US State that isn’t so relaxed (in more way than one).
Next up are an environmental brace, first 'Chemtrails' (conjuring up rapid-fire, punky Judas Priest but without the Halford level of vocal) followed by the slower and decidedly gritty 'Gasoline.'
'I’m Alive,' a paean to the power of rock and roll, has direct lineage to Saxon (including the listen-up whistle at the intro) while 'Talking to the Wall' and 'Glass House' feature more beefy "Lips" riffs and pounding rhythm work from Messrs Reiner and Robertson.
'Plastic in Paradise,' with another more obvious environmental message, drops the tempo (it's also a number reminiscent of early Black Sabbath) but 'Bottom Line' and 'Food for the Vulture' resume normal up-tempo services; the latter is not dissimilar to the title track and features very Motörhead-esque double kick drums.
Penultimate song 'Said and Done' reprises the early Sabbath template (with more environmental references) but closing (bonus track) 'No Time' is one of the album’s more interesting songs, given it seems to be a short, sharp, power-down piece of self-deprecating humour – it’s akin to Anvil covering Spinal Tap parodying Anvil.
But therein lies the true appeal of Anvil.
This is a rock/metal band who don’t take things too seriously, provide heads-down rock in spades and, above all, enjoy themselves – meaning maybe it’s also Legal at Last to enjoy Anvil for what and who they are.
Nelson McFarlane
FabricationsHQ
Back Street Crawler – Atlantic Years 1975-1976 (4CD boxset)
Back Street Crawler were never destined to have the stature or album success of Free but the band, featuring ex Free guitarist Paul Kossoff, are worthy of not just their short lived but significant place in 70s blues rock history but this 4CD Atlantic Years set from Cherry Red Records.
Rock legends Free split shortly after their final album, Heartbreaker, was released at the top of 1973.
Later that year Paul Kossoff recorded a solo album entitled Back Street Crawler.
Shortly after, with Paul Kossoff now accompanied by vocalist Terry Wilson-Slesser (a strong singer and perfect foil for Kossoff), Mike Montgomery (keyboards, vocals), Terry Wilson (bass) and Tony Braunagel (drums), Kossoff’s solo album gave the new line-up their name.
Signed by Atlantic Records in 1975 and releasing The Band Plays On that same year, Back Street Crawler’s debut features Paul Kossoff’s trademark vibrato howls and a band in confident frame of musical mind.
The title track is a particularly strong offering, as are 'Jason Blue' and 'Long Way Down to the Top' (the latter pairing very reminiscent of Free’s downtempo blues/rock template).
Back Street Crawler were also exponents of the rock/funk crossover popular in the mid to late 70s, fine examples here being the slow and funky blues of 'Train Song' and the pacier groove of 'Rock & Roll Junkie.'
(Those influences would be taken forward by successor band Crawler, featuring guitarist Geoff Whitehorn, another short-lived, two album band worth investigating).
Prior to the release of The Band Plays On Back Street Crawler performed a small number of UK shows; their gig at Croydon’s Fairfield Hall on 15th June 1975 is included here.
The set features nine debut album songs as well as a spirited version of 'The Hunter,' with Paul Kossoff on fine form throughout.
Also performed is 'Molten Gold,' a Paul Kossoff song that didn’t make it on to the Free at Last track listing but resurrected by Kossoff for his solo album.
Further touring was curtailed by Paul Kossoff’s ill-health, but he and the band recorded a second album in 1976 entitled 2nd Street.
With former Free and future The Who member John "Rabbit" Bundrick replacing Mike Montgomery on keyboards (which are more prominent on album number two), 2nd Street demonstrates a band with improved production values but a similar agenda of blues-rock (with occasional funk inflections).
2nd Street features a number of slower songs and tasteful ballads (the excellent, six-minute plus 'Just For You' is another cut from the Free mould) but Back Street Crawler were at their best when rocking out, as heard on 'Selfish Lover' and 'Stop Doing What You’re Doing.'
Overall, 2nd Street is more reflective and less up-tempo than The Band Plays On (Paul Kossoff seems to have been less inclined to contribute some of his impressive solo technique), but the quality of songwriting remains high.
Prior to the release of 2nd Street the band played a series of gigs at the Starwood Club in Los Angeles; the 3rd March 1976 Starwood show would turn out to be Paul Kossoff’s final ever performance.
Fortunately a fan was present to record the show (ah, the old cassette taped bootleg), seven tracks from which (including Free’s 'Common Mortal Man') feature on CD4.
In terms of audio quality the live recordings are somewhat lacking but in terms of performance value and last gig poignancy their inclusion is essential.
CD4 also includes studio outtakes of 'Jason Blue' (instrumental track) and 'It’s A Long Way Down To The Top' as well as two previously unreleased tracks, the purposeful and Zeppelin-esque 'Evening Time' and 'She’s Gone,' which has all the hallmarks of a poorer audio, live rehearsal demo.
Atlantic Years 1975-1976 (which comes with the full involvement of Terry Wilson-Slesser and the inclusion of rare, contemporary memorabilia) is a fascinating look at where one of the most mercurial rock guitarists of the 70s could have taken his career but, sadly, it was not to be.
Paul Francis Kossoff passed away on the 19th March 1976 at the age of only 25.
Paul Kossoff was a troubled individual with addiction issues but it is clear from his tragically short, but held in high esteem career, that he had a unique voice on guitar.
Back Street Crawler. Main Street Player.
Nelson McFarlane & Ross Muir
FabricationsHQ
Rock legends Free split shortly after their final album, Heartbreaker, was released at the top of 1973.
Later that year Paul Kossoff recorded a solo album entitled Back Street Crawler.
Shortly after, with Paul Kossoff now accompanied by vocalist Terry Wilson-Slesser (a strong singer and perfect foil for Kossoff), Mike Montgomery (keyboards, vocals), Terry Wilson (bass) and Tony Braunagel (drums), Kossoff’s solo album gave the new line-up their name.
Signed by Atlantic Records in 1975 and releasing The Band Plays On that same year, Back Street Crawler’s debut features Paul Kossoff’s trademark vibrato howls and a band in confident frame of musical mind.
The title track is a particularly strong offering, as are 'Jason Blue' and 'Long Way Down to the Top' (the latter pairing very reminiscent of Free’s downtempo blues/rock template).
Back Street Crawler were also exponents of the rock/funk crossover popular in the mid to late 70s, fine examples here being the slow and funky blues of 'Train Song' and the pacier groove of 'Rock & Roll Junkie.'
(Those influences would be taken forward by successor band Crawler, featuring guitarist Geoff Whitehorn, another short-lived, two album band worth investigating).
Prior to the release of The Band Plays On Back Street Crawler performed a small number of UK shows; their gig at Croydon’s Fairfield Hall on 15th June 1975 is included here.
The set features nine debut album songs as well as a spirited version of 'The Hunter,' with Paul Kossoff on fine form throughout.
Also performed is 'Molten Gold,' a Paul Kossoff song that didn’t make it on to the Free at Last track listing but resurrected by Kossoff for his solo album.
Further touring was curtailed by Paul Kossoff’s ill-health, but he and the band recorded a second album in 1976 entitled 2nd Street.
With former Free and future The Who member John "Rabbit" Bundrick replacing Mike Montgomery on keyboards (which are more prominent on album number two), 2nd Street demonstrates a band with improved production values but a similar agenda of blues-rock (with occasional funk inflections).
2nd Street features a number of slower songs and tasteful ballads (the excellent, six-minute plus 'Just For You' is another cut from the Free mould) but Back Street Crawler were at their best when rocking out, as heard on 'Selfish Lover' and 'Stop Doing What You’re Doing.'
Overall, 2nd Street is more reflective and less up-tempo than The Band Plays On (Paul Kossoff seems to have been less inclined to contribute some of his impressive solo technique), but the quality of songwriting remains high.
Prior to the release of 2nd Street the band played a series of gigs at the Starwood Club in Los Angeles; the 3rd March 1976 Starwood show would turn out to be Paul Kossoff’s final ever performance.
Fortunately a fan was present to record the show (ah, the old cassette taped bootleg), seven tracks from which (including Free’s 'Common Mortal Man') feature on CD4.
In terms of audio quality the live recordings are somewhat lacking but in terms of performance value and last gig poignancy their inclusion is essential.
CD4 also includes studio outtakes of 'Jason Blue' (instrumental track) and 'It’s A Long Way Down To The Top' as well as two previously unreleased tracks, the purposeful and Zeppelin-esque 'Evening Time' and 'She’s Gone,' which has all the hallmarks of a poorer audio, live rehearsal demo.
Atlantic Years 1975-1976 (which comes with the full involvement of Terry Wilson-Slesser and the inclusion of rare, contemporary memorabilia) is a fascinating look at where one of the most mercurial rock guitarists of the 70s could have taken his career but, sadly, it was not to be.
Paul Francis Kossoff passed away on the 19th March 1976 at the age of only 25.
Paul Kossoff was a troubled individual with addiction issues but it is clear from his tragically short, but held in high esteem career, that he had a unique voice on guitar.
Back Street Crawler. Main Street Player.
Nelson McFarlane & Ross Muir
FabricationsHQ
Bad Touch – Kiss The Sky
On studio album number four Norfolk based quintet Bad Touch have upped their trademark feel good, southern-tinged rock n bluesy roll game to deliver their most up-tempo and sonically exciting release to date.
And given the current Covid-19 climate, this Kiss The Sky offering from Stevie Westwood (lead vocals), Rob Glendinning & Daniel Seekings (guitars), Michael Bailey (bass) and George Drewry (drums) is both well-timed and gratefully received.
'Come a Little Closer,' sounding like Exile era Stones and featuring some great slide guitar and six-string riffage, kicks off the album in strong fashion before 'I get High' (in love, before the drug squad raise a quizzical eyebrow) keeps up the fittingly high standard of harmony hooks and group performance.
Indeed, in terms of performance, the band shine strongly throughout a capture-the-energy-of-the-band-live production (and a fine, complementary mix) from Nick Brine at the famous Rockfield Studios in Monmouth.
Next up is 'Let’s Go,' a groove driven 12 bar with another sing-a-long chorus and some tasty keyboard work from guest player Bob Fridzema, who contributes throughout (adding another layer to the Bad Touch sound).
While the band are strong across the boards Stevie Westwood is the star of the Kiss The Sky show, with a particularly strong performance on what was the lead-off single, 'Strut.'
A southern gospel, female vocal backed rock ‘n’ roll number, 'Strut's opening riff doesn’t so much nod to, but shakes firm hands with, 'Can’t You Hear Me Knocking' by the Rolling Stones.
The band hit their commercial stride on a rockin' rendition of Kiki Dee's 'I’ve Got the Music in Me' but there’s an argument to be made that the sure-fire live favourite would have been better served as stand-a-lone single, perhaps doubled with only available on the CD bonus track, 'Something About Your Kiss,' an atmospheric, Fleetwood Mac-esque number with a huge, uplifting finale.
The lyrically self-questioning 'Can You Save Me' finds the band in mid-tempo Black Crowes country before the big grooved title track returns us to the band’s trademark riffage and another great vocal performance from Stevie Westwood ('Kiss The Sky' is also one of the best songs on the album).
The down tempo acoustic and piano driven 'See you Again' is a genuinely poignant and personal number that carries a distinctly Faces vibe (no bad thing) while later album highlights include 'Too Much of a Good Thing' and 'The Sun and the Moon.'
Both songs find the band in top songwriting and performance form, with big choruses and those catchy riffs (the latter also doubles as the perfect introduction to the Bad Touch sound).
Bad Touch have the feel-good factor, the hooks and the attitude, which this reviewer has had the pleasure of seeing and hearing first hand at a number of their live gigs.
By the same musical token don’t expect anything revelatory (but then that’s not, nor I doubt ever will be, the band’s musical modus operandi).
But if you like the rockier side of the Stones, Black Crowes, the Quireboys, the Faces et al then Bad Touch and Kiss the Sky will assuredly float your boat.
Bad Touch. Good Times.
Nelson McFarlane
FabricationsHQ
And given the current Covid-19 climate, this Kiss The Sky offering from Stevie Westwood (lead vocals), Rob Glendinning & Daniel Seekings (guitars), Michael Bailey (bass) and George Drewry (drums) is both well-timed and gratefully received.
'Come a Little Closer,' sounding like Exile era Stones and featuring some great slide guitar and six-string riffage, kicks off the album in strong fashion before 'I get High' (in love, before the drug squad raise a quizzical eyebrow) keeps up the fittingly high standard of harmony hooks and group performance.
Indeed, in terms of performance, the band shine strongly throughout a capture-the-energy-of-the-band-live production (and a fine, complementary mix) from Nick Brine at the famous Rockfield Studios in Monmouth.
Next up is 'Let’s Go,' a groove driven 12 bar with another sing-a-long chorus and some tasty keyboard work from guest player Bob Fridzema, who contributes throughout (adding another layer to the Bad Touch sound).
While the band are strong across the boards Stevie Westwood is the star of the Kiss The Sky show, with a particularly strong performance on what was the lead-off single, 'Strut.'
A southern gospel, female vocal backed rock ‘n’ roll number, 'Strut's opening riff doesn’t so much nod to, but shakes firm hands with, 'Can’t You Hear Me Knocking' by the Rolling Stones.
The band hit their commercial stride on a rockin' rendition of Kiki Dee's 'I’ve Got the Music in Me' but there’s an argument to be made that the sure-fire live favourite would have been better served as stand-a-lone single, perhaps doubled with only available on the CD bonus track, 'Something About Your Kiss,' an atmospheric, Fleetwood Mac-esque number with a huge, uplifting finale.
The lyrically self-questioning 'Can You Save Me' finds the band in mid-tempo Black Crowes country before the big grooved title track returns us to the band’s trademark riffage and another great vocal performance from Stevie Westwood ('Kiss The Sky' is also one of the best songs on the album).
The down tempo acoustic and piano driven 'See you Again' is a genuinely poignant and personal number that carries a distinctly Faces vibe (no bad thing) while later album highlights include 'Too Much of a Good Thing' and 'The Sun and the Moon.'
Both songs find the band in top songwriting and performance form, with big choruses and those catchy riffs (the latter also doubles as the perfect introduction to the Bad Touch sound).
Bad Touch have the feel-good factor, the hooks and the attitude, which this reviewer has had the pleasure of seeing and hearing first hand at a number of their live gigs.
By the same musical token don’t expect anything revelatory (but then that’s not, nor I doubt ever will be, the band’s musical modus operandi).
But if you like the rockier side of the Stones, Black Crowes, the Quireboys, the Faces et al then Bad Touch and Kiss the Sky will assuredly float your boat.
Bad Touch. Good Times.
Nelson McFarlane
FabricationsHQ
Elles Bailey – Ain’t Nothing But
It’s fitting that Elles Bailey, one of the most active and productive musicians during lockdown and the no show/ no go situation of the 2020 global pandemic, has delivered one of the best albums to be culled from the multitude of lockdown/ live online sessions.
Nor does it hurt that the award winning, genre-crossing blues, roots and Americana songstress has been ably assisted on these unplugged sessions by her regular guitarist Joe Wilkins, who features on all tracks, and guest players Phil King (guitar & backing vocals ) and Joe James (double bass & backing vocals).
Additionally you get two sides of Elles Bailey, courtesy of a hand-picked selection of tracks from the two cover song sets performed by the smoky voiced singer as part of her Ain't Nothing But livestream series (Ain't Nothing But The Lyrics and Ain't Nothing But The Blues), recorded and filmed at White Noise Rehearsal & Recording Studio in the summer of 2020 (special mention here for the clean and clear audio mix from Richard Stockley).
"Stripped back, bare to the bone" and unedited (no studio overdubs here thank you very much, this is raw, rootsy and real) the first seven songs of this sixteen track offering are covers of numbers that "have become entangled in my soul over the years" to quote Elles Bailey; thus each song has lyrical merit and personal place.
Opening with a subtle Nashville country take of John Prine’s 'I Remember Everything' (with understated but effective acoustic lines from Phil King) Elles Bailey does each number lyrical credit through her soulfully expressed phrasing, accentuated here in such an intimate, stripped back setting.
Following number 'Crowded Table' (by country music supergroup The Highwomen) is a song that has fond musical and homely memories for Elles Bailey, which comes across country-blues clear on her interpretation, complemented by the soft guitar touches and harmony vocals from Messrs Wilkins & King.
Elton John’s 'Border Song' is another winner in its laid bare form' as is Paul Simon’s 'Fifty Ways to Leave Your Lover;' the latter’s vocally sassy choruses contrast delightfully with the delicacy of a song such as Mary Gauthier’s "country noir" plea song 'Mercy Now.'
On the nine blues numbers that follow the magnificently lyrical seven the double bass of Joe James replaces the guitar of Phil King.
Joe James and Joe Wilkins make for an interesting and dovetailing musical pairing behind Elles Bailey’s rootsy blues vocality, with all three shining on Bonnie Raitt’s 'Love Me Like a Man.'
The Elles Bailey blues vocal really kicks in however on Kansas Joe McCoy’s 'When The Levee Breaks,' which features a bubbling double bass solo from Joe James.
That McCoy nugget is followed by the modern R&B blues classic 'Ain’t No Love in the Heart of the City;' the stripped back arrangement of the oft-covered number is bolstered by the two Joe’s "Ain’t No Love" backing vocals and Joe Wilkins lead guitar remarks.
Other blues highlights include a moody interpretation and arrangement of Willie Dixon's 'Spoonful' (with a smouldering, snarly Elles Bailey vocal) and the Dixon penned Bo Diddley hit 'You Can’t Judge a Book By its Cover,' which brings things to a fun and upbeat covers album close.
Looking for a soothing musical antidote to what ails you in a 2020 we’d all rather sooner forget?
Look no further, because Elles Bailey has got it covered – and That Ain’t Nothing But the truth.
Ross Muir
FabricationsHQ
Nor does it hurt that the award winning, genre-crossing blues, roots and Americana songstress has been ably assisted on these unplugged sessions by her regular guitarist Joe Wilkins, who features on all tracks, and guest players Phil King (guitar & backing vocals ) and Joe James (double bass & backing vocals).
Additionally you get two sides of Elles Bailey, courtesy of a hand-picked selection of tracks from the two cover song sets performed by the smoky voiced singer as part of her Ain't Nothing But livestream series (Ain't Nothing But The Lyrics and Ain't Nothing But The Blues), recorded and filmed at White Noise Rehearsal & Recording Studio in the summer of 2020 (special mention here for the clean and clear audio mix from Richard Stockley).
"Stripped back, bare to the bone" and unedited (no studio overdubs here thank you very much, this is raw, rootsy and real) the first seven songs of this sixteen track offering are covers of numbers that "have become entangled in my soul over the years" to quote Elles Bailey; thus each song has lyrical merit and personal place.
Opening with a subtle Nashville country take of John Prine’s 'I Remember Everything' (with understated but effective acoustic lines from Phil King) Elles Bailey does each number lyrical credit through her soulfully expressed phrasing, accentuated here in such an intimate, stripped back setting.
Following number 'Crowded Table' (by country music supergroup The Highwomen) is a song that has fond musical and homely memories for Elles Bailey, which comes across country-blues clear on her interpretation, complemented by the soft guitar touches and harmony vocals from Messrs Wilkins & King.
Elton John’s 'Border Song' is another winner in its laid bare form' as is Paul Simon’s 'Fifty Ways to Leave Your Lover;' the latter’s vocally sassy choruses contrast delightfully with the delicacy of a song such as Mary Gauthier’s "country noir" plea song 'Mercy Now.'
On the nine blues numbers that follow the magnificently lyrical seven the double bass of Joe James replaces the guitar of Phil King.
Joe James and Joe Wilkins make for an interesting and dovetailing musical pairing behind Elles Bailey’s rootsy blues vocality, with all three shining on Bonnie Raitt’s 'Love Me Like a Man.'
The Elles Bailey blues vocal really kicks in however on Kansas Joe McCoy’s 'When The Levee Breaks,' which features a bubbling double bass solo from Joe James.
That McCoy nugget is followed by the modern R&B blues classic 'Ain’t No Love in the Heart of the City;' the stripped back arrangement of the oft-covered number is bolstered by the two Joe’s "Ain’t No Love" backing vocals and Joe Wilkins lead guitar remarks.
Other blues highlights include a moody interpretation and arrangement of Willie Dixon's 'Spoonful' (with a smouldering, snarly Elles Bailey vocal) and the Dixon penned Bo Diddley hit 'You Can’t Judge a Book By its Cover,' which brings things to a fun and upbeat covers album close.
Looking for a soothing musical antidote to what ails you in a 2020 we’d all rather sooner forget?
Look no further, because Elles Bailey has got it covered – and That Ain’t Nothing But the truth.
Ross Muir
FabricationsHQ
Be-Bop Deluxe - Axe Victim (Expanded & Remastered 3CD/1DVD Deluxe Boxset Edition)
In the short but significant history of Be-Bop Deluxe the quick change of line-ups (twice) between 1974 debut album Axe Victim and 1975’s Futurama allows for the argument that the creative mix of Be-Bop main man Bill Nelson’s art rock, inventive balladeering and glam-tinged rock and roll as heard on Axe Victim is more akin to Proto Be-Bop, with Futurama heralding the true, progressively shaped arrival of the band (certainly as regards what would coalesce into the classic Be-Bop line-up).
Either Way, from the melodically charged art-rock title track and the dreamy 'Jet Silver and the Dolls of Venus' (setting up the sci-fi slanted stylings that would permeate a lot of Bill Nelson’s future work), through to the bluesy sway of 'Adventures in a Yorkshire Landscape' (an extended tour-de-force live for the band and Nelson’s emotive guitar play) and orchestrally arranged & choral accompanied album closer 'Darkness (L’immoraliste)' Axe Victim was, and remains, a bold and striking statement.
Good news then that it has now joined the recent run of Be-Bop ‘Deluxe’ Boxset Edition releases from Esoteric Recordings, including new stereo and 5.1 surround sound mixes of the album, a host of bonus tracks and rare live sessions.
Previous Be-Bop Deluxe releases in this series delivered discernible sonic improvements in the new stereo mixes.
This time around it’s more a case of if the mix ain’t broke don’t fix it, just produce a cleaner and clearer sound with subtle lifts, or more clarity, in some of the instrumentation (vocals, percussion and acoustics in particular).
That said for the Be-Bop Deluxe / Bill Nelson guitar aficionado the new stereo mix of acoustic-led/ electric guitar finale number 'Jets at Dawn' is an absolute winner, given it’s the full, near ten minute version with its jam-like extension and conclusion.
The edited single version of 'Jets at Dawn' also features; it was the B-side to the also included 'Teenage Archangel' (a fun rockabilly-glam meets guitar rock number).
While the full version of 'Jets at Dawn' is the shining jewel of the Axe Victim bonus tracks there are plenty of other gems, including two further versions of 'Axe Victim' (first mix for the album (with interesting double tracked vocal) and the first recorded version of the song), a spoken word version of the ballad 'Night Creatures,' the first mix of 'No Trains to Heaven' and the first version of 'Rocket Cathedrals.'
The latter track is sans keyboards and slightly slower in tempo than the album version but no less rock and roll; it’s also a genuine curio in that it’s the only number in the entire Be-Bop Deluxe studio catalogue not written or sung by Bill Nelson (both by then bassist Rob Bryan).
The May 1974 John Peel Session is a worthy inclusion but the real rarities are the four song Decca audition session from December 1973 (including non-album songs 'Bluesy Ruby' and 'I’ll Be Your Vampire') and the thought lost, three song John Peel Session from November of 1973.
The latter features, again, the rock and roll styled 'Bluesy Ruby' and another never recorded for album track, the more delicate 'Tomorrow the World.'
Add in the DVD disc of a new 5.1 Surround Sound mix (the DVD also includes the original and new stereo mixes), an informative and illustrated 68 page booklet, replica poster and a set of postcards and you have the definitive, fully enhanced version of Axe Victim from a highly artistic and creative musician and band that were always ahead of the curve.
Ross Muir
FabricationsHQ
Either Way, from the melodically charged art-rock title track and the dreamy 'Jet Silver and the Dolls of Venus' (setting up the sci-fi slanted stylings that would permeate a lot of Bill Nelson’s future work), through to the bluesy sway of 'Adventures in a Yorkshire Landscape' (an extended tour-de-force live for the band and Nelson’s emotive guitar play) and orchestrally arranged & choral accompanied album closer 'Darkness (L’immoraliste)' Axe Victim was, and remains, a bold and striking statement.
Good news then that it has now joined the recent run of Be-Bop ‘Deluxe’ Boxset Edition releases from Esoteric Recordings, including new stereo and 5.1 surround sound mixes of the album, a host of bonus tracks and rare live sessions.
Previous Be-Bop Deluxe releases in this series delivered discernible sonic improvements in the new stereo mixes.
This time around it’s more a case of if the mix ain’t broke don’t fix it, just produce a cleaner and clearer sound with subtle lifts, or more clarity, in some of the instrumentation (vocals, percussion and acoustics in particular).
That said for the Be-Bop Deluxe / Bill Nelson guitar aficionado the new stereo mix of acoustic-led/ electric guitar finale number 'Jets at Dawn' is an absolute winner, given it’s the full, near ten minute version with its jam-like extension and conclusion.
The edited single version of 'Jets at Dawn' also features; it was the B-side to the also included 'Teenage Archangel' (a fun rockabilly-glam meets guitar rock number).
While the full version of 'Jets at Dawn' is the shining jewel of the Axe Victim bonus tracks there are plenty of other gems, including two further versions of 'Axe Victim' (first mix for the album (with interesting double tracked vocal) and the first recorded version of the song), a spoken word version of the ballad 'Night Creatures,' the first mix of 'No Trains to Heaven' and the first version of 'Rocket Cathedrals.'
The latter track is sans keyboards and slightly slower in tempo than the album version but no less rock and roll; it’s also a genuine curio in that it’s the only number in the entire Be-Bop Deluxe studio catalogue not written or sung by Bill Nelson (both by then bassist Rob Bryan).
The May 1974 John Peel Session is a worthy inclusion but the real rarities are the four song Decca audition session from December 1973 (including non-album songs 'Bluesy Ruby' and 'I’ll Be Your Vampire') and the thought lost, three song John Peel Session from November of 1973.
The latter features, again, the rock and roll styled 'Bluesy Ruby' and another never recorded for album track, the more delicate 'Tomorrow the World.'
Add in the DVD disc of a new 5.1 Surround Sound mix (the DVD also includes the original and new stereo mixes), an informative and illustrated 68 page booklet, replica poster and a set of postcards and you have the definitive, fully enhanced version of Axe Victim from a highly artistic and creative musician and band that were always ahead of the curve.
Ross Muir
FabricationsHQ
Chris Bevington Organisation – Sand & Stone
It shouldn’t be a surprise that Sand & Stone, the fourth album from the Chris Bevington Organisation, is as good, and all blues-soul-swing encompassing, as it is.
The strength of 2014's self-titled Chris Bevington & Friends (before they got Organised), followed by the ever increasing wealth of blues & band strength that showcased itself on Better Start Cookin’ and the highly exuberant, good-time fun of 2018’s Cut And Run meant Sand & Stone had a solid foundation of blues, soul, rock and brass backed R&B to build atop of.
From the small acorn of bassist and passionate blues aficionado Chris Bevington’s idea of putting a group together to record a few songs and selected covers, grew the branches of full blown, big-band blues.
As with Cut And Run, Sand & Stone also benefits from featuring a full album’s worth of new material from the songwriting partnership of guitarist Jim Kirkpatrick (of FM fame) and vocalist/ guitarist Scott Ralph.
That they also make for a strong production combo provides a musical and sonically impressive win-win for the Organisation.
'It’s True,' which puts 'The Heat is On' through a Stonesy rock and roll blender, makes for a seriously catchy opening number.
Kate Robertson and Sarah Miller add the feminine vocal touch behind Scott Ralph’s confident lead, backed by impressive solos from Jim Kirkpatrick and saxophonist Chris Aldridge.
'Bad Bad Bad' allows the band to get their 70s styled soul-funk on before the blues come calling through the beautifully weighted 'Already Got the Blues' (Scott Ralph's vocal, Jim Kirkpatrick’s licks and a wailing sax complementing each other perfectly) and the slow soul-swing of 'Everywhere I Go,' featuring Kate Robertson and Sarah Miller (the girls also penned 'Already Got the Blues' with Scott Ralph).
Other slow blues highlights include the organ swirling 'It Was Over' and the gospel-tinged 'Home Sweet Home,' which carries an arrangement not too far removed from Joe Cocker’s celebrated version of 'With a Little Help From My Friends.'
The true strength of Sand & Stone however lies in its musical breadth and scope (Chris Bevington’s guide to Jim Kirkpatrick and Scott Ralph this time around was, clearly, not so much to provide a brief as to give them a blues carte blanche).
Examples?
How about the rock 'n' soul of the groovin' 'Deep River,' which is an absolute winner, or the short but effective funky-blues of 'I Got Time.'
There’s also the riffy 'Walk This Way' swagger of the harp hollering 'Heaven Above' and the "never again" headache blues of 'What Did I Drink Last Night' (the bar room blues equivalent of 'Show Me the Way to Go Home').
The album ends as impressively as it started, but in complete contrast to the up-tempo opener (which sums up the musical modus operandi of the album perfectly).
The closing title track is a work song blues that musically points to the deep south but lyrically tells the tale of the British mining industry and the dangers within (while not referencing it directly there’s a solemn nod here to the 1942 Sneyd Colliery disaster in Chris Bevington’s home town of Stoke on Trent).
Whether Sand & Stone gets the larger recognition such an excellent album deserves remains to be seen but that there is already healthy recognition for the CBO from the fan base, the more discerning critics and the likes of the Independent Blues Broadcasters’ Association (who championed Cut And Run) speaks volumes.
More power to Chris Bevington's Organisational elbow.
Ross Muir
FabricationsHQ
The strength of 2014's self-titled Chris Bevington & Friends (before they got Organised), followed by the ever increasing wealth of blues & band strength that showcased itself on Better Start Cookin’ and the highly exuberant, good-time fun of 2018’s Cut And Run meant Sand & Stone had a solid foundation of blues, soul, rock and brass backed R&B to build atop of.
From the small acorn of bassist and passionate blues aficionado Chris Bevington’s idea of putting a group together to record a few songs and selected covers, grew the branches of full blown, big-band blues.
As with Cut And Run, Sand & Stone also benefits from featuring a full album’s worth of new material from the songwriting partnership of guitarist Jim Kirkpatrick (of FM fame) and vocalist/ guitarist Scott Ralph.
That they also make for a strong production combo provides a musical and sonically impressive win-win for the Organisation.
'It’s True,' which puts 'The Heat is On' through a Stonesy rock and roll blender, makes for a seriously catchy opening number.
Kate Robertson and Sarah Miller add the feminine vocal touch behind Scott Ralph’s confident lead, backed by impressive solos from Jim Kirkpatrick and saxophonist Chris Aldridge.
'Bad Bad Bad' allows the band to get their 70s styled soul-funk on before the blues come calling through the beautifully weighted 'Already Got the Blues' (Scott Ralph's vocal, Jim Kirkpatrick’s licks and a wailing sax complementing each other perfectly) and the slow soul-swing of 'Everywhere I Go,' featuring Kate Robertson and Sarah Miller (the girls also penned 'Already Got the Blues' with Scott Ralph).
Other slow blues highlights include the organ swirling 'It Was Over' and the gospel-tinged 'Home Sweet Home,' which carries an arrangement not too far removed from Joe Cocker’s celebrated version of 'With a Little Help From My Friends.'
The true strength of Sand & Stone however lies in its musical breadth and scope (Chris Bevington’s guide to Jim Kirkpatrick and Scott Ralph this time around was, clearly, not so much to provide a brief as to give them a blues carte blanche).
Examples?
How about the rock 'n' soul of the groovin' 'Deep River,' which is an absolute winner, or the short but effective funky-blues of 'I Got Time.'
There’s also the riffy 'Walk This Way' swagger of the harp hollering 'Heaven Above' and the "never again" headache blues of 'What Did I Drink Last Night' (the bar room blues equivalent of 'Show Me the Way to Go Home').
The album ends as impressively as it started, but in complete contrast to the up-tempo opener (which sums up the musical modus operandi of the album perfectly).
The closing title track is a work song blues that musically points to the deep south but lyrically tells the tale of the British mining industry and the dangers within (while not referencing it directly there’s a solemn nod here to the 1942 Sneyd Colliery disaster in Chris Bevington’s home town of Stoke on Trent).
Whether Sand & Stone gets the larger recognition such an excellent album deserves remains to be seen but that there is already healthy recognition for the CBO from the fan base, the more discerning critics and the likes of the Independent Blues Broadcasters’ Association (who championed Cut And Run) speaks volumes.
More power to Chris Bevington's Organisational elbow.
Ross Muir
FabricationsHQ
Birdmens - Lockdown Loaded
One of the positives to come out of the lockdown blues we’ve all been singing in a 2020 we’ll not soon forget is the way many musicians have used social media to deliver one-off lockdown songs and full set, live video performances.
On a couple of notable occasions said lockdown musos have gone further to record and deliver a collection of songs that have become bona fide, worthy of your attention, album releases.
One such project is Lockdown Loaded by the Birdmens, a collective of eight musicians who have remotely joined forces.
Featuring Joel Fisk (guitars, b. vocals), Dave Doherty (guitars, b. vocals, percussion), Ian Siegal & Jon Amor (lead vocals, guitars), Bob Fridzema & Jonny Henderson (keys), Ron Barry (bass) and Giles King (harmonica) Lockdown Loaded is a rough, raw and blues ready offering "put together with cheap microphones, phones and varying internet speeds in bedrooms & kitchens for less money than would be needed to buy each of the eight members a face mask."
That Lockdown Loaded was not so much produced as cobbled together is, however, part of its charm - and iit’s got a lot more sonic body to it than that "put together" line would have you believe.
On opener 'Cat Drugged In' for example you’d be forgiven for thinking you’d stumbled across a Louisiana or Mississippi studio recording from the sixties as the band hit their Ian Siegal led, Delta blues, harp hollering, groanin’ and moanin’ stride. "Situation’s all fucked up... look at what the cat drugged up."
Indeed, Mr Siegal. Indeed.
Ian Siegal then supports Jon Amor’s lead vocal in harmony on the similarly earthy 'Hipbone' while 'Star,' on a repeating lyric motif, is as soul review funky as it is cacophonous, with harmonica, piano and Hammond all fighting for space and attention.
By contrast 'Sheriff' is a psychedelically shaped sixties trip (man) that features Jonny Henderson laying down the Hammond while Bob Fridzema hits the ivories.
Fridzema then switches to clavinet for the funky vibe of 'Heal Thyself,' which features an equally funky solo from Jon Amor, some groovin’ Hammond from Henderson and a higher voiced lead from Ian Siegal that aims a none too subtle shot across the political bows ("Heal the nation and heal thyself!").
Other highlights include the ivory tinkling blues of 'Holler' (Ian Siegal’s falsetto vocal sitting atop Giles King's harmonica, Dave Doherty’s six-string remarks and Jonny Henderson’s piano lines) and the sixties styled funk 'n' soul blues of 'Diggin' That Rut.'
On the latter Ian Siegal is in full James Brown mode throughout (including those trademark kettle boiling squeals of Brown’s) while Joel Fisk adds some nice six-string licks on the outro.
Acoustically framed closing track 'Birdmens' showcases Ian Siegal, backed by the subtle layers of Joel Fisk’s lap steel and Jonny Henderson’s Hammond.
It also features a fitting for the confinement times lyric ("the keys to our kingdom are held by imposters, but their reign is all but at an end… this ain’t Alcatraz baby, we’re the last of the last birdmen").
The Birdmens have delivered an imperfect album – given the circumstances within which it was conceived and recorded it couldn’t be anything else – but for those very reasons it might well be the definitive "Blues for 2020" statement.
Ross Muir
FabricationsHQ
On a couple of notable occasions said lockdown musos have gone further to record and deliver a collection of songs that have become bona fide, worthy of your attention, album releases.
One such project is Lockdown Loaded by the Birdmens, a collective of eight musicians who have remotely joined forces.
Featuring Joel Fisk (guitars, b. vocals), Dave Doherty (guitars, b. vocals, percussion), Ian Siegal & Jon Amor (lead vocals, guitars), Bob Fridzema & Jonny Henderson (keys), Ron Barry (bass) and Giles King (harmonica) Lockdown Loaded is a rough, raw and blues ready offering "put together with cheap microphones, phones and varying internet speeds in bedrooms & kitchens for less money than would be needed to buy each of the eight members a face mask."
That Lockdown Loaded was not so much produced as cobbled together is, however, part of its charm - and iit’s got a lot more sonic body to it than that "put together" line would have you believe.
On opener 'Cat Drugged In' for example you’d be forgiven for thinking you’d stumbled across a Louisiana or Mississippi studio recording from the sixties as the band hit their Ian Siegal led, Delta blues, harp hollering, groanin’ and moanin’ stride. "Situation’s all fucked up... look at what the cat drugged up."
Indeed, Mr Siegal. Indeed.
Ian Siegal then supports Jon Amor’s lead vocal in harmony on the similarly earthy 'Hipbone' while 'Star,' on a repeating lyric motif, is as soul review funky as it is cacophonous, with harmonica, piano and Hammond all fighting for space and attention.
By contrast 'Sheriff' is a psychedelically shaped sixties trip (man) that features Jonny Henderson laying down the Hammond while Bob Fridzema hits the ivories.
Fridzema then switches to clavinet for the funky vibe of 'Heal Thyself,' which features an equally funky solo from Jon Amor, some groovin’ Hammond from Henderson and a higher voiced lead from Ian Siegal that aims a none too subtle shot across the political bows ("Heal the nation and heal thyself!").
Other highlights include the ivory tinkling blues of 'Holler' (Ian Siegal’s falsetto vocal sitting atop Giles King's harmonica, Dave Doherty’s six-string remarks and Jonny Henderson’s piano lines) and the sixties styled funk 'n' soul blues of 'Diggin' That Rut.'
On the latter Ian Siegal is in full James Brown mode throughout (including those trademark kettle boiling squeals of Brown’s) while Joel Fisk adds some nice six-string licks on the outro.
Acoustically framed closing track 'Birdmens' showcases Ian Siegal, backed by the subtle layers of Joel Fisk’s lap steel and Jonny Henderson’s Hammond.
It also features a fitting for the confinement times lyric ("the keys to our kingdom are held by imposters, but their reign is all but at an end… this ain’t Alcatraz baby, we’re the last of the last birdmen").
The Birdmens have delivered an imperfect album – given the circumstances within which it was conceived and recorded it couldn’t be anything else – but for those very reasons it might well be the definitive "Blues for 2020" statement.
Ross Muir
FabricationsHQ
Black Swan – Shake the World
Any band that has alumni from bands including MSG, Whitesnake, Winger, Dokken, Foreigner and Mr Big deserves the title of a rock / metal 'supergroup.'
That being the all-stars case, step forward latest supergroup collective Black Swan featuring Robin McAuley (vocals), Reb Beach (guitars), Jeff Pilson (bass) and Matt Starr (drums).
The pre-release publicity for the band's debut Shake the World stated that the album "is a showcase of both the musical talents of the instrumental players in the band as well as McAuley’s powerful voice... the final result is something fresh, very heavy, but still intensely melodic and it’s certainly not Dokken, nor Winger or MSG, but its own unique animal."
It’s difficult to argue with that or what the four band members bring to the table (although don’t expect anything musically revelatory and there are a couple of instances of very obvious influences), with Robin McAuley in particular on top form.
The singer is front and centre on the title track that both opens the album and sets the Black Swan scene (bursting into life after a slow intro beat with an up-tempo killer riff reminiscent of prime-time Saxon).
Following number 'Big Disaster' is a mid-paced rocker with a killer hook of a chorus while the big-beat driven 'Johnny Came Marching' continues the big chorus theme plus rifferama aplenty (Reb Beach is a guitarist well capable of ripping solos but he keeps the guitar gymnastics in check, so when he does cut loose it is so much more effective).
'Immortal Souls,' which carries sustained atmospheric chords at the intro, picks the pace back up and delivers with yet another catchy chorus.
The opening four songs have that knack of achieving familiarity (even on first listen) without inviting accusations of plagiarism but 'Make it There' tips more than a nod towards Whitesnake’s 'Is this Love' without ever coming close to that power ballad’s gravitas.
The results are the first dip in the album’s quality after such a strong four song salvo.
'She’s On to Us' and 'The Rock That Rolled Away' then pick up the pace once again.
The former showcases the grittier edge of Robin McAuley's vocality while the latter is a near six-and-a-half minute melodically rocking romp.
'Long Road to Nowhere' betrays both the Dokken & latter day Whitesnake influences but it’s still a good number and features another stunning Reb Beach solo (and a complex riff utilising harmonics).
'Sacred Place' is a more melodic number echoing Escape/ Frontiers era Journey before 'Unless We Change' lulls you into a false sense of security with a strings pad intro before transforming into a Judas Priest like riff.
The latter also includes tempo changes which shows a willingness to experiment with the rock-metal genre and format.
Closing track 'Divided-United' starts as a piano-led "divided" ballad (instantly conjuring images of lighters and backlit iPhones in the air) before transforming into a riffy "united" rocker that, across its two parts, doesn’t fully work (sounding more like two different song ideas bolted together).
However that’s a minor final song quibble after such an otherwise strong debut from a top quality melodic rock-metal band delivering some very memorable songs.
Title aspirations aside this album isn't going to shake the world but on this showing, and busy musical schedules of band members willing, it certainly makes you hope for more Black Swan albums in the future.
Nelson McFarlane
FabricationsHQ
That being the all-stars case, step forward latest supergroup collective Black Swan featuring Robin McAuley (vocals), Reb Beach (guitars), Jeff Pilson (bass) and Matt Starr (drums).
The pre-release publicity for the band's debut Shake the World stated that the album "is a showcase of both the musical talents of the instrumental players in the band as well as McAuley’s powerful voice... the final result is something fresh, very heavy, but still intensely melodic and it’s certainly not Dokken, nor Winger or MSG, but its own unique animal."
It’s difficult to argue with that or what the four band members bring to the table (although don’t expect anything musically revelatory and there are a couple of instances of very obvious influences), with Robin McAuley in particular on top form.
The singer is front and centre on the title track that both opens the album and sets the Black Swan scene (bursting into life after a slow intro beat with an up-tempo killer riff reminiscent of prime-time Saxon).
Following number 'Big Disaster' is a mid-paced rocker with a killer hook of a chorus while the big-beat driven 'Johnny Came Marching' continues the big chorus theme plus rifferama aplenty (Reb Beach is a guitarist well capable of ripping solos but he keeps the guitar gymnastics in check, so when he does cut loose it is so much more effective).
'Immortal Souls,' which carries sustained atmospheric chords at the intro, picks the pace back up and delivers with yet another catchy chorus.
The opening four songs have that knack of achieving familiarity (even on first listen) without inviting accusations of plagiarism but 'Make it There' tips more than a nod towards Whitesnake’s 'Is this Love' without ever coming close to that power ballad’s gravitas.
The results are the first dip in the album’s quality after such a strong four song salvo.
'She’s On to Us' and 'The Rock That Rolled Away' then pick up the pace once again.
The former showcases the grittier edge of Robin McAuley's vocality while the latter is a near six-and-a-half minute melodically rocking romp.
'Long Road to Nowhere' betrays both the Dokken & latter day Whitesnake influences but it’s still a good number and features another stunning Reb Beach solo (and a complex riff utilising harmonics).
'Sacred Place' is a more melodic number echoing Escape/ Frontiers era Journey before 'Unless We Change' lulls you into a false sense of security with a strings pad intro before transforming into a Judas Priest like riff.
The latter also includes tempo changes which shows a willingness to experiment with the rock-metal genre and format.
Closing track 'Divided-United' starts as a piano-led "divided" ballad (instantly conjuring images of lighters and backlit iPhones in the air) before transforming into a riffy "united" rocker that, across its two parts, doesn’t fully work (sounding more like two different song ideas bolted together).
However that’s a minor final song quibble after such an otherwise strong debut from a top quality melodic rock-metal band delivering some very memorable songs.
Title aspirations aside this album isn't going to shake the world but on this showing, and busy musical schedules of band members willing, it certainly makes you hope for more Black Swan albums in the future.
Nelson McFarlane
FabricationsHQ
BlitZ – Fight to Survive
BlitZ, the Nottingham based, no-nonsense power rock trio comprising Stuart Corden (lead vocals, bass), Kevin Simpson (guitars) and Matt Davis (drums, vocals), follow up 2019 debut album Welcome to the Rock Show with Fight To Survive.
And, much like the debut (an earthy yet melodically shaped offering), it doesn’t disappoint.
Indeed the band pretty much continue on where the debut left off, but with a bigger and better set of songs, as opener 'One in a Million' underlines with razor sharp guitar tones, relentless rhythm and its well-executed, gritty and gravelly vocal lines.
Better still the obligatory guitar solo is kept short, making for a less is more three and a half minutes of BlitZ bombast.
The even grittier 'Blood Brothers' may be Saxon-esque in its riffology but there’s plenty to like here including a couple of left-turns that elevate the song, and BlitZ, from the run of the rock mill bands.
'Waiting For a Miracle,' with its echoes of Thin Lizzy, makes for interesting mid-tempo contrast but it would be much better without the "Woah-oh" Bon Jovi-isms.
'Damage is Done' however returns to the more rock/metal template and is one of the best numbers on the album. Delivered with conviction, 'Damage is Done' is reminiscent of another rock three-piece, 80s era Budgie, but without the helium-fuelled vocals.
The title track is another an album highlight with an accomplished vocal delivery and a straightforward but very appealing riff and guitar sound (the band also manage to conjure up a hint of early Black Sabbath on the number).
‘Breaking out’ is an intense but purposeful rocker (not unlike the Foo Fighters) with a big sing-a-long chorus while following number, the less impressive shout-it-out of KISS affected 'Party Time,' does exactly what it says in the title (it isn’t a bad song, it’s simply that it’s been done a thousand times before).
The five and a half minute 'Surrender' (the longest song on the album) then drops the tempo for its slow-build introduction before delivering an anthemic rock sound (with good use of dynamics) and a big chorus. Another winner.
'99 Ways' offers up a rhythmically choppy slice of feel-good, glam-styled rock (with a splash of AC/DC) before the foot-stomping 'Dance On Fire' kicks in with some excellent riffing and a chorus that offers shout-a-long crowd opportunities.
Indeed 'Dance On Fire' will be a great song live, as will rousing closing number 'Rock show' (the "woah-oh-ohs" are justified this time around); both will go down a storm in front of a crowd, once we are all vaccinated, Covid clear and venue ready once again.
If you like your rock straightforward with a big guitar sound, soaring vocals and a tight as the proverbial rhythm section, this should be right up your alley, especially if that alley was belting out Saxon, AC/DC, KISS et al.
Every such rock fan should get behind BlitZ and their Fight to Survive in difficult times.
Nelson McFarlane
FabricationsHQ
And, much like the debut (an earthy yet melodically shaped offering), it doesn’t disappoint.
Indeed the band pretty much continue on where the debut left off, but with a bigger and better set of songs, as opener 'One in a Million' underlines with razor sharp guitar tones, relentless rhythm and its well-executed, gritty and gravelly vocal lines.
Better still the obligatory guitar solo is kept short, making for a less is more three and a half minutes of BlitZ bombast.
The even grittier 'Blood Brothers' may be Saxon-esque in its riffology but there’s plenty to like here including a couple of left-turns that elevate the song, and BlitZ, from the run of the rock mill bands.
'Waiting For a Miracle,' with its echoes of Thin Lizzy, makes for interesting mid-tempo contrast but it would be much better without the "Woah-oh" Bon Jovi-isms.
'Damage is Done' however returns to the more rock/metal template and is one of the best numbers on the album. Delivered with conviction, 'Damage is Done' is reminiscent of another rock three-piece, 80s era Budgie, but without the helium-fuelled vocals.
The title track is another an album highlight with an accomplished vocal delivery and a straightforward but very appealing riff and guitar sound (the band also manage to conjure up a hint of early Black Sabbath on the number).
‘Breaking out’ is an intense but purposeful rocker (not unlike the Foo Fighters) with a big sing-a-long chorus while following number, the less impressive shout-it-out of KISS affected 'Party Time,' does exactly what it says in the title (it isn’t a bad song, it’s simply that it’s been done a thousand times before).
The five and a half minute 'Surrender' (the longest song on the album) then drops the tempo for its slow-build introduction before delivering an anthemic rock sound (with good use of dynamics) and a big chorus. Another winner.
'99 Ways' offers up a rhythmically choppy slice of feel-good, glam-styled rock (with a splash of AC/DC) before the foot-stomping 'Dance On Fire' kicks in with some excellent riffing and a chorus that offers shout-a-long crowd opportunities.
Indeed 'Dance On Fire' will be a great song live, as will rousing closing number 'Rock show' (the "woah-oh-ohs" are justified this time around); both will go down a storm in front of a crowd, once we are all vaccinated, Covid clear and venue ready once again.
If you like your rock straightforward with a big guitar sound, soaring vocals and a tight as the proverbial rhythm section, this should be right up your alley, especially if that alley was belting out Saxon, AC/DC, KISS et al.
Every such rock fan should get behind BlitZ and their Fight to Survive in difficult times.
Nelson McFarlane
FabricationsHQ
Malaya Blue – Still
UK based songstress Malaya Blue’s latest album Still is, it’s fair to say, as much about the song writing and musicianship as it is the singer’s impressive and now recognised vocal talents – but then if you’re looking for the complete blues coloured picture that’s exactly how it should be.
And in that regard it certainly doesn’t hurt that the hard two years in the making work for Still included collaboration with two multi Grammy award winners, producer/ song writer Dennis Walker and original Robert Cray Band member Richard Cousins (Walker co-wrote six of the twelve songs; Cousins offered up 'Still,' originally meant for a Robert Cray project but finding such a perfect home here it became the title track).
Add input from long-time Bettye LaVette guitarist Brett Lucas (two co-write credits) and a none too shabby studio band of Stevie Watts (keyboards), Nat Martin (guitar), Eddie Masters (bass) and Mike Horne (drums) and you have a recipe for Malaya’s blues shaded success.
The aforementioned title track is a case in all the pieces fit point.
A lovely, soul-jazz blues with a soft touch (and Richard Cousins guesting on bass) 'Still' benefits from a sprinkling of piano and guitar notes either side of a simple but effective rhythm that frames Malaya Blue’s understated but perfectly fitting vocal before she raises her vocal game toward song’s end.
The title track sets the opening number tone for the still side of the album, which continues with the funky vibe (and funkier background clavinet) of 'Down to the Bone,' where Malaya Blue gets a little soul-sultry behind some tasty little licks from Nat Martin.
(As the album progresses it’s interesting to note how Malaya Blue becomes even more of a vocal presence, a blend of her intelligent, expressive phrasing and soul-blues affected vocality).
Other still side highlights include the poignant vocal and Stevie Watts organ tones of the gospel-tinged, hymnal blues 'Why is Peace So Hard' (lyrically depicting a mother’s loss of her son to war) and the piano & vocal timelessness of 'Love of Your Life.'
(Special nod here to the talents of Sammie Ashforth, who contributes piano on a number of tracks).
The blue side is just that, but in all its Malaya Blue shades, including rockier, bookending numbers 'You Kiss My Troubles Away' (Eddie Masters and Mike Horne providing the R&B groove) and melodic blues rock album closer, 'Hot Love.'
Sitting in between those songs are four further blues hued tracks, the pick of the quartet being the mellower soul-blues of 'Settle Down Easy' (the song’s vibe allowing Malaya Blue to deliver a great jazz café styled vocal) and the album’s other piano & vocal number, the down tempo 'I Can’t Be Loved' (the lyrically self-critical Yin to the more celebratory Yang of Love of Your Life).
Beautiful in its simplicity, 'I Can't Be Loved' is the vehicle for Malaya Blue’s best vocal of the entire album.
Critically acclaimed debut Bourbon Street and BBC Radio 2 airplay listed follow-up Heartsick were solid and impressive musical markers of the arrival, and talents, of Malaya Blue but, Still, the third time is most certainly the vocal charm.
Ross Muir
FabricationsHQ
And in that regard it certainly doesn’t hurt that the hard two years in the making work for Still included collaboration with two multi Grammy award winners, producer/ song writer Dennis Walker and original Robert Cray Band member Richard Cousins (Walker co-wrote six of the twelve songs; Cousins offered up 'Still,' originally meant for a Robert Cray project but finding such a perfect home here it became the title track).
Add input from long-time Bettye LaVette guitarist Brett Lucas (two co-write credits) and a none too shabby studio band of Stevie Watts (keyboards), Nat Martin (guitar), Eddie Masters (bass) and Mike Horne (drums) and you have a recipe for Malaya’s blues shaded success.
The aforementioned title track is a case in all the pieces fit point.
A lovely, soul-jazz blues with a soft touch (and Richard Cousins guesting on bass) 'Still' benefits from a sprinkling of piano and guitar notes either side of a simple but effective rhythm that frames Malaya Blue’s understated but perfectly fitting vocal before she raises her vocal game toward song’s end.
The title track sets the opening number tone for the still side of the album, which continues with the funky vibe (and funkier background clavinet) of 'Down to the Bone,' where Malaya Blue gets a little soul-sultry behind some tasty little licks from Nat Martin.
(As the album progresses it’s interesting to note how Malaya Blue becomes even more of a vocal presence, a blend of her intelligent, expressive phrasing and soul-blues affected vocality).
Other still side highlights include the poignant vocal and Stevie Watts organ tones of the gospel-tinged, hymnal blues 'Why is Peace So Hard' (lyrically depicting a mother’s loss of her son to war) and the piano & vocal timelessness of 'Love of Your Life.'
(Special nod here to the talents of Sammie Ashforth, who contributes piano on a number of tracks).
The blue side is just that, but in all its Malaya Blue shades, including rockier, bookending numbers 'You Kiss My Troubles Away' (Eddie Masters and Mike Horne providing the R&B groove) and melodic blues rock album closer, 'Hot Love.'
Sitting in between those songs are four further blues hued tracks, the pick of the quartet being the mellower soul-blues of 'Settle Down Easy' (the song’s vibe allowing Malaya Blue to deliver a great jazz café styled vocal) and the album’s other piano & vocal number, the down tempo 'I Can’t Be Loved' (the lyrically self-critical Yin to the more celebratory Yang of Love of Your Life).
Beautiful in its simplicity, 'I Can't Be Loved' is the vehicle for Malaya Blue’s best vocal of the entire album.
Critically acclaimed debut Bourbon Street and BBC Radio 2 airplay listed follow-up Heartsick were solid and impressive musical markers of the arrival, and talents, of Malaya Blue but, Still, the third time is most certainly the vocal charm.
Ross Muir
FabricationsHQ
Blue Öyster Cult – 45th Anniversary Live in London (CD/DVD)
Recorded and filmed in June of 2017 and continuing the recent Live Archive release series from the seemingly ageless Blue Öyster Cult, 45th Anniversary Live in London is exactly that – a 45 years on celebration of the band’s critically acclaimed, self-titled debut album via a performance of the album in its entirety at London’s Stone Free Festival.
It also musically underlines the 21st century BÖC – ever present co-founders Eric Bloom (vocals, guitars, keys) and Donald "Buck Dharma" Roeser (guitars, vocals), together with long-standing members Richie Castellano (keys, guitars, vocals), Danny Miranda (bass, backing vocals) and Jules Radino (drums) – can still deliver on an album that sounds as fresh and rock-esoteric (BÖC’s true musical genre) as it did back in those "black and white" years.
'Transmaniacon MC' rolls down the motorcycle riding highway in all its 60s meets 70s rock psychedelia glory before 'I’m On the Lamb, But I Ain’t No sheep' has the Canadian Mounties successfully chasing down a fugitive just as they did four-and-half decades earlier (but then they "always get their man, in the end!").
A change of pace comes by way of one of BÖC’s most famous and melodically structured numbers, 'Then Came the Last Days of May.'
Expanding on the more concise studio version, the ten and a half minute live rendition of the Donald Roeser led classic features fast and feisty six-string salvos from Richie Castellano.
"Buck Dharma" then melodically ripples, before rapidly firing out, his own guitar lines while Jules Radino double times the rhythm and Danny Miranda works four-string overtime to give the guitarists their platform.
And so continue the Blue Öyster Cult ten song travels through such highlights as the guitar rocking and piano rolling 'Stairway to the Stars' and Donald Roeser’s other lead vocal moment on Buck’s barbiturate boogie, 'Before the Kiss, a Redcap.'
'Screams' and the band’s shout-it-out anthem 'Cities on Flame With Rock and Roll' work well in the context of 21st century BÖC doing 1970s BÖC (the original Joe and Albert Bouchard lead vocals are taken on by Richie Castellano and Eric Bloom, respectively).
The album’s closing track, 'Redeemed,' is a pseudo country-rock curio that is as effective in its Blue Öyster charm now as it was back in 1972.
Throw in a quintet of BÖC classics to finish things off including, naturally, 'Godzilla' and '(Don’t Fear) The Reaper,' Richie Castellano taking lead on 'Hot Rails to Hell' and a welcome outing for the BÖC-punk of 'Tattoo Vampire' from Agents of Fortune, which had its own anniversary performance four years ago (Agents Of Fortune - Live 2016 was released earlier in 2020) and you have yet another solid live showing that proves there’s life in the ol’ BÖC dogs yet.
Buck’s Boogie? (yep, it’s here too). It’s every rock fans boogie.
And with a new studio album due toward the end of the year, the BÖC boogie ain’t stopping yet.
Ross Muir
FabricationsHQ
It also musically underlines the 21st century BÖC – ever present co-founders Eric Bloom (vocals, guitars, keys) and Donald "Buck Dharma" Roeser (guitars, vocals), together with long-standing members Richie Castellano (keys, guitars, vocals), Danny Miranda (bass, backing vocals) and Jules Radino (drums) – can still deliver on an album that sounds as fresh and rock-esoteric (BÖC’s true musical genre) as it did back in those "black and white" years.
'Transmaniacon MC' rolls down the motorcycle riding highway in all its 60s meets 70s rock psychedelia glory before 'I’m On the Lamb, But I Ain’t No sheep' has the Canadian Mounties successfully chasing down a fugitive just as they did four-and-half decades earlier (but then they "always get their man, in the end!").
A change of pace comes by way of one of BÖC’s most famous and melodically structured numbers, 'Then Came the Last Days of May.'
Expanding on the more concise studio version, the ten and a half minute live rendition of the Donald Roeser led classic features fast and feisty six-string salvos from Richie Castellano.
"Buck Dharma" then melodically ripples, before rapidly firing out, his own guitar lines while Jules Radino double times the rhythm and Danny Miranda works four-string overtime to give the guitarists their platform.
And so continue the Blue Öyster Cult ten song travels through such highlights as the guitar rocking and piano rolling 'Stairway to the Stars' and Donald Roeser’s other lead vocal moment on Buck’s barbiturate boogie, 'Before the Kiss, a Redcap.'
'Screams' and the band’s shout-it-out anthem 'Cities on Flame With Rock and Roll' work well in the context of 21st century BÖC doing 1970s BÖC (the original Joe and Albert Bouchard lead vocals are taken on by Richie Castellano and Eric Bloom, respectively).
The album’s closing track, 'Redeemed,' is a pseudo country-rock curio that is as effective in its Blue Öyster charm now as it was back in 1972.
Throw in a quintet of BÖC classics to finish things off including, naturally, 'Godzilla' and '(Don’t Fear) The Reaper,' Richie Castellano taking lead on 'Hot Rails to Hell' and a welcome outing for the BÖC-punk of 'Tattoo Vampire' from Agents of Fortune, which had its own anniversary performance four years ago (Agents Of Fortune - Live 2016 was released earlier in 2020) and you have yet another solid live showing that proves there’s life in the ol’ BÖC dogs yet.
Buck’s Boogie? (yep, it’s here too). It’s every rock fans boogie.
And with a new studio album due toward the end of the year, the BÖC boogie ain’t stopping yet.
Ross Muir
FabricationsHQ
The BluesBones - Live On Stage
Belgium quintet The BluesBones have become one of the most popular live attractions on the European blues circuit, having amassed more than 400 shows at many a Euro venue and festival, sharing stages with the likes of King King, Jimmy Vaughan and Seasick Steve, to name but three.
It should also be musically noted it’s incredible the band have put on 40 shows let alone 400, given front man Nico De Cock is also a member of the European Blues Union, does label promo, has a booking agency and splits his performance time between The BluesBones, on his lonesome as Big D Solo Acoustic and in duet with band keyboardist Edwin Risbourg as Big D & Captain Keys.
The BluesBones have delivered three none too shabby studio albums (including the critically acclaimed Saved By The Blues and 2018’s Chasing Shadows) but the band – Nico De Cock, Edwin Risbourg, Stef Paglia (guitar), Geert Boeckx (bass), Jens Roelandt (drums) – positively thrive in the live environment.
Such live vibrancy is captured on Live On Stage in the company of a clutch of extremely tasty and tightly performed self-penned numbers (including nine from Chasing Shadows) across a seventy minute set recorded late in 2019 before the Covid Blues came calling.
'Find My Way Out' makes for a muscly, blues rocking opener.
The entire band share the riff before separating to produce a big, beefy sound, powered by a thumping beat from Jens Roelandt and a strong, melodically framed vocal from Nico De Cock (nor does it hurt to include a short but searing solo from Stef Paglia).
The slow and funky 'The End,' anchored by Geert Boeckx’s reverberating bass line, allows Nico De Cock to get a little bluesy with his nowhere left to go story ("nobody looks for me in the lost and found" – now that's a blues lyric); Stef Paglia then throws a flurry of short, sparking licks across the spacious instrumental section while the Boeckx bass keeps on pumping.
As 'Demon Blues' (delivering both a New Orleans blues bar vibe and some slinky Hammond runs) and the swampy outlaw tale of 'Going Down' make their impact, you get a bigger musical picture of The BluesBones, who can take on any and all styles of blues and deliver at a very high performance level (their love of the blues also shines through on this recording).
The band can also stretch without ever overstaying their welcome – on the funky R&B of near eight minute 'The Witchdoctor' the band break it down to allow Stef Paglia to slowly shift gears until he is in solo overdrive.
Slow blues ballad 'Sealed Souls' (featuring Paglia's most expressive solo of the entire set) then seems to be over in half the time of its powerful seven minutes.
Where The BluesBones do over-extend is on final number, the slow 12-bar tale of a 'Whiskey Drinking Woman' who has a novel way of taking her favoured tipple.
But given this is the live environment and the song allows Edwin Risbourg and Stef Paglia to once again show their respective instrumental skills, it’s an eleven minute excursion that’s worth the extra travel time.
Here’s to the next 400 gigs, boys, once we send Covid packing and are all vaccinated up the blues wazoo.
Ross Muir
FabricationsHQ
It should also be musically noted it’s incredible the band have put on 40 shows let alone 400, given front man Nico De Cock is also a member of the European Blues Union, does label promo, has a booking agency and splits his performance time between The BluesBones, on his lonesome as Big D Solo Acoustic and in duet with band keyboardist Edwin Risbourg as Big D & Captain Keys.
The BluesBones have delivered three none too shabby studio albums (including the critically acclaimed Saved By The Blues and 2018’s Chasing Shadows) but the band – Nico De Cock, Edwin Risbourg, Stef Paglia (guitar), Geert Boeckx (bass), Jens Roelandt (drums) – positively thrive in the live environment.
Such live vibrancy is captured on Live On Stage in the company of a clutch of extremely tasty and tightly performed self-penned numbers (including nine from Chasing Shadows) across a seventy minute set recorded late in 2019 before the Covid Blues came calling.
'Find My Way Out' makes for a muscly, blues rocking opener.
The entire band share the riff before separating to produce a big, beefy sound, powered by a thumping beat from Jens Roelandt and a strong, melodically framed vocal from Nico De Cock (nor does it hurt to include a short but searing solo from Stef Paglia).
The slow and funky 'The End,' anchored by Geert Boeckx’s reverberating bass line, allows Nico De Cock to get a little bluesy with his nowhere left to go story ("nobody looks for me in the lost and found" – now that's a blues lyric); Stef Paglia then throws a flurry of short, sparking licks across the spacious instrumental section while the Boeckx bass keeps on pumping.
As 'Demon Blues' (delivering both a New Orleans blues bar vibe and some slinky Hammond runs) and the swampy outlaw tale of 'Going Down' make their impact, you get a bigger musical picture of The BluesBones, who can take on any and all styles of blues and deliver at a very high performance level (their love of the blues also shines through on this recording).
The band can also stretch without ever overstaying their welcome – on the funky R&B of near eight minute 'The Witchdoctor' the band break it down to allow Stef Paglia to slowly shift gears until he is in solo overdrive.
Slow blues ballad 'Sealed Souls' (featuring Paglia's most expressive solo of the entire set) then seems to be over in half the time of its powerful seven minutes.
Where The BluesBones do over-extend is on final number, the slow 12-bar tale of a 'Whiskey Drinking Woman' who has a novel way of taking her favoured tipple.
But given this is the live environment and the song allows Edwin Risbourg and Stef Paglia to once again show their respective instrumental skills, it’s an eleven minute excursion that’s worth the extra travel time.
Here’s to the next 400 gigs, boys, once we send Covid packing and are all vaccinated up the blues wazoo.
Ross Muir
FabricationsHQ
Joe Bonamassa – Royal Tea
Royal Tea, as the name suggests, is a very British affair from American blues rock guitar slinger Joe Bonamassa.
Recorded at the legendary Abbey Road Studios in London, the nod to British blues rock 'royalty' on 'royal tea' (I see what you did there with the title, Joe) is evident throughout (Bonamassa also co-wrote some of the songs with Bernie Marsden, ex-Cream lyricist Pete Brown and Jools Holland).
But while very British sounding in style and influence, Royal Tea still carries that Joe Bonamassa sonic stamp (Bonamassa’s long-time producer Kevin Shirley and his core band of Anton Fig (drums), Michael Rhodes (bass) and Reese Wynans (keys) flew over for the recording sessions).
The short, orchestrated opening to the seven and a half minute 'When One Door Opens' isn’t far removed from the sort of symphonically clothed intro utilised by the Moody Blues back in the days of future passed (no bad way to open your album and very British) before a gritty riff sets up quiet, atmospheric verses that slowly build to deliver a powerful yet understated, string backed first half.
The song then cranks itself up with a Bonamassa bolero based nod to Jeff Beck before an even weightier instrumental section (complete with fully wah’d solo) kicks in.
The song closes out on a soft, and subtly delivered, final verse.
The title track is more standard fare (trademark Bonamassa blues with soulful 'n' sassy female backing chorus vocals) but set within a decidedly British blues styled framework.
As such it plays as the perfect foil to the power of the One Door opening gambit.
The near seven minute 'Why Does it Take So Long to Say Goodbye' is quintessential Bonamassa slow power blues but, again, the British blues & rock influences are evident via a guitar melody line that seems to be channelling the late Gary Moore and a beefy, Zeppelin-esque instrumental section.
Every Joe Bonamassa album pulls out a surprise or shift of gear and 'Lookout Man,' driven by a Michael Rhodes bassline so thick and heavy the walls of the studio must have been shaking during recording, is this year’s model.
A dirty and dusty harmonica interjected, guitar gritty, percussively sprinkled blues, 'Lookout Man' bucks the British sounding trend, as does the lighter Americana of the Southern affected 'Savannah.'
Joe Bonamassa knows his British blues and rock but he also knows his Memphis onions, in this case Booker T’s green ones; here the famous, oft borrowed shuffle-riff is slowed to become the groove that moves 'High Class Girl' along.
'A Conversation With Alice' might be only four and half minutes long but it’s four and a half minutes well spent in her musical company (Alice is the alias of a therapist Joe Bonamassa spoke to about reoccurring problems he’d been facing).
A highly infectious, up-tempo and uplifting melodic rock blues, said conversation was, as sung by JoBo, "the best thing I ever did!"
Perhaps not coincidence then that it's also one of the best short-form songs he’s ever come up with.
British and US influences then merge on 'I Didn’t Think She Would Do It' (a fast-paced Cream meets Hendrix affair that comes complete with another feisty, wah-infected solo) before 'Beyond the Silence' steps up to nominate itself as the next in a long line of Joe Bonamassa slow-burn epics.
Opening with a scene setting atmosphere similar to Fleetwood Mac’s 'The Chain,' 'Beyond the Silence' slowly but assuredly builds over a strong Joe Bonamassa vocal (his best performance of the album) and Reese Wynans piano accentuations to become a multi-layered, progressively arranged southern styled blues ballad.
As if to deliver some album closing light relief after the widescreen sweep of 'Beyond the Silence,' 'Lonely Boy' announces itself as a raucous, brass blowin' and piano rattling swinger of a song that boogies all the way back to the jive jumpin' blues days.
Royal Tea. In the company of Princely blues rock.
Ross Muir
FabricationsHQ
Recorded at the legendary Abbey Road Studios in London, the nod to British blues rock 'royalty' on 'royal tea' (I see what you did there with the title, Joe) is evident throughout (Bonamassa also co-wrote some of the songs with Bernie Marsden, ex-Cream lyricist Pete Brown and Jools Holland).
But while very British sounding in style and influence, Royal Tea still carries that Joe Bonamassa sonic stamp (Bonamassa’s long-time producer Kevin Shirley and his core band of Anton Fig (drums), Michael Rhodes (bass) and Reese Wynans (keys) flew over for the recording sessions).
The short, orchestrated opening to the seven and a half minute 'When One Door Opens' isn’t far removed from the sort of symphonically clothed intro utilised by the Moody Blues back in the days of future passed (no bad way to open your album and very British) before a gritty riff sets up quiet, atmospheric verses that slowly build to deliver a powerful yet understated, string backed first half.
The song then cranks itself up with a Bonamassa bolero based nod to Jeff Beck before an even weightier instrumental section (complete with fully wah’d solo) kicks in.
The song closes out on a soft, and subtly delivered, final verse.
The title track is more standard fare (trademark Bonamassa blues with soulful 'n' sassy female backing chorus vocals) but set within a decidedly British blues styled framework.
As such it plays as the perfect foil to the power of the One Door opening gambit.
The near seven minute 'Why Does it Take So Long to Say Goodbye' is quintessential Bonamassa slow power blues but, again, the British blues & rock influences are evident via a guitar melody line that seems to be channelling the late Gary Moore and a beefy, Zeppelin-esque instrumental section.
Every Joe Bonamassa album pulls out a surprise or shift of gear and 'Lookout Man,' driven by a Michael Rhodes bassline so thick and heavy the walls of the studio must have been shaking during recording, is this year’s model.
A dirty and dusty harmonica interjected, guitar gritty, percussively sprinkled blues, 'Lookout Man' bucks the British sounding trend, as does the lighter Americana of the Southern affected 'Savannah.'
Joe Bonamassa knows his British blues and rock but he also knows his Memphis onions, in this case Booker T’s green ones; here the famous, oft borrowed shuffle-riff is slowed to become the groove that moves 'High Class Girl' along.
'A Conversation With Alice' might be only four and half minutes long but it’s four and a half minutes well spent in her musical company (Alice is the alias of a therapist Joe Bonamassa spoke to about reoccurring problems he’d been facing).
A highly infectious, up-tempo and uplifting melodic rock blues, said conversation was, as sung by JoBo, "the best thing I ever did!"
Perhaps not coincidence then that it's also one of the best short-form songs he’s ever come up with.
British and US influences then merge on 'I Didn’t Think She Would Do It' (a fast-paced Cream meets Hendrix affair that comes complete with another feisty, wah-infected solo) before 'Beyond the Silence' steps up to nominate itself as the next in a long line of Joe Bonamassa slow-burn epics.
Opening with a scene setting atmosphere similar to Fleetwood Mac’s 'The Chain,' 'Beyond the Silence' slowly but assuredly builds over a strong Joe Bonamassa vocal (his best performance of the album) and Reese Wynans piano accentuations to become a multi-layered, progressively arranged southern styled blues ballad.
As if to deliver some album closing light relief after the widescreen sweep of 'Beyond the Silence,' 'Lonely Boy' announces itself as a raucous, brass blowin' and piano rattling swinger of a song that boogies all the way back to the jive jumpin' blues days.
Royal Tea. In the company of Princely blues rock.
Ross Muir
FabricationsHQ
Connor Bracken and the Mother Leeds Band – Nightbird Motel
There’s an argument to be made that Asbury Park based Connor Bracken and the Mother Leeds Band – Bracken (lead vocals/ guitar/ songwriter), Rich Seyffart (drums/ vocals), Chris Dubrow (bass/ vocals) and Jeff Linden (guitar/ vocals) – aren’t just purveyors of New Jersey rock and roll, they are New Jersey rock and roll (certainly in terms of a modern, new wave high-energy variant).
Impressive second studio offering Nightbird Motel (which features previous bassist Mat Cobb and a couple of appearances from previous guitarist Jesse Fogerty) helps make that argument, not least on opening number 'When the World Stops Turning,' a punchy little number based on a snappy beat and even snappier riff.
The opening track also helps emphasise this is a broader sounding band than the one that came out snarly rocking and feisty rolling on 2016 debut album, The Light in the Day.
It’s an observation easily made given 'When the World Stops Turning' also features on the band’s live mini album Wonderful Year, as does following number 'Read On You;' both are played slightly faster live with a more raucous delivery (to be expected given the band’s on stage modus operandi).
However on Nightbird Motel 'Read On You' benefits from a fleshed out song-length and sonic clarity, both of which enhance the rock and roll with a narrative, call and answer chorus number (it's also one of the best songs Connor Bracken has yet come up with).
That’s not to say there’s any over-production on Nightbird Motel; far from it.
The aim of capturing the band’s live sound has been accomplished in production pretty well by Connor Bracken and Dan Malsh, bolstered by an uncluttered and shimmering audio mix from Malsh and AJ Larson.
That the band have also broadened in terms of Connor Bracken’s songwriting is also in evidence – the Indie vibe'd 'Darkness' has an angsty vocal and a guitar solo that sits on the edge of discordancy (both of which fit the sonic tone of the song) while 'Photographs of Johnny Cash' mixes choppy chords with a late 50s/ early 60s rock and roll feel (and a pacey/ punkish sign-off).
The dark and bluesy 'Blame On Me' then leaves the eastern seaboard for the Las Vegas desert before the Stonesy 'Liquorstore' returns to New Jersey to recall good times in New Brunswick, where the band played before locating to Asbury Park.
Further contrast is supplied by the atmospheric and mid-tempo 'Voice on the Radio,' another dark number that uses a simple but brooding rhythm, off-kilter guitar solo and an almost growing/ demented vocal at song’s end to get its late night talk show message across.
The title track is a slow but strident six-minute affair that intentionally or subconsciously nods heavily toward another Asbury Park gent who once sent his Greetings from that very locale while infectious, looking forward number 'Dream of You and Me' is crying out to be a single – and is.
If this is the sort of music Nightbird Motels in New Jersey are piping through their speakers, new wave rock and roll fans need to check in more often.
Ross Muir
FabricationsHQ
Impressive second studio offering Nightbird Motel (which features previous bassist Mat Cobb and a couple of appearances from previous guitarist Jesse Fogerty) helps make that argument, not least on opening number 'When the World Stops Turning,' a punchy little number based on a snappy beat and even snappier riff.
The opening track also helps emphasise this is a broader sounding band than the one that came out snarly rocking and feisty rolling on 2016 debut album, The Light in the Day.
It’s an observation easily made given 'When the World Stops Turning' also features on the band’s live mini album Wonderful Year, as does following number 'Read On You;' both are played slightly faster live with a more raucous delivery (to be expected given the band’s on stage modus operandi).
However on Nightbird Motel 'Read On You' benefits from a fleshed out song-length and sonic clarity, both of which enhance the rock and roll with a narrative, call and answer chorus number (it's also one of the best songs Connor Bracken has yet come up with).
That’s not to say there’s any over-production on Nightbird Motel; far from it.
The aim of capturing the band’s live sound has been accomplished in production pretty well by Connor Bracken and Dan Malsh, bolstered by an uncluttered and shimmering audio mix from Malsh and AJ Larson.
That the band have also broadened in terms of Connor Bracken’s songwriting is also in evidence – the Indie vibe'd 'Darkness' has an angsty vocal and a guitar solo that sits on the edge of discordancy (both of which fit the sonic tone of the song) while 'Photographs of Johnny Cash' mixes choppy chords with a late 50s/ early 60s rock and roll feel (and a pacey/ punkish sign-off).
The dark and bluesy 'Blame On Me' then leaves the eastern seaboard for the Las Vegas desert before the Stonesy 'Liquorstore' returns to New Jersey to recall good times in New Brunswick, where the band played before locating to Asbury Park.
Further contrast is supplied by the atmospheric and mid-tempo 'Voice on the Radio,' another dark number that uses a simple but brooding rhythm, off-kilter guitar solo and an almost growing/ demented vocal at song’s end to get its late night talk show message across.
The title track is a slow but strident six-minute affair that intentionally or subconsciously nods heavily toward another Asbury Park gent who once sent his Greetings from that very locale while infectious, looking forward number 'Dream of You and Me' is crying out to be a single – and is.
If this is the sort of music Nightbird Motels in New Jersey are piping through their speakers, new wave rock and roll fans need to check in more often.
Ross Muir
FabricationsHQ
Geoff Carne & the Raw Rox Band - Big Town
London based singer-guitarist Geoff Carne has, more recently, been seen and heard as part of the duo Geoff Carne and The Hatz, featuring his long-time musical mate Mick Hatz on drums (the pair’s musical association goes back to the late 80s).
Geoff Carne & The Hatz releases worthy of mention include 2016’s garage rock styled album Get Close and more recent releases such as the 4-Play EP and a fun, rock makeover of the Kylie Minogue and Robbie Williams classic, 'Kids.'
But with Mick Hatz hanging up his sticks earlier this year Geoff Carne finds himself, in collaboration with the Raw Rox Band, returning to his rock blues roots on Big Town, an album that’s more akin to the style of his One To One solo offering of 2014.
The Raw Rox Band are formed from top-notch session players, with CVs that track back to the once thriving London studios recording for the likes of Island, Jive and EMI.
The foursome – Jim Black (bass), Zoki Jovanoski (drums), Bob Calvert (keys) and Arby "Slash" Rockman (lead guitar) – were called to musical arms for Big Town by Geoff Carne’s producer, Paul Mex.
They are also well named; collectively they add straight ahead, no frills, electric makeovers to a collection of songs that first featured across Geoff Carne’s three Acoustica EPs, released earlier in the year.
But Big Town certainly isn’t Raw in the sense of rough and ready performances; the sonic results come from teh album's live-in-the-studio feel, its rhythmic grooves created and the spaciousness within each song.
(No over-produced rock and roll here, thank you very much, nor any unnecessary instrumentation filling every second).
'Are You Ready?' (a mid-tempo rock 'n' roll blues equivalent of Cheap Trick's 'Hello There') is an opening track case in point; keeping to a simple premise and groove makes for an effective little opening.
Similarly effective is catchy little mid-tempo number 'Hold On;' it might be overly repetitive on the song title hook but it’s all the more ear-wormery for it.
However, the strength of such simple arrangements also leads to the obvious weakness – with a number of the songs using a repeating title technique and most based on the simple, unchanging rhythm of the acoustic originals some songs, such as the title track, are better served in their original acoustic clothing.
Conversely, the bigger sounding electrification works well for the Stonesy 'A Heartache,' the meatier 'Are You Strong Enough?' (with some tasty little guitar lead licks) and 'Feel the Blues.'
The latter, in its full band form, takes its influence from the keyboard backed blues rock of the 70s.
The foot-tapping and gospel clap-along style of 'Free' makes for an uplifting closing track.
Again, it might be a relatively simple affair (it’s pretty much the acoustic original), but it’s an infectious, feel-good three minutes, enhanced by a funky little burst of organ-keyboard.
Big Town might not be destined for the Big City music lights but, as is always the case with Geoff Carne, if it’s Raw, and it Rox, it certainly Rolls.
Ross Muir
FabricationsHQ
Geoff Carne & The Hatz releases worthy of mention include 2016’s garage rock styled album Get Close and more recent releases such as the 4-Play EP and a fun, rock makeover of the Kylie Minogue and Robbie Williams classic, 'Kids.'
But with Mick Hatz hanging up his sticks earlier this year Geoff Carne finds himself, in collaboration with the Raw Rox Band, returning to his rock blues roots on Big Town, an album that’s more akin to the style of his One To One solo offering of 2014.
The Raw Rox Band are formed from top-notch session players, with CVs that track back to the once thriving London studios recording for the likes of Island, Jive and EMI.
The foursome – Jim Black (bass), Zoki Jovanoski (drums), Bob Calvert (keys) and Arby "Slash" Rockman (lead guitar) – were called to musical arms for Big Town by Geoff Carne’s producer, Paul Mex.
They are also well named; collectively they add straight ahead, no frills, electric makeovers to a collection of songs that first featured across Geoff Carne’s three Acoustica EPs, released earlier in the year.
But Big Town certainly isn’t Raw in the sense of rough and ready performances; the sonic results come from teh album's live-in-the-studio feel, its rhythmic grooves created and the spaciousness within each song.
(No over-produced rock and roll here, thank you very much, nor any unnecessary instrumentation filling every second).
'Are You Ready?' (a mid-tempo rock 'n' roll blues equivalent of Cheap Trick's 'Hello There') is an opening track case in point; keeping to a simple premise and groove makes for an effective little opening.
Similarly effective is catchy little mid-tempo number 'Hold On;' it might be overly repetitive on the song title hook but it’s all the more ear-wormery for it.
However, the strength of such simple arrangements also leads to the obvious weakness – with a number of the songs using a repeating title technique and most based on the simple, unchanging rhythm of the acoustic originals some songs, such as the title track, are better served in their original acoustic clothing.
Conversely, the bigger sounding electrification works well for the Stonesy 'A Heartache,' the meatier 'Are You Strong Enough?' (with some tasty little guitar lead licks) and 'Feel the Blues.'
The latter, in its full band form, takes its influence from the keyboard backed blues rock of the 70s.
The foot-tapping and gospel clap-along style of 'Free' makes for an uplifting closing track.
Again, it might be a relatively simple affair (it’s pretty much the acoustic original), but it’s an infectious, feel-good three minutes, enhanced by a funky little burst of organ-keyboard.
Big Town might not be destined for the Big City music lights but, as is always the case with Geoff Carne, if it’s Raw, and it Rox, it certainly Rolls.
Ross Muir
FabricationsHQ
Catfish – Exile Live in Lockdown
Like every other band trying to navigate their way through 2020 and the Covid-19 pandemic Catfish, the progressively tinged blues quartet from Sussex featuring Matt Long (vocals, guitars), Paul Long (keyboards, vocals), Adam Pyke (bass) and Kev Hickman (drums), had most of their UK & European live dates cancelled or rescheduled.
However, as pandemic numbers started to ease off in the summer, the band was approached by Blues Maastricht Festival in Holland to do a full band live stream.
A savvy tech team, multiple cameras and a tight live band (all the more impressive given they had not played together in over five months) resulted in one of the more impressive and professional live stream events of 2020 and this subsequent CD/DVD release.
The set opens with one of Catfish’s epic blues shaped songs, an eleven minute take of 'Broken Man,' from the 2017 album of the same name.
Featuring a guitar intro with a nice use of dissonance the atmospheric, southern rock affected number wouldn’t be out of place on a Joe Bonamassa album (indeed JoBo will be querying how he didn’t come up with it first).
Matt Long’s vocals are gritty and assured in a song that builds towards a searing solo after the diversion of a lovely middle 8 and a section of psychedelia. Great stuff.
The missing ingredient of a lockdown stream is then made evident on 'Break Me Down,' from current album Burning Bridges.
Said number, a rockin’, up-tempo piece with a huge dollop of Hendrix and a touch of funk, would go down a storm with a crowd... had there been one.
Providing complete contrast is the fittingly named haunting blues of 'Ghosts,' featuring Matt Long’s father Paul Long on lead vocals (Long Senior also takes lead on the six-string bass driven 'The Big Picture' and 7/4 shuffle (yep, 7/4) 'Too Far Too fall').
The dual vocals of 'Soulbreaker' (lyrically decrying the money making celebrity creators) then makes its chain-gang blues mark before 'The Root of All Evil' delivers its heavy blues credentials with foot stomping authority and tasty keys and guitar solos.
'Better Days' is, much as the title suggests, an upbeat number, both lyrically and musically.
A fun shuffle, 'Better Days' segues into an amusing reggae section before returning to the catchy chorus.
The sparse, slow blues of 'Archangel' then takes centre stage to demonstrate the band’s sense of dynamics as well as showcase an emotional vocal delivery from Matt Long (the lyric about losing a loved one was never more fitting, sadly, than in the current Covid climate).
A particularly effective/ poignant moment in the song/ DVD is when the guitar fades to silence with lights off before a solo vocal part reintroduces the number and a rousing, double chorus finish.
A true highlight of the set and the Catfish repertoire.
The epic/ progressive blues nature of Catfish returns to close out the set in the shape of the ten and a half minute 'Exile,' which moves from its opening vocal/ guitar part to a brooding, dark blues.
Featuring another fine vocal performance from Matt Long (and another searing solo), 'Exile' is as impressive a set closer as 'Broken Man' was an opener.
As excellent as Exile Live in Lockdown is, the DVD highlights just what is missing from a live show.
Hopefully however it won’t be too long before concert goers and music fans are back at gigs giving bands such as Catfish the support their talents justifiably deserve.
Ross Muir & Nelson McFarlane
FabricationsHQ
Exile Live in Lockdown is available via the band's website:
https://www.catfishbluesband.co.uk/product-page/exile-live-in-lockdown-album-pre-sale
However, as pandemic numbers started to ease off in the summer, the band was approached by Blues Maastricht Festival in Holland to do a full band live stream.
A savvy tech team, multiple cameras and a tight live band (all the more impressive given they had not played together in over five months) resulted in one of the more impressive and professional live stream events of 2020 and this subsequent CD/DVD release.
The set opens with one of Catfish’s epic blues shaped songs, an eleven minute take of 'Broken Man,' from the 2017 album of the same name.
Featuring a guitar intro with a nice use of dissonance the atmospheric, southern rock affected number wouldn’t be out of place on a Joe Bonamassa album (indeed JoBo will be querying how he didn’t come up with it first).
Matt Long’s vocals are gritty and assured in a song that builds towards a searing solo after the diversion of a lovely middle 8 and a section of psychedelia. Great stuff.
The missing ingredient of a lockdown stream is then made evident on 'Break Me Down,' from current album Burning Bridges.
Said number, a rockin’, up-tempo piece with a huge dollop of Hendrix and a touch of funk, would go down a storm with a crowd... had there been one.
Providing complete contrast is the fittingly named haunting blues of 'Ghosts,' featuring Matt Long’s father Paul Long on lead vocals (Long Senior also takes lead on the six-string bass driven 'The Big Picture' and 7/4 shuffle (yep, 7/4) 'Too Far Too fall').
The dual vocals of 'Soulbreaker' (lyrically decrying the money making celebrity creators) then makes its chain-gang blues mark before 'The Root of All Evil' delivers its heavy blues credentials with foot stomping authority and tasty keys and guitar solos.
'Better Days' is, much as the title suggests, an upbeat number, both lyrically and musically.
A fun shuffle, 'Better Days' segues into an amusing reggae section before returning to the catchy chorus.
The sparse, slow blues of 'Archangel' then takes centre stage to demonstrate the band’s sense of dynamics as well as showcase an emotional vocal delivery from Matt Long (the lyric about losing a loved one was never more fitting, sadly, than in the current Covid climate).
A particularly effective/ poignant moment in the song/ DVD is when the guitar fades to silence with lights off before a solo vocal part reintroduces the number and a rousing, double chorus finish.
A true highlight of the set and the Catfish repertoire.
The epic/ progressive blues nature of Catfish returns to close out the set in the shape of the ten and a half minute 'Exile,' which moves from its opening vocal/ guitar part to a brooding, dark blues.
Featuring another fine vocal performance from Matt Long (and another searing solo), 'Exile' is as impressive a set closer as 'Broken Man' was an opener.
As excellent as Exile Live in Lockdown is, the DVD highlights just what is missing from a live show.
Hopefully however it won’t be too long before concert goers and music fans are back at gigs giving bands such as Catfish the support their talents justifiably deserve.
Ross Muir & Nelson McFarlane
FabricationsHQ
Exile Live in Lockdown is available via the band's website:
https://www.catfishbluesband.co.uk/product-page/exile-live-in-lockdown-album-pre-sale
Popa Chubby – It’s a Mighty Hard Road
You really do know where you are with a Popa Chubby album (on to a good thing for starters).
Similarly, Popa Chubby (aka singer-guitarist-songwriter Ted Horowitz) certainly knows where he is with his forthright but always fun brand of New York blues.
But then he should, given it’s been a well-loved three decades and counting career for Popa Chubby – or "more than 30 years of blues rock and soul" to quote from the album cover, albeit the actual title speaks of the trials, tribulations and real life realities of 99% of blues touring musicians not named Bonamassa.
Popa Chubby also knows how he likes his bread buttered or, more food accurately, what he wants to see on his plate – "gimme no tofu, I won’t eat that, you know the flavor is in the fat!" sings the big man on the diet free, rhythm ‘n’ blues opener.
'The Flavor is in the Fat' sets up the following fourteen tracks, all of which are full of meaty (and mostly upbeat) Popa Chubby goodness, from the rhythm and lyrically bluesy title track and can’t help but tap your foot fun of 'It Ain’t Nothin’' to the radio friendly soul-pop of 'Let Love Free the Day' and on to the honky-tonk piano and blues guitar licks of 'Why You Wanna Bite My Bones' and the night club jazz-blues of 'Lost Again.'
Two covers make an appearance at the end of the album, acting almost as bonus tracks but most certainly worthy of their place.
Freddie King’s 'I’d Rather Be Blind' is a good fit for both Popa Chubby and the album while 'Kiss' (Prince was a huge influence on Popa Cubby) is an interesting but most welcome cover track addition (as is the blues harmonica; nice touch).
Other highlights include the reggae blues 'Enough is Enough' (a lyrical shot, Popa style, across the bows of racism), Latin-esque instrumental 'Gordito,' the soulful sway and lyrical positivity of 'The Best is Yet to Come' (a song where you are almost obliged to finger-snap along while harmonising with the backing vocals) and 'I’m the Beast From the East.'
The latter number is an autobiographical and funky little blues-a-long that may or may not depict real life events ("you mean to tell me he held the promoter out the balcony window by his feet?")
FabricationsHQ couldn’t possibly comment, but given the album is a thirty years on celebration of Popa Chubby’s musical life thus far, it’s only fitting the man himself does...
"For me every day, every show, every note, every flight, every story, every hug has been sheer joy. I truly believe this has all manifested for a reason. I shine as an example of the human spirit. What does not kill us surely makes us stronger and the art and music we make bares the power of an uphill climb."
It’s a Mighty Hard Road indeed but taking on those travels with Popa Chubby makes the journey a damn sight more fun.
Ross Muir
FabricationsHQ
Similarly, Popa Chubby (aka singer-guitarist-songwriter Ted Horowitz) certainly knows where he is with his forthright but always fun brand of New York blues.
But then he should, given it’s been a well-loved three decades and counting career for Popa Chubby – or "more than 30 years of blues rock and soul" to quote from the album cover, albeit the actual title speaks of the trials, tribulations and real life realities of 99% of blues touring musicians not named Bonamassa.
Popa Chubby also knows how he likes his bread buttered or, more food accurately, what he wants to see on his plate – "gimme no tofu, I won’t eat that, you know the flavor is in the fat!" sings the big man on the diet free, rhythm ‘n’ blues opener.
'The Flavor is in the Fat' sets up the following fourteen tracks, all of which are full of meaty (and mostly upbeat) Popa Chubby goodness, from the rhythm and lyrically bluesy title track and can’t help but tap your foot fun of 'It Ain’t Nothin’' to the radio friendly soul-pop of 'Let Love Free the Day' and on to the honky-tonk piano and blues guitar licks of 'Why You Wanna Bite My Bones' and the night club jazz-blues of 'Lost Again.'
Two covers make an appearance at the end of the album, acting almost as bonus tracks but most certainly worthy of their place.
Freddie King’s 'I’d Rather Be Blind' is a good fit for both Popa Chubby and the album while 'Kiss' (Prince was a huge influence on Popa Cubby) is an interesting but most welcome cover track addition (as is the blues harmonica; nice touch).
Other highlights include the reggae blues 'Enough is Enough' (a lyrical shot, Popa style, across the bows of racism), Latin-esque instrumental 'Gordito,' the soulful sway and lyrical positivity of 'The Best is Yet to Come' (a song where you are almost obliged to finger-snap along while harmonising with the backing vocals) and 'I’m the Beast From the East.'
The latter number is an autobiographical and funky little blues-a-long that may or may not depict real life events ("you mean to tell me he held the promoter out the balcony window by his feet?")
FabricationsHQ couldn’t possibly comment, but given the album is a thirty years on celebration of Popa Chubby’s musical life thus far, it’s only fitting the man himself does...
"For me every day, every show, every note, every flight, every story, every hug has been sheer joy. I truly believe this has all manifested for a reason. I shine as an example of the human spirit. What does not kill us surely makes us stronger and the art and music we make bares the power of an uphill climb."
It’s a Mighty Hard Road indeed but taking on those travels with Popa Chubby makes the journey a damn sight more fun.
Ross Muir
FabricationsHQ
Collateral – Collateral
There’s very few rock fans in the UK – more specifically those that support new bands or follow the New Wave of Classic Rock scene – that won’t have heard, seen or viewed, in some musical shape or heavily promoted form over the last year and more, Collateral.
Fronted by Angelo Tristan, the band – Tristan (lead vocals, guitar), Todd Winger (guitars), Jack Bentley-Smith (bass), Ben Atkinson (drums) – certainly have the image ("ripped jeans, long hair, cowboy boots and make up") to match their musical style, which is based around a later 80s/ slightly rockier MTV sound and a decidedly Bon Jovi sonic sheen.
Opener 'Big Shot' is a rest my case (m’lud) in point; a big beat, punchy bass and guitar power chords slice of MTV meets early 90 US melodic rock with a pre-chorus hook and shout it out chorus. Following number, the similarly paced but grittier 'Promiseland,' spans that overlap between hook-chorus and later era Bon Jovi rock while lyrically decrying the more worrying side of the music industry.
The southern affected 'Merry-Go-Round' is a stronger proposition (just a pity about the unnecessary, Bon Jovi-esque "hey!" punctuation mid-chorus) while 'In it For Love' draws favourable comparison to the likes of British hard-edged melodic rockers, VEGA.
'Lullaby' is another strong and weighty offering, albeit hamstrung by the clichéd "whoa-oh-ohs" (and that "hey!" interjection again) but best of the bunch is melodic country rock number 'Midnight Queen,' which featured on the band’s 2018 EP, 4 Shots!
'Midnight Queen' is a fine, fine song but lets itself down (or rather the band do) with the sort of background lads chatter ("hey brother check this one out… she’s got it all goin’ on!") that should have stayed with the motley bunch of cruisers who pulled those typically US glam rockin’ and talkin’ stunts back on the 80s and 90s strip.
There’s a return to Bon Jovi territory for 'Get Back to You,' a song that carries a sincere miss-you-when-I'm-away lyric but musically doesn't separate itself from the power ballad pack (but then it's clearly geared to get the once lighters now back-lit iPhones in the AOR air).
'Won’t Stop Me Dreaming' is a catchy, melodically charged rocker but there’s the sense, as there is across most of the nine songs that form Collateral, of knowing what’s coming next.
That's especially true of Todd Winger’s solos and how (or where) they are set up – the positive aspect to that however is Winger is none-too-shabby a player (the perfect foil to Angelo Tristan); each solo works well because they are placed and played in such fashion.
Closing number, the Angelo Tristan autobiographical 'About This Boy,' has a light melodic country air about it, making for a pleasant, lighter finish to the album.
Given their style and influences Collateral, one of the busiest of the new bands and always in the new rock news, could well be destined to become a true Marmite act, much as Bon Jovi (their eleventy-seven gazillion albums sold status notwithstanding) always were, and certainly seem to be now.
But with the fondness and demand for 80s rock, from older and younger fans alike, there's likely to be very little Collateral damage done from those that don't hear, see or understand what all the hyped-fuss is about.
Ross Muir
FabricationsHQ
Fronted by Angelo Tristan, the band – Tristan (lead vocals, guitar), Todd Winger (guitars), Jack Bentley-Smith (bass), Ben Atkinson (drums) – certainly have the image ("ripped jeans, long hair, cowboy boots and make up") to match their musical style, which is based around a later 80s/ slightly rockier MTV sound and a decidedly Bon Jovi sonic sheen.
Opener 'Big Shot' is a rest my case (m’lud) in point; a big beat, punchy bass and guitar power chords slice of MTV meets early 90 US melodic rock with a pre-chorus hook and shout it out chorus. Following number, the similarly paced but grittier 'Promiseland,' spans that overlap between hook-chorus and later era Bon Jovi rock while lyrically decrying the more worrying side of the music industry.
The southern affected 'Merry-Go-Round' is a stronger proposition (just a pity about the unnecessary, Bon Jovi-esque "hey!" punctuation mid-chorus) while 'In it For Love' draws favourable comparison to the likes of British hard-edged melodic rockers, VEGA.
'Lullaby' is another strong and weighty offering, albeit hamstrung by the clichéd "whoa-oh-ohs" (and that "hey!" interjection again) but best of the bunch is melodic country rock number 'Midnight Queen,' which featured on the band’s 2018 EP, 4 Shots!
'Midnight Queen' is a fine, fine song but lets itself down (or rather the band do) with the sort of background lads chatter ("hey brother check this one out… she’s got it all goin’ on!") that should have stayed with the motley bunch of cruisers who pulled those typically US glam rockin’ and talkin’ stunts back on the 80s and 90s strip.
There’s a return to Bon Jovi territory for 'Get Back to You,' a song that carries a sincere miss-you-when-I'm-away lyric but musically doesn't separate itself from the power ballad pack (but then it's clearly geared to get the once lighters now back-lit iPhones in the AOR air).
'Won’t Stop Me Dreaming' is a catchy, melodically charged rocker but there’s the sense, as there is across most of the nine songs that form Collateral, of knowing what’s coming next.
That's especially true of Todd Winger’s solos and how (or where) they are set up – the positive aspect to that however is Winger is none-too-shabby a player (the perfect foil to Angelo Tristan); each solo works well because they are placed and played in such fashion.
Closing number, the Angelo Tristan autobiographical 'About This Boy,' has a light melodic country air about it, making for a pleasant, lighter finish to the album.
Given their style and influences Collateral, one of the busiest of the new bands and always in the new rock news, could well be destined to become a true Marmite act, much as Bon Jovi (their eleventy-seven gazillion albums sold status notwithstanding) always were, and certainly seem to be now.
But with the fondness and demand for 80s rock, from older and younger fans alike, there's likely to be very little Collateral damage done from those that don't hear, see or understand what all the hyped-fuss is about.
Ross Muir
FabricationsHQ
David Cowan – Out Of The Dark
Round these here Scottish music parts, David Cowan is best known for his Hugh McKenna role in The Sensational Alex Harvey Experience, one of Scotland’s premier tribute acts.
It’s a musical part he plays very well indeed but, but much like the late Hugh McKenna, there’s a lot more to David Cowan’s keyboard array than Sensational Harvey classics.
There’s his compositional skills for a start.
Such skills are to the fore on debut solo album Out Of The Dark, which both expands David Cowan’s sonic palette and ticks the musical box of his love for soundtrack/ suspense styled music of the 70s & 80s and the likes of John Carpenter and Harry Manfredini (there’s also a little Keith Emerson in soundtrack mode here too).
The atmospheric and pseudo-eery 'Introduction,' featuring intentionally ambiguous voiceover dialogue from Max Maxwell (who fronted SAHB in their second and final reunion phase in the early 2000s) sets up the not sure what’s coming next uncertainty that’s prevalent in the best at suspense movies and their accompanying soundtracks.
In David Cowan’s case there is no movie, although you feel there must be one is his cinematic head (there’s definitely a correlation between some of the motifs and many of the sci-fi tinted titles).
Either way he’s certainly got the compositional strengths, as the bigger and bolder instrumental section of 'Introduction' proves, as does following track 'The Beginning,' a shimmering and at times frantic synth & rock guitar (featuring Zal Cleminson) outing that leads to the atmospheric keyboard depths of 'Abyss.'
Other highlights across the ten tracks include rhythmic synth & piano led brace 'Replicant' and 'Arrival,' the classical meets smooth jazz themed 'Nebulosa' and penultimate track 'Distant Dream,' a lovely piano piece with a beat driven central section.
Bookending the album is another voiced track, 'Trapped in Time' (the epilogue to the 'Introduction' prologue), featuring Mike Drew (aka Sir Henry Baskerville).
It’s another ambiguous narrative that hints, as the title suggests, of a future trapped in the past.
Out Of The Dark is a fine start to solo proceedings from an accomplished player and one that seems to have sparked prolific musical activity – no sooner was this album delivered than David Cowan was reporting on the early stages progress of Out Of The Dark Part II and that the semi-conceptual work will be a trilogy.
He’s also found time, under the guise of David Cowan & Friends, to put together a number of remote collaboration covers during the Covid-19 lockdown, including a great version of Deep Purple’s 'Demon’s Eye,' which you can check out by clicking here.
The latter features Cowan’s SAHE colleague Brian Cartwright on guitar and vocalist Peter Scallan, who has since joined Cowan’s new rock-blues-soul band project, The ENND.
Ross Muir
FabricationsHQ
It’s a musical part he plays very well indeed but, but much like the late Hugh McKenna, there’s a lot more to David Cowan’s keyboard array than Sensational Harvey classics.
There’s his compositional skills for a start.
Such skills are to the fore on debut solo album Out Of The Dark, which both expands David Cowan’s sonic palette and ticks the musical box of his love for soundtrack/ suspense styled music of the 70s & 80s and the likes of John Carpenter and Harry Manfredini (there’s also a little Keith Emerson in soundtrack mode here too).
The atmospheric and pseudo-eery 'Introduction,' featuring intentionally ambiguous voiceover dialogue from Max Maxwell (who fronted SAHB in their second and final reunion phase in the early 2000s) sets up the not sure what’s coming next uncertainty that’s prevalent in the best at suspense movies and their accompanying soundtracks.
In David Cowan’s case there is no movie, although you feel there must be one is his cinematic head (there’s definitely a correlation between some of the motifs and many of the sci-fi tinted titles).
Either way he’s certainly got the compositional strengths, as the bigger and bolder instrumental section of 'Introduction' proves, as does following track 'The Beginning,' a shimmering and at times frantic synth & rock guitar (featuring Zal Cleminson) outing that leads to the atmospheric keyboard depths of 'Abyss.'
Other highlights across the ten tracks include rhythmic synth & piano led brace 'Replicant' and 'Arrival,' the classical meets smooth jazz themed 'Nebulosa' and penultimate track 'Distant Dream,' a lovely piano piece with a beat driven central section.
Bookending the album is another voiced track, 'Trapped in Time' (the epilogue to the 'Introduction' prologue), featuring Mike Drew (aka Sir Henry Baskerville).
It’s another ambiguous narrative that hints, as the title suggests, of a future trapped in the past.
Out Of The Dark is a fine start to solo proceedings from an accomplished player and one that seems to have sparked prolific musical activity – no sooner was this album delivered than David Cowan was reporting on the early stages progress of Out Of The Dark Part II and that the semi-conceptual work will be a trilogy.
He’s also found time, under the guise of David Cowan & Friends, to put together a number of remote collaboration covers during the Covid-19 lockdown, including a great version of Deep Purple’s 'Demon’s Eye,' which you can check out by clicking here.
The latter features Cowan’s SAHE colleague Brian Cartwright on guitar and vocalist Peter Scallan, who has since joined Cowan’s new rock-blues-soul band project, The ENND.
Ross Muir
FabricationsHQ
Dennis DeYoung – 26 East : Volume 1
26 East is a pleasant and welcome surprise for the Dennis DeYoung fans, given his last studio album One Hundred Years From Now was back in 2009 (and originally released in Canada in 2007).
But a collaborative get-together with friend, fellow Chicagoan and noted songwriter-musician Jim Peterik has made for not just this semi-autobiographical 'looking back' release but a future, second instalment (the Volume 1 sub title confirms there’s a second, and almost certainly final studio offering, from Dennis DeYoung to follow).
Volume 1 opens in bright, grandiose, semi-theatrical and assuringly Styx-esque style with 'East of Midnight;' the song lyrically reminisces of Dennis DeYoung’s earliest Roseland, South Chicago days and his meeting with the Panozzo twins, Chuck and John, from which all future musical endeavours and Styx successes sprung.
'East of Midnight' makes for a stirring and vibrant opening (pomp, rock, pop and high vocal harmonies featuring the likes of Kevin Chalfant in equal measure) led by those recognisable and theatrically couched vocal tones.
But 26 East : Volume 1 isn’t all about taking a walk down Musical Memory Lane.
Following number 'With All Due Respect' pins Dennis DeYoung’s red white and blue-in-the-face colours to the Fake News mast in hard rocking and forthright form, with a cheeky "talk-talk yadda-yadda..." intro and a none too subtle de(young)cry of "With all due respect – you are an asshole!" above chunky guitar chords and a fiery six-string solo.
The atmospheric and electro-pulsing 'Kingdoms Ablaze' (the most interestingly arranged number on the album) also seems to point at the current and insecure State/s of affairs ("House of cards!... Was it me! Was it you! Was it us?); a few songs later however Dennis DeYoung sings of the what was and could be again positives on the celebratory Styx-pomp of 'The Promise Of This Land' (listen out for the cute and very quick Styx nod in the bridge, Styx fans).
Dennis DeYoung’s mastery of mixing pop sensibilities with rockier arrangements surface on 'Damn That Dream' (if Abba had made 'Money Money Money' a rock song) and following number, 'Unbroken' (a song that would never have been off melodic AOR radio in the 80s).
Nor would it be any sort of Dennis DeYoung album without the ballads – 'You My Love' (a love lost reminisce) and the theatrically arranged 'Run For the Roses' fit the DeYoung/ off-Broadway bill perfectly.
Given the core themes of the album the closing brace of songs are both well placed and, you can argue, absolutely necessary in style and, in the case of the final number, familiarity.
'To The Good Old Days,' a duet with Julian Lennon, is a genuinely touching ballad to memories and loved ones lost (Lennon’s complementary vocal all the more poignant given it’s now the 40th year since we lost his father) while 'A.D. 2020' is a fitting rework of 'A.D. 1958' and those better days in Paradise.
Nice to hear you back Dennis, and congratulations on giving yourself a hard Volume 1 act to follow.
Ross Muir
FabricationsHQ
But a collaborative get-together with friend, fellow Chicagoan and noted songwriter-musician Jim Peterik has made for not just this semi-autobiographical 'looking back' release but a future, second instalment (the Volume 1 sub title confirms there’s a second, and almost certainly final studio offering, from Dennis DeYoung to follow).
Volume 1 opens in bright, grandiose, semi-theatrical and assuringly Styx-esque style with 'East of Midnight;' the song lyrically reminisces of Dennis DeYoung’s earliest Roseland, South Chicago days and his meeting with the Panozzo twins, Chuck and John, from which all future musical endeavours and Styx successes sprung.
'East of Midnight' makes for a stirring and vibrant opening (pomp, rock, pop and high vocal harmonies featuring the likes of Kevin Chalfant in equal measure) led by those recognisable and theatrically couched vocal tones.
But 26 East : Volume 1 isn’t all about taking a walk down Musical Memory Lane.
Following number 'With All Due Respect' pins Dennis DeYoung’s red white and blue-in-the-face colours to the Fake News mast in hard rocking and forthright form, with a cheeky "talk-talk yadda-yadda..." intro and a none too subtle de(young)cry of "With all due respect – you are an asshole!" above chunky guitar chords and a fiery six-string solo.
The atmospheric and electro-pulsing 'Kingdoms Ablaze' (the most interestingly arranged number on the album) also seems to point at the current and insecure State/s of affairs ("House of cards!... Was it me! Was it you! Was it us?); a few songs later however Dennis DeYoung sings of the what was and could be again positives on the celebratory Styx-pomp of 'The Promise Of This Land' (listen out for the cute and very quick Styx nod in the bridge, Styx fans).
Dennis DeYoung’s mastery of mixing pop sensibilities with rockier arrangements surface on 'Damn That Dream' (if Abba had made 'Money Money Money' a rock song) and following number, 'Unbroken' (a song that would never have been off melodic AOR radio in the 80s).
Nor would it be any sort of Dennis DeYoung album without the ballads – 'You My Love' (a love lost reminisce) and the theatrically arranged 'Run For the Roses' fit the DeYoung/ off-Broadway bill perfectly.
Given the core themes of the album the closing brace of songs are both well placed and, you can argue, absolutely necessary in style and, in the case of the final number, familiarity.
'To The Good Old Days,' a duet with Julian Lennon, is a genuinely touching ballad to memories and loved ones lost (Lennon’s complementary vocal all the more poignant given it’s now the 40th year since we lost his father) while 'A.D. 2020' is a fitting rework of 'A.D. 1958' and those better days in Paradise.
Nice to hear you back Dennis, and congratulations on giving yourself a hard Volume 1 act to follow.
Ross Muir
FabricationsHQ
Djabe – Magic Stag (CD/DVD deluxe digipak)
If you are looking for a musically diverse dose of highly accomplished musicianship look no further than Hungarian ensemble, Djabe.
These musical Magyars, who combine influences from jazz rock, fusion and progressive rock to traditional music, pop, rock and even funk have, for Magic Stag, called upon the services of Steve Hackett, who plays guitar on seven of the eleven tracks (the album also feature’s Hackett’s saxophone player, Rob Townsend).
The band - Tamas Barabas (bass), Attila Égerházi (acoustic & electric guitar, percussion), Áron Koós-Hutás (flugelhorn, trumpet), János Nagy (keyboards), Péter Kaszás (drums, lead vocal) - formed back in 1996 and with a grounding in, and penchant for, mixing & merging the aforementioned influences, plus previous collaborations with Steve Hackett (including the superb Life is a Journey : The Sardinia Tapes) Magic Stag should be another winner.
Well, yes and no.
The short opening of tribal drums and traditional instrumentation sets 'The Beginnings of Legends' scene for the title track, which features lyrics from Steve Hackett, a funk bass line and a vibe that walks the tightrope between prog rock-folk and Euro-pop.
To be fair they just about pull it off until an unnecessary narration from Hackett throws the tune out of kilter (akin to some of Christopher Lee’s ill-judged forays into metal).
Following number 'The Power of Wings' merges Chinese instrumentation with jazz saxophone lines before heading off into Chick Corea territory.
The fast unison lines are very competently played and bass player Tamas Barabas lays down an early marker of his ability when keeping the groove or adding some tasty solo work (the number also includes a great sax solo by Rob Townsend).
'Down by the Lakeside' moves into Spyra Gyra territory (showcasing drummer Péter Kaszás’ very competent vocals and János Nagy’s keyboards) before the instrumental 'Far Away' ups the tempo and offers a funk workout with some interesting rhythmic ideas and a strong melody.
'Unseen Sense' is a lovely, understated atmospheric instrumental which builds to a crescendo featuring piano and synth parts recalling the late and great Lyle Mays.
Equally lovely is the Celtic-tinged 'Soaring Hills,' which is underwritten by jazz influences and another great performance by the rhythm section.
The trumpet solo on 'Soaring Hills' takes us off in another direction before returning to, first, the Celtic theme then a rock guitar solo followed by a saxophone solo.
When Djabe’s diversity works, such as on 'Soaring Hills,' it is a truly pleasurable listen – however as highlighted by 'Two Little Snowflakes' a restrained, piano driven instrumental does not necessarily lend itself to frenetic (and frankly incongruous) sitar followed by a rock guitar solo.
The impressive rise and major fail continues with 'A True Hope' (a tasteful instrumental featuring accordion, acoustic guitar and muted trumpet) and 'Rising Horizon,' which is sadly is all over the place – only the kitchen sink seems to be missing from the over-abundance of instrumentation.
'Uncertain Time' however is an excellent way to end the the album.
The only number on offer that seems to channel some early Genesis/Hackett (while also reminiscent of 'Tubular Bells') its true strengths are a memorable melody and a telling contribution on violin.
Magic Stag is Djabe’s most diverse offering to date.
Part of the band’s appeal is unquestionably their musical variety (make no mistake, they are a highly accomplished progressive/ fusion band with consummate, individual skills) but even by their own multi-style standards there is a clear lack of direction on this album.
But such criticism aside, you certainly can’t argue with the quantity on offer.
This deluxe digipak release includes a DVD featuring high resolution 5.1 Surround Sound and Stereo mixes of the album, seven live video tracks and a documentary.
The set is completed by a 32-page booklet including paintings by famous Hungarian painter Imre Égerházi, father of the band’s guitarist.
Nelson McFarlane
FabricationsHQ
These musical Magyars, who combine influences from jazz rock, fusion and progressive rock to traditional music, pop, rock and even funk have, for Magic Stag, called upon the services of Steve Hackett, who plays guitar on seven of the eleven tracks (the album also feature’s Hackett’s saxophone player, Rob Townsend).
The band - Tamas Barabas (bass), Attila Égerházi (acoustic & electric guitar, percussion), Áron Koós-Hutás (flugelhorn, trumpet), János Nagy (keyboards), Péter Kaszás (drums, lead vocal) - formed back in 1996 and with a grounding in, and penchant for, mixing & merging the aforementioned influences, plus previous collaborations with Steve Hackett (including the superb Life is a Journey : The Sardinia Tapes) Magic Stag should be another winner.
Well, yes and no.
The short opening of tribal drums and traditional instrumentation sets 'The Beginnings of Legends' scene for the title track, which features lyrics from Steve Hackett, a funk bass line and a vibe that walks the tightrope between prog rock-folk and Euro-pop.
To be fair they just about pull it off until an unnecessary narration from Hackett throws the tune out of kilter (akin to some of Christopher Lee’s ill-judged forays into metal).
Following number 'The Power of Wings' merges Chinese instrumentation with jazz saxophone lines before heading off into Chick Corea territory.
The fast unison lines are very competently played and bass player Tamas Barabas lays down an early marker of his ability when keeping the groove or adding some tasty solo work (the number also includes a great sax solo by Rob Townsend).
'Down by the Lakeside' moves into Spyra Gyra territory (showcasing drummer Péter Kaszás’ very competent vocals and János Nagy’s keyboards) before the instrumental 'Far Away' ups the tempo and offers a funk workout with some interesting rhythmic ideas and a strong melody.
'Unseen Sense' is a lovely, understated atmospheric instrumental which builds to a crescendo featuring piano and synth parts recalling the late and great Lyle Mays.
Equally lovely is the Celtic-tinged 'Soaring Hills,' which is underwritten by jazz influences and another great performance by the rhythm section.
The trumpet solo on 'Soaring Hills' takes us off in another direction before returning to, first, the Celtic theme then a rock guitar solo followed by a saxophone solo.
When Djabe’s diversity works, such as on 'Soaring Hills,' it is a truly pleasurable listen – however as highlighted by 'Two Little Snowflakes' a restrained, piano driven instrumental does not necessarily lend itself to frenetic (and frankly incongruous) sitar followed by a rock guitar solo.
The impressive rise and major fail continues with 'A True Hope' (a tasteful instrumental featuring accordion, acoustic guitar and muted trumpet) and 'Rising Horizon,' which is sadly is all over the place – only the kitchen sink seems to be missing from the over-abundance of instrumentation.
'Uncertain Time' however is an excellent way to end the the album.
The only number on offer that seems to channel some early Genesis/Hackett (while also reminiscent of 'Tubular Bells') its true strengths are a memorable melody and a telling contribution on violin.
Magic Stag is Djabe’s most diverse offering to date.
Part of the band’s appeal is unquestionably their musical variety (make no mistake, they are a highly accomplished progressive/ fusion band with consummate, individual skills) but even by their own multi-style standards there is a clear lack of direction on this album.
But such criticism aside, you certainly can’t argue with the quantity on offer.
This deluxe digipak release includes a DVD featuring high resolution 5.1 Surround Sound and Stereo mixes of the album, seven live video tracks and a documentary.
The set is completed by a 32-page booklet including paintings by famous Hungarian painter Imre Égerházi, father of the band’s guitarist.
Nelson McFarlane
FabricationsHQ
Lachy Doley – Double Figures
The title of Australian keyboardsman and whammy clavinet player extraordinaire Lachy Doley’s compilation album refers to hitting double year figures in 2020 with ten career years now under his belt as a solo/ band-leader artist.
As such Double Figures is a great starting point for those not overly familiar with Lachy Doley, an outstanding blues influenced keyboard player who was a touring musician with highly successful Oz band Powderfinger for four years before going solo when the group disbanded (he’s also a regular in Jimmy Barnes’ live/ touring band).
The album also contains a couple of new tracks in the sonically groovin’ shape of two recent Lachy Doley Group cover recordings, 'Gimme Some Lovin'' and 'Voodoo Child (Slight Return).'
The Spencer Davis Group classic was absolutely made for the Lachy Doley Group, its simple but highly infectious riff & beat driving a full-throated Hammond C3 (and cool, change of pace solo) and an equally full throated vocal from Lachy Doley (voice wise, Doley has come on leaps and confident bounds in recent years).
On 'Voodoo Child' Lachy Doley expresses his keyboard stylings even further.
Doley lets rip with a wicked Whammy Clav solo on the Hendrix classic, here in its full five and half minute glory and whammy bam thank you mam, big crescendo finish (the original single/ video was a four and a half minute with early fade cut that didn’t do the song, or performance, justice).
Bu it’s not just the Lachy Doley Group on full tilt that makes an impact here.
There’s a gospel-tinged bluesman in the musical heart and soul of Lachy Doley and as such the slow blues, horns & female backing soulfulness of 'Conviction' (from breakthrough album of the same name) and 'Can’t Get Close To You' from 2019’s Make Or Break (a Ray Charles styled number that also nods to Joe Cocker’s famous version of 'With a Little Help From My Friends') are further Double Figures highlights.
Other tracks worthy of particular note include 'Only Cure For the Blues Is The Blues' (where Lachy Doley cleverly nods, whammy style, to the Three Kings of the Blues) and the tempo-shifting 'Six Feet Under,' featuring vocalist Simon Meli.
The latter also features Lachy Doley doing his best Popa Chubby (at his most lyrically forthright) impression:
"(never back down) until you’re six feet under, and ready to face the fire!"
Ten Years on Lachy Doley has made a solid dent, if not yet the major impression, his talents deserve on the UK & European blues-rock scene, bolstered by a featured (and on some numbers show-stealing) role on Glenn Hughes' outstanding 2016 solo album, Resonate, of whom The Voice of Rock stated "the greatest living keyboard player in the world today."
Unfortunately however the Glenn Hughes European tour that would have featured Lachy Doley, and raised his UK & Euro stock further, was cancelled – all part of the highs & lows of the Lachy Doley story (as outlined in his year-by-year liner notes).
But hundreds of thousands of Facebook & YouTube views for selected clips from his striking and at times jaw-dropping Blues on Broadbeach 2016 performance (released as an album in 2017), best-to-date album Make Or Break and now Double Figures, featuring that seriously impressive brace of covers, all point to a bigger and better future (once we’re pandemic free).
Ladies and gentlemen, Gimme Some more Lovin' for Lachy Doley.
Ross Muir
FabricationsHQ
Double Figures and Lachy Doley's back catalogue can be purchased here:
https://lachydoley.bandcamp.com/music
As such Double Figures is a great starting point for those not overly familiar with Lachy Doley, an outstanding blues influenced keyboard player who was a touring musician with highly successful Oz band Powderfinger for four years before going solo when the group disbanded (he’s also a regular in Jimmy Barnes’ live/ touring band).
The album also contains a couple of new tracks in the sonically groovin’ shape of two recent Lachy Doley Group cover recordings, 'Gimme Some Lovin'' and 'Voodoo Child (Slight Return).'
The Spencer Davis Group classic was absolutely made for the Lachy Doley Group, its simple but highly infectious riff & beat driving a full-throated Hammond C3 (and cool, change of pace solo) and an equally full throated vocal from Lachy Doley (voice wise, Doley has come on leaps and confident bounds in recent years).
On 'Voodoo Child' Lachy Doley expresses his keyboard stylings even further.
Doley lets rip with a wicked Whammy Clav solo on the Hendrix classic, here in its full five and half minute glory and whammy bam thank you mam, big crescendo finish (the original single/ video was a four and a half minute with early fade cut that didn’t do the song, or performance, justice).
Bu it’s not just the Lachy Doley Group on full tilt that makes an impact here.
There’s a gospel-tinged bluesman in the musical heart and soul of Lachy Doley and as such the slow blues, horns & female backing soulfulness of 'Conviction' (from breakthrough album of the same name) and 'Can’t Get Close To You' from 2019’s Make Or Break (a Ray Charles styled number that also nods to Joe Cocker’s famous version of 'With a Little Help From My Friends') are further Double Figures highlights.
Other tracks worthy of particular note include 'Only Cure For the Blues Is The Blues' (where Lachy Doley cleverly nods, whammy style, to the Three Kings of the Blues) and the tempo-shifting 'Six Feet Under,' featuring vocalist Simon Meli.
The latter also features Lachy Doley doing his best Popa Chubby (at his most lyrically forthright) impression:
"(never back down) until you’re six feet under, and ready to face the fire!"
Ten Years on Lachy Doley has made a solid dent, if not yet the major impression, his talents deserve on the UK & European blues-rock scene, bolstered by a featured (and on some numbers show-stealing) role on Glenn Hughes' outstanding 2016 solo album, Resonate, of whom The Voice of Rock stated "the greatest living keyboard player in the world today."
Unfortunately however the Glenn Hughes European tour that would have featured Lachy Doley, and raised his UK & Euro stock further, was cancelled – all part of the highs & lows of the Lachy Doley story (as outlined in his year-by-year liner notes).
But hundreds of thousands of Facebook & YouTube views for selected clips from his striking and at times jaw-dropping Blues on Broadbeach 2016 performance (released as an album in 2017), best-to-date album Make Or Break and now Double Figures, featuring that seriously impressive brace of covers, all point to a bigger and better future (once we’re pandemic free).
Ladies and gentlemen, Gimme Some more Lovin' for Lachy Doley.
Ross Muir
FabricationsHQ
Double Figures and Lachy Doley's back catalogue can be purchased here:
https://lachydoley.bandcamp.com/music
Nick D’Virgilio – Invisible
While there was a five-track EP entitled Pieces in 2011, It’s been nigh on twenty years since noted drummer and multi-instrumentalist Nick D’Virgilio (NDV) delivered a full length solo offering (2001’s Karma, recorded while with American progressive band Spock’s Beard).
But then when not involved with Spock’s Beard (whom he left in 2011) NDV has been a busy little drummer boy.
His music CV includes, among others, playing drums on the Genesis album Calling All Stations, session and touring work with Tears For Fears, touring with Cirque du Soleil and, since 2007, a full-time member of award winning UK prog band Big Big Train.
However Invisible has been worth the second solo album wait.
A conceptual work about a man seeking the meaning of his life, Invisible is, according to NDV, "a rock album with various musical flavours thrown in because the songs were formed with the story in mind."
That each song carries a different rhythmic or percussive sound (courtesy of NDV playing a different kit on each track) also helps sonically shape the multi-styled nature of the album.
Invisible also sports quite the all-star guest list, including Paul Gilbert, Rick Nielsen, Randy McStine & Carl Verheyen (guitars), Tony Levin & Jonas Reingold (bass) and Jordan Rudess & Jem Godfrey (keys).
The album starts with a lovely orchestral piece entitled 'Prelude' followed by the equally restrained and similarly orchestrated title track (which boasts some great fretless bass work).
The melancholic two-song opening is then swept away with the riff-driven, near eight-minute 'Turn Your Life Around,' which can musically trace its roots back to Spock’s Beard in the band’s Neal Morse/ NDV period.
The funky 'I’m Gone' is a sparse but tasteful musical statement while the oft-covered 'Money (That’s what I Want)' gets a radical, woozy re-working via a down tempo treatment that comes complete with fretless bass, orchestral backing and female backing vocals.
The theatrically styled ballad 'Waiting For No One' doesn’t quite match the standards of the first five numbers (similarly 'Where’s the Passion,' another that crosses in to the realms of musical theatre) but 'Snake Oil Salesman,' which returns to rockier, Spock’s Beard territory, is one of the strongest tracks on the album.
Even more noteworthy is 'Mercy,' another riff driven and complex number that features some stellar keyboard parts and NDV’s best vocal performance.
The choruses on 'Mercy' drop to half-tempo (giving a very gothic feel) before the riffs return to up the ante again; the songs outros on the chorus section with a brilliant guitar solo.
'Overcome' oscillates between guitar driven rock, big choruses and more musical theatre mannerisms (reminiscent of Styx in their pomp) and to be fair NDV just about pulls it off.
'In My Bones,' which includes a brass section, sits in similar, albeit more rock and roll, musical territory.
The guitar riffs and keys of 'Wrong Place, Wrong Time' (and a clever vocal stanza to introduce the first verse) conjures images of Porcupine Tree and Kansas.
This is the most 'out there' song on the album (a point recognised with NDV’s a capella line of "this is nuts!") with a lot going on; it therefore merits repeated listens.
The rhythmic, orchestrated and uplifting 'Not My Time to Say Goodbye' leads to album closer 'I Know the Way,' an equally uplifting number that sits squarely in AOR/ Styx territory.
"I’ll never be invisible… again!" sings NDV on 'I Know the Way.'
Indeed not Nick, because on this multi-styled form the hope would be for a visible profile beyond the usual progressive suspects.
Nelson McFarlane
FabricationsHQ
But then when not involved with Spock’s Beard (whom he left in 2011) NDV has been a busy little drummer boy.
His music CV includes, among others, playing drums on the Genesis album Calling All Stations, session and touring work with Tears For Fears, touring with Cirque du Soleil and, since 2007, a full-time member of award winning UK prog band Big Big Train.
However Invisible has been worth the second solo album wait.
A conceptual work about a man seeking the meaning of his life, Invisible is, according to NDV, "a rock album with various musical flavours thrown in because the songs were formed with the story in mind."
That each song carries a different rhythmic or percussive sound (courtesy of NDV playing a different kit on each track) also helps sonically shape the multi-styled nature of the album.
Invisible also sports quite the all-star guest list, including Paul Gilbert, Rick Nielsen, Randy McStine & Carl Verheyen (guitars), Tony Levin & Jonas Reingold (bass) and Jordan Rudess & Jem Godfrey (keys).
The album starts with a lovely orchestral piece entitled 'Prelude' followed by the equally restrained and similarly orchestrated title track (which boasts some great fretless bass work).
The melancholic two-song opening is then swept away with the riff-driven, near eight-minute 'Turn Your Life Around,' which can musically trace its roots back to Spock’s Beard in the band’s Neal Morse/ NDV period.
The funky 'I’m Gone' is a sparse but tasteful musical statement while the oft-covered 'Money (That’s what I Want)' gets a radical, woozy re-working via a down tempo treatment that comes complete with fretless bass, orchestral backing and female backing vocals.
The theatrically styled ballad 'Waiting For No One' doesn’t quite match the standards of the first five numbers (similarly 'Where’s the Passion,' another that crosses in to the realms of musical theatre) but 'Snake Oil Salesman,' which returns to rockier, Spock’s Beard territory, is one of the strongest tracks on the album.
Even more noteworthy is 'Mercy,' another riff driven and complex number that features some stellar keyboard parts and NDV’s best vocal performance.
The choruses on 'Mercy' drop to half-tempo (giving a very gothic feel) before the riffs return to up the ante again; the songs outros on the chorus section with a brilliant guitar solo.
'Overcome' oscillates between guitar driven rock, big choruses and more musical theatre mannerisms (reminiscent of Styx in their pomp) and to be fair NDV just about pulls it off.
'In My Bones,' which includes a brass section, sits in similar, albeit more rock and roll, musical territory.
The guitar riffs and keys of 'Wrong Place, Wrong Time' (and a clever vocal stanza to introduce the first verse) conjures images of Porcupine Tree and Kansas.
This is the most 'out there' song on the album (a point recognised with NDV’s a capella line of "this is nuts!") with a lot going on; it therefore merits repeated listens.
The rhythmic, orchestrated and uplifting 'Not My Time to Say Goodbye' leads to album closer 'I Know the Way,' an equally uplifting number that sits squarely in AOR/ Styx territory.
"I’ll never be invisible… again!" sings NDV on 'I Know the Way.'
Indeed not Nick, because on this multi-styled form the hope would be for a visible profile beyond the usual progressive suspects.
Nelson McFarlane
FabricationsHQ
Ekko Park – Horizon
Kiwi power punk pop ‘n’ rollers Ekko Park have made a bit of a name for themselves outside of their native New Zealand.
'Probable Cause' (from second album Know Hope) went to #1 on the Official Italian Rock Radio Airplay Chart, leading to what is now very strong radio play support in Europe.
The band have since played headline tours in the UK, Ireland & Italy.
With Horizon however (the first album to feature new guitarist Alex Hargreaves and bassist Bryan Bell, who join vocalist/ guitarist Joe Walsh (no, not that Joe Walsh) and drummer Nick Douch) there’s every chance for even further and wider recognition.
Opener 'All Eyes on Me' (featuring guest vocalist Grant Nicholas of Welsh indie rockers Feeder) is a glorious heads-down rocker which sets the Ekko Park agenda – punky guitars with attitude, sneering, dystopian lyrics and an overall vibe of a musical Venn diagram intersecting the Foo Fighters, Manic Street Preachers, Green Day, Stranglers and Snow Patrol.
Following number, the catchy 'Uh Oh,' is up-tempo punk-pop without pretensions, delivered with a meaty and tight rhythm section.
It’s also worth musically noting the collective time of the two opening numbers is less than six minutes; this band don’t overstay any welcomes, stretching to the four minute mark on only three of the ten tracks.
'Bassano Sky' introduces a change in tempo and is a good example of the band’s dynamic range and ear for a chorus; 'Go Stop Go' then returns to the more traditional power-punk lineage but, again, with a memorable chorus.
'No Courage for Courage' is reminiscent of the Police and maintains the band’s strike rate for choruses. There’s also a hint of Nirvana in the mix here (the quiet verse / loud chorus formula) but this is not to suggest an overly-derivative band – Ekko Park is an adept and likeable outfit in their own musical right.
'Oil and Water' wears a Stranglers influence writ large (including JJ Burnel’s signature overdriven Ampeg bass sound) before the reflective 'Three Days in March' steps up to provide atmospheric contrast through some really nice writing (the latter is another that amply shows Ekko Park is capable of dynamics).
'Tea and Toast' sounds a bit like a quirky tribute to Squeeze via Blur; they damn near pull it off too, but it does sounds a little contrived.
However such critical comment is but a minor gripe considering the overall quality of Horizon, especially as it's rounded off by two of the strongest songs on the album.
'Black Eyed' starts with a killer riff which wouldn’t be out of place on a metal album; it also includes another catchy ear-worm of a chorus as well as once again proving brevity is king (three minutes dead).
Impressive closing number 'Clan' is one of those angsty numbers that are the specialty of bands such as Snow Patrol (controlled dynamics; a top chorus; atmospheric verses; crescendo ending).
The band’s material is clearly geared to be played live (this is a high-energy quartet) but Horizon is a highly satisfying, and very well produced, album.
If power pop-punk (or any of the derivatives) is your musical bag you need to grab this album, because the Ekko boys have just knocked it out their own Park.
Nelson McFarlane
FabricationsHQ
'Probable Cause' (from second album Know Hope) went to #1 on the Official Italian Rock Radio Airplay Chart, leading to what is now very strong radio play support in Europe.
The band have since played headline tours in the UK, Ireland & Italy.
With Horizon however (the first album to feature new guitarist Alex Hargreaves and bassist Bryan Bell, who join vocalist/ guitarist Joe Walsh (no, not that Joe Walsh) and drummer Nick Douch) there’s every chance for even further and wider recognition.
Opener 'All Eyes on Me' (featuring guest vocalist Grant Nicholas of Welsh indie rockers Feeder) is a glorious heads-down rocker which sets the Ekko Park agenda – punky guitars with attitude, sneering, dystopian lyrics and an overall vibe of a musical Venn diagram intersecting the Foo Fighters, Manic Street Preachers, Green Day, Stranglers and Snow Patrol.
Following number, the catchy 'Uh Oh,' is up-tempo punk-pop without pretensions, delivered with a meaty and tight rhythm section.
It’s also worth musically noting the collective time of the two opening numbers is less than six minutes; this band don’t overstay any welcomes, stretching to the four minute mark on only three of the ten tracks.
'Bassano Sky' introduces a change in tempo and is a good example of the band’s dynamic range and ear for a chorus; 'Go Stop Go' then returns to the more traditional power-punk lineage but, again, with a memorable chorus.
'No Courage for Courage' is reminiscent of the Police and maintains the band’s strike rate for choruses. There’s also a hint of Nirvana in the mix here (the quiet verse / loud chorus formula) but this is not to suggest an overly-derivative band – Ekko Park is an adept and likeable outfit in their own musical right.
'Oil and Water' wears a Stranglers influence writ large (including JJ Burnel’s signature overdriven Ampeg bass sound) before the reflective 'Three Days in March' steps up to provide atmospheric contrast through some really nice writing (the latter is another that amply shows Ekko Park is capable of dynamics).
'Tea and Toast' sounds a bit like a quirky tribute to Squeeze via Blur; they damn near pull it off too, but it does sounds a little contrived.
However such critical comment is but a minor gripe considering the overall quality of Horizon, especially as it's rounded off by two of the strongest songs on the album.
'Black Eyed' starts with a killer riff which wouldn’t be out of place on a metal album; it also includes another catchy ear-worm of a chorus as well as once again proving brevity is king (three minutes dead).
Impressive closing number 'Clan' is one of those angsty numbers that are the specialty of bands such as Snow Patrol (controlled dynamics; a top chorus; atmospheric verses; crescendo ending).
The band’s material is clearly geared to be played live (this is a high-energy quartet) but Horizon is a highly satisfying, and very well produced, album.
If power pop-punk (or any of the derivatives) is your musical bag you need to grab this album, because the Ekko boys have just knocked it out their own Park.
Nelson McFarlane
FabricationsHQ
Enuff Z'nuff - Brainwashed Generation
The Gospel piano and church organ that ushers in 'Fatal Distraction' (a song whose simple but highly effective power-pop/rock groove proves Enuff Z’nuff can still do a pretty good impression of Enuff Z’nuff without former front man/ guitarist Donnie Vie) would seem to have nothing whatsoever with said song (or indeed the album in general); but it wouldn’t be an Enuff Z’nuff album without such quirk, strangeness and charming little eccentricities.
There’s also the chance of course that such an intro (from guest keys player Joel Norman) might be underlining that Brainwashed Generation is the current global affairs gospel according to Enuff Z’nuff, through their trademark, primarily mid-tempo softer rock and power-pop hooks ‘n’ harmonies as heard on the likes of 'Help' and the slower paced 'It’s All in Vain.'
The latter number has ever-present, bassist & husky voiced singer Chip Z’nuff singing for the unheard voices ("while the rest of us complain, it’s all in vain... it’s all insane") while musically the song mixes early era Cheap Trick and the Beatles (the latter reinforced by having guest drummer Mike Portnoy feature on a TAMA Ringo/ Beatles replica kit).
'It’s All in Vain' also sports an outro (with tasty little licks from Enuff’s lead guitarist Tory Stoffregen) that's clearly in homage to The Carpenters classic 'Goodbye To Love' outro (nice touch).
Mention of both Cheap Trick and Mike Portnoy leads to the interesting and noticeable use on Brainwashed Generation of both the Trickster’s own drummer Daxx Nielsen, who plays on four of the ten tracks (meaning half-album duties for Enuff Z'nuff drummer Dan Hill) and a number of guest guitarists including Tony Fennell, who features on the rockier 'I Got My Money Where My Mouth Is' (the ex Ultravox musician, who was with Enuff Z’nuff from 2016-2019, has since been replaced by Alex Kane).
While the six-string thrust of Brainwashed Generation is supplied by Tory Stoffregen and Alex Kane, you’ll also hear contributions from Steve Ramone (on the aforementioned 'Fatal Distraction'), Ramone and Brian Ray (on the album’s other slower-paced, slightly Cheap Trickish moment, 'Broken Love') and Ace Frehley on Brainwashed Generation’s weightiest moment, the punky and thick guitar rhythms of 'Drugland Weekend.'
The ridiculously simple and catchy one word chorus of 'Go…' makes for an earwormery slice of mid-tempo power pop that hearkens back to the band’s successes of thirty years ago (before a changing music scene showed no pity on bands such as Enuff Z’nuff) while the beat and groove of 'Winding Road' (with a feisty little guitar solo mid-song and on the outro) makes for a fine closing remark.
The 'New Thing' & 'Flying High Michelle' hits and self-titled debut album successes may be a thing of the late 80s and early 90s charting past for Enuff Z’nuff but this latest offering, along with previous album Diamond Boy (the first studio album not to feature co-founder Donnie Vie) proves there’s Enuff life in the American power-poppers yet to satisfy the latest 80s music loving generation – brainwashed or otherwise.
Ross Muir
FabricationsHQ
There’s also the chance of course that such an intro (from guest keys player Joel Norman) might be underlining that Brainwashed Generation is the current global affairs gospel according to Enuff Z’nuff, through their trademark, primarily mid-tempo softer rock and power-pop hooks ‘n’ harmonies as heard on the likes of 'Help' and the slower paced 'It’s All in Vain.'
The latter number has ever-present, bassist & husky voiced singer Chip Z’nuff singing for the unheard voices ("while the rest of us complain, it’s all in vain... it’s all insane") while musically the song mixes early era Cheap Trick and the Beatles (the latter reinforced by having guest drummer Mike Portnoy feature on a TAMA Ringo/ Beatles replica kit).
'It’s All in Vain' also sports an outro (with tasty little licks from Enuff’s lead guitarist Tory Stoffregen) that's clearly in homage to The Carpenters classic 'Goodbye To Love' outro (nice touch).
Mention of both Cheap Trick and Mike Portnoy leads to the interesting and noticeable use on Brainwashed Generation of both the Trickster’s own drummer Daxx Nielsen, who plays on four of the ten tracks (meaning half-album duties for Enuff Z'nuff drummer Dan Hill) and a number of guest guitarists including Tony Fennell, who features on the rockier 'I Got My Money Where My Mouth Is' (the ex Ultravox musician, who was with Enuff Z’nuff from 2016-2019, has since been replaced by Alex Kane).
While the six-string thrust of Brainwashed Generation is supplied by Tory Stoffregen and Alex Kane, you’ll also hear contributions from Steve Ramone (on the aforementioned 'Fatal Distraction'), Ramone and Brian Ray (on the album’s other slower-paced, slightly Cheap Trickish moment, 'Broken Love') and Ace Frehley on Brainwashed Generation’s weightiest moment, the punky and thick guitar rhythms of 'Drugland Weekend.'
The ridiculously simple and catchy one word chorus of 'Go…' makes for an earwormery slice of mid-tempo power pop that hearkens back to the band’s successes of thirty years ago (before a changing music scene showed no pity on bands such as Enuff Z’nuff) while the beat and groove of 'Winding Road' (with a feisty little guitar solo mid-song and on the outro) makes for a fine closing remark.
The 'New Thing' & 'Flying High Michelle' hits and self-titled debut album successes may be a thing of the late 80s and early 90s charting past for Enuff Z’nuff but this latest offering, along with previous album Diamond Boy (the first studio album not to feature co-founder Donnie Vie) proves there’s Enuff life in the American power-poppers yet to satisfy the latest 80s music loving generation – brainwashed or otherwise.
Ross Muir
FabricationsHQ
Ned Evett – All American Radio
There’s every chance Nashville born musician Ned Evett will forever be known as "the glass guitarist," a nod to his truly original sounding, distinct and self-invented glass-necked fretless guitar work.
Ned Evett is also no slouch on said guitar, as many a noted six-stringer has made mention of including Joe Satriani, who cites Evett as "a monster player."
(Evett, an accomplished animator, created the animated series Crystal Planet with Satriani and comedian-actor-musician Brendon Small).
But there’s also the small matter of some excellent and acclaimed solo albums including ground breaking debut
An Invitation to Fretless Guitar (2000), Afraid4U (2010) and the Adrian Belew produced Treehouse (2012).
The latter features "the Globro," Ned Evett’s fretless, mirrored glass and steel resonator.
Now, four years on from 2016’s live in the studio album Glass Guitar, comes All American Radio.
Co-written with lyricist Cherian Jubilee and mixed by Grammy award winning engineer Ryan Hewitt, All American Radio is a Nashville inspired album that features, for the first time on album, Ned Evett’s "Sliding Glass Capo" invention (Evett also plays mandolin, piano and bass guitar on the album).
The Nashville sound is further enhanced by having Brad Paisley’s pedal steel player, Randle Currie, feature on several of the songs.
The album’s Nashville influences are both immediate and effective on the opening title track, a well-crafted storytelling number (another well-honed Ned Evett trait) that sing-a-longs, slides and pedal steels its way across its three and half minutes.
It’s also the sort of number that should be on all American radio while, perversely, given this is an independent artist who plies his peer acknowledged trade without any hype, hits or who you know leg ups, more likely to be a song you sadly won’t hear on airwave playlists.
Indeed, in a different musical world many of the songs would be on constant country and mainstream radio circulation, including the "Cumberland Gap" pop 'n' roll of 'Holdin’ On Tight,' the finger tapping on a Nashville country bar feel that permeates the delightfully titled 'Fireflies in Your Soul' and Nashville rockabilly roll number, 'Marathon.'
But All American Radio isn’t all Americana hooks and catchy, country-tinged choruses.
Contrast is created through songs such as acoustic, slide and pedal steel ballad 'Don’t Do Nothin’ At All' (its musical charm countered by its lyrical tale of addiction) and the keyboard led 'One More Wedding Bell.'
The latter, which has a touch of Bruce Hornsby about it (no bad thing), comes complete with a lyric that could only appear on such a downtempo, Nashville blues number ("Your life’s in Denver, my butt’s in Tennessee; a year has come and gone with you so far away from me…").
Further colours are provided via the stand up straight, head held high declaration of 'Independence Rock' (Ned Evett’s vocal changing to a deeper, almost exaggerated style) and the short, primarily A Cappella 'My Old Eyes,' where traditional story telling folk is seated within a more contemporary sound setting of atmospheric reverb.
Ned Evett also gets his Nashville blues rock on for 'King of Snakes,' a purposeful and fairly weighty number that features Evett at his storytelling and fretless slide playing best.
It’s also a song crying out to be played live with amps at 11.
Ladies and Gentlemen, Ned Evett, an All American musician who should be on All American Radio.
Ross Muir
FabricationsHQ
All American Radio can be purchased at the artist’s bandcamp page:
https://nedevett.bandcamp.com/album/all-american-radio
Ned Evett is also no slouch on said guitar, as many a noted six-stringer has made mention of including Joe Satriani, who cites Evett as "a monster player."
(Evett, an accomplished animator, created the animated series Crystal Planet with Satriani and comedian-actor-musician Brendon Small).
But there’s also the small matter of some excellent and acclaimed solo albums including ground breaking debut
An Invitation to Fretless Guitar (2000), Afraid4U (2010) and the Adrian Belew produced Treehouse (2012).
The latter features "the Globro," Ned Evett’s fretless, mirrored glass and steel resonator.
Now, four years on from 2016’s live in the studio album Glass Guitar, comes All American Radio.
Co-written with lyricist Cherian Jubilee and mixed by Grammy award winning engineer Ryan Hewitt, All American Radio is a Nashville inspired album that features, for the first time on album, Ned Evett’s "Sliding Glass Capo" invention (Evett also plays mandolin, piano and bass guitar on the album).
The Nashville sound is further enhanced by having Brad Paisley’s pedal steel player, Randle Currie, feature on several of the songs.
The album’s Nashville influences are both immediate and effective on the opening title track, a well-crafted storytelling number (another well-honed Ned Evett trait) that sing-a-longs, slides and pedal steels its way across its three and half minutes.
It’s also the sort of number that should be on all American radio while, perversely, given this is an independent artist who plies his peer acknowledged trade without any hype, hits or who you know leg ups, more likely to be a song you sadly won’t hear on airwave playlists.
Indeed, in a different musical world many of the songs would be on constant country and mainstream radio circulation, including the "Cumberland Gap" pop 'n' roll of 'Holdin’ On Tight,' the finger tapping on a Nashville country bar feel that permeates the delightfully titled 'Fireflies in Your Soul' and Nashville rockabilly roll number, 'Marathon.'
But All American Radio isn’t all Americana hooks and catchy, country-tinged choruses.
Contrast is created through songs such as acoustic, slide and pedal steel ballad 'Don’t Do Nothin’ At All' (its musical charm countered by its lyrical tale of addiction) and the keyboard led 'One More Wedding Bell.'
The latter, which has a touch of Bruce Hornsby about it (no bad thing), comes complete with a lyric that could only appear on such a downtempo, Nashville blues number ("Your life’s in Denver, my butt’s in Tennessee; a year has come and gone with you so far away from me…").
Further colours are provided via the stand up straight, head held high declaration of 'Independence Rock' (Ned Evett’s vocal changing to a deeper, almost exaggerated style) and the short, primarily A Cappella 'My Old Eyes,' where traditional story telling folk is seated within a more contemporary sound setting of atmospheric reverb.
Ned Evett also gets his Nashville blues rock on for 'King of Snakes,' a purposeful and fairly weighty number that features Evett at his storytelling and fretless slide playing best.
It’s also a song crying out to be played live with amps at 11.
Ladies and Gentlemen, Ned Evett, an All American musician who should be on All American Radio.
Ross Muir
FabricationsHQ
All American Radio can be purchased at the artist’s bandcamp page:
https://nedevett.bandcamp.com/album/all-american-radio
Firekind – What I Have Found Is Already Lost (Deluxe Edition)
You can’t accuse Devon based contemporary rock trio Firekind of not giving the album buying public their money’s worth on the self-released reissue of What I Have Found Is Already Lost.
The 2020 pandemic lockdown clearly gave brothers Jas (vocals, guitars) & Dan Morris (bass, keys) and Robin Shute (drums) an opportunity to consider final product contents, because the original 10 track album now sees deserved re-release as a Deluxe Edition, 14 song collection, including bonus tracks and recorded in lockdown acoustic versions.
Recent single, the attention grabbing 'Adrenalin,' opens the album in fine style; it sets the tone with a lyric that’s delivered with conviction, underpinned by angry riffing.
The soaring chorus is a Firekind trademark.
Following number 'Rise Again' is cut from similar cloth but at a slower, less aggressive tempo with suitably anthemic chorus.
'Sound of Rain' then drops the tempo for the verses while featuring an interesting drum pattern on the choruses (original drummer and close friend of the band, Dan Collings, played on the album).
The latter number also features a chorus reminiscent of mid-period Rush (a subtle but evident influence on the band).
'If There’s Any Reason' provides an interesting change of pace with atmospheric verses and lyrics of lost love. In short, an angsty song which works.
'Cry for Help,' which is similarly atmospheric (with a U2 vibe), helps prove Firekind sound better when they are less intense and the focus is more on the song – in this case an emotive be-there-for-you number.
(a case for the too intense prosecution is made by 'Defend,' which sounds like a melange of what has gone before with overly shouty lyrics).
'Coming Out Alive' returns to atmospheric U2 territory but the song also shows the band have a good sense of dynamics.
Following number, the acoustically introduced 'No Stone Unturned,' builds very nicely to show Firekind can also be musically versatile.
'These Are the Thoughts' is early Rush meets Muse, but Firekind manage pull it off (the furious riffing works well here).
The title track, which closed out the album first time around, is a slow burner that builds to a memorable crescendo; it’s also a song that showcases the band at their best.
The shimmering intensity of 'It’s Not Over,' which caught the attention of Planet Rock earlier in the year, is included as a bonus track on the Deluxe Edition.
Interestingly, the simplicity of the acoustic version of 'It’s Not Over' is far more impacting; coupled with the alternative/ acoustic take of 'The Sound of Rain' and reflective, acoustic charm of bonus track 'Have I Not,' it reinforces the earlier comment about Firekind being at their best when not overly intense.
Firekind are a very good band but there are instances of being overly bombastic on songs that don’t need to be to make a sonic impression.
But, make no mistake, on What I Have Found Is Already Lost Firekind have made a sonic impression, one that will hopefully lead to even greater things in the future.
Nelson McFarlane
FabricationsHQ
The 2020 pandemic lockdown clearly gave brothers Jas (vocals, guitars) & Dan Morris (bass, keys) and Robin Shute (drums) an opportunity to consider final product contents, because the original 10 track album now sees deserved re-release as a Deluxe Edition, 14 song collection, including bonus tracks and recorded in lockdown acoustic versions.
Recent single, the attention grabbing 'Adrenalin,' opens the album in fine style; it sets the tone with a lyric that’s delivered with conviction, underpinned by angry riffing.
The soaring chorus is a Firekind trademark.
Following number 'Rise Again' is cut from similar cloth but at a slower, less aggressive tempo with suitably anthemic chorus.
'Sound of Rain' then drops the tempo for the verses while featuring an interesting drum pattern on the choruses (original drummer and close friend of the band, Dan Collings, played on the album).
The latter number also features a chorus reminiscent of mid-period Rush (a subtle but evident influence on the band).
'If There’s Any Reason' provides an interesting change of pace with atmospheric verses and lyrics of lost love. In short, an angsty song which works.
'Cry for Help,' which is similarly atmospheric (with a U2 vibe), helps prove Firekind sound better when they are less intense and the focus is more on the song – in this case an emotive be-there-for-you number.
(a case for the too intense prosecution is made by 'Defend,' which sounds like a melange of what has gone before with overly shouty lyrics).
'Coming Out Alive' returns to atmospheric U2 territory but the song also shows the band have a good sense of dynamics.
Following number, the acoustically introduced 'No Stone Unturned,' builds very nicely to show Firekind can also be musically versatile.
'These Are the Thoughts' is early Rush meets Muse, but Firekind manage pull it off (the furious riffing works well here).
The title track, which closed out the album first time around, is a slow burner that builds to a memorable crescendo; it’s also a song that showcases the band at their best.
The shimmering intensity of 'It’s Not Over,' which caught the attention of Planet Rock earlier in the year, is included as a bonus track on the Deluxe Edition.
Interestingly, the simplicity of the acoustic version of 'It’s Not Over' is far more impacting; coupled with the alternative/ acoustic take of 'The Sound of Rain' and reflective, acoustic charm of bonus track 'Have I Not,' it reinforces the earlier comment about Firekind being at their best when not overly intense.
Firekind are a very good band but there are instances of being overly bombastic on songs that don’t need to be to make a sonic impression.
But, make no mistake, on What I Have Found Is Already Lost Firekind have made a sonic impression, one that will hopefully lead to even greater things in the future.
Nelson McFarlane
FabricationsHQ
Kirk Fletcher – My Blues Pathway
That My Blues Pathway is so good musically should be no surprise to those familiar with Kirk Fletcher – one of the most revered and acclaimed guitarist on The Blues Planet and coming on the back as it does of Fletcher’s 2018 Blues Music Award nominated Hold On.
But that it also tells a story lyrically (most of the songs have a theme of life’s troubles or searching for your niche in a world of strife or difficulty) makes it an even better blues album.
'Ain’t No Cure for the Downhearted' is a funky and soulful slice of Robert Cray at his blues-smooth best but lyrically it immediately sets the theme and tone of the album.
A song/ narrative for a person seeking a cure for their depression (the reality being there "ain’t no cure" other than the one within each of us) the opening number features some delightful, soul-spayed licks from Kirk Fletcher, a player who clearly graduated with Honours from Less is More University.
The slower 'No Place to Go,' featuring swaying horns and some nice organ grooves, is no less impressive in its under-stated but effective guitar-ology.
Following number, the seven minute 'Love is More Than a Word' is a lesson in how less frequently played but perfectly pitched (in both senses) notes can offer so much more than a full fretboard flurry’s worth.
That said Kirk Fletcher goes two or ten notes better a couple of songs later on minor key slow blues 'Heart So Heavy,' the guitarist delivering a couple of sparking and crying solos that complement his soulful voice (one of his best vocal performances on the album).
The semi-autobiographical and B.B. King vibe’d 'Struggle For Grace' is another slow, soul-blues swaying number where horns accentuate and the guitar punctuates before the first of four covers makes an appearance via the funky, up-tempo fun of AC Reed’s 'Rather Fight Than Switch.'
Thematically, two other covers sit perfectly back to back.
Sonny Boy Williamson’s 'Fattening Frogs For Snakes' carries a done working for the benefit of others lyric that fits the album’s profile while the smoother, soul-blues tones of Chris Cain’s 'Place In This World Somewhere' works as a lyrical sequel to the Williamson number, the subject of the song questioning, and looking for, his true place.
My Blues Pathway closes as impressively as it opened with two very different but highly satisfying offerings.
'D Is For Denny' is a cool little shuffle that plays in instrumental tribute to Texas blues guitarist Denny Freeman while 'Life Gave Me a Dirty Deal' is the perfect album closer.
A traditional harmonica ‘n’ guitar blues, 'Life Gave Me a Dirty Deal' (featuring Josh Smith on National Resephonic guitar and Charlie Musselwhite on blues harp) lyrically reinforces the album’s recurring theme.
Now five studio albums (and a live recording) down, award-winning guitarist Kirk Fletcher, who has spent time with the Fabulous Thunderbirds, is a member of The Mannish Boys and been part of Joe Bonamassa’s live band, is most assuredly on the right Blues Pathway.
Ross Muir
FabricationsHQ
But that it also tells a story lyrically (most of the songs have a theme of life’s troubles or searching for your niche in a world of strife or difficulty) makes it an even better blues album.
'Ain’t No Cure for the Downhearted' is a funky and soulful slice of Robert Cray at his blues-smooth best but lyrically it immediately sets the theme and tone of the album.
A song/ narrative for a person seeking a cure for their depression (the reality being there "ain’t no cure" other than the one within each of us) the opening number features some delightful, soul-spayed licks from Kirk Fletcher, a player who clearly graduated with Honours from Less is More University.
The slower 'No Place to Go,' featuring swaying horns and some nice organ grooves, is no less impressive in its under-stated but effective guitar-ology.
Following number, the seven minute 'Love is More Than a Word' is a lesson in how less frequently played but perfectly pitched (in both senses) notes can offer so much more than a full fretboard flurry’s worth.
That said Kirk Fletcher goes two or ten notes better a couple of songs later on minor key slow blues 'Heart So Heavy,' the guitarist delivering a couple of sparking and crying solos that complement his soulful voice (one of his best vocal performances on the album).
The semi-autobiographical and B.B. King vibe’d 'Struggle For Grace' is another slow, soul-blues swaying number where horns accentuate and the guitar punctuates before the first of four covers makes an appearance via the funky, up-tempo fun of AC Reed’s 'Rather Fight Than Switch.'
Thematically, two other covers sit perfectly back to back.
Sonny Boy Williamson’s 'Fattening Frogs For Snakes' carries a done working for the benefit of others lyric that fits the album’s profile while the smoother, soul-blues tones of Chris Cain’s 'Place In This World Somewhere' works as a lyrical sequel to the Williamson number, the subject of the song questioning, and looking for, his true place.
My Blues Pathway closes as impressively as it opened with two very different but highly satisfying offerings.
'D Is For Denny' is a cool little shuffle that plays in instrumental tribute to Texas blues guitarist Denny Freeman while 'Life Gave Me a Dirty Deal' is the perfect album closer.
A traditional harmonica ‘n’ guitar blues, 'Life Gave Me a Dirty Deal' (featuring Josh Smith on National Resephonic guitar and Charlie Musselwhite on blues harp) lyrically reinforces the album’s recurring theme.
Now five studio albums (and a live recording) down, award-winning guitarist Kirk Fletcher, who has spent time with the Fabulous Thunderbirds, is a member of The Mannish Boys and been part of Joe Bonamassa’s live band, is most assuredly on the right Blues Pathway.
Ross Muir
FabricationsHQ
Rory Gallagher – Check Shirt Wizard - Live in ‘77
In 2019 the Gallagher Estate collated and released, through Chess/ UMC, the all-encompassing and 90% previously unreleased 3CD collection Blues in celebration of what would have been the late and still revered Rory Gallagher’s 50th recording year.
Blues followed in the posthumous footsteps of the acoustic collection Wheels Within Wheels and 2CD set Notes From San Francisco, which included Rory Gallagher’s completed but never released studio album of 1977.
All three are excellent releases but with Check Shirt Wizard - Live in ’77 the Gallagher Estate, again through Chess/ UMC, has delivered the definitive, full performance statement of what Rory Gallagher was all about in the environment he excelled in.
Check Shirt Wizard (a nod to the fact the Irish six-string magician usually performed in casual, lumberjack styled shirts) is a superbly collated two hour set culled from four shows (Brighton, London, Sheffield and Newcastle) on Rory Gallagher’s January-February tour of the UK in 1977.
The album also showcases Rory Gallagher at the top of his game and in four-piece band arrangement, a format he favoured from late 1972 to mid 1978 with band members Lou Martin (organ & electric piano), bassist Gerry McAvoy and drummer Ron de’Ath (McAvoy & de'Ath weren't just a superb rhythm section, they were a smokin’ blues hot engine room).
Nor was Rory Gallagher ever one for dry ice, intro music, lights down and explosive openings.
More comfortable just plugging in after a quick introduction and getting on with it, the gritty mid-tempo strains of 'Do You Read Me' (the opening track of then current album Calling Card) makes for as impacting a start as any of his more up-tempo or faster-paced songs would have, such as the blistering but ultra-tight rendition of 'Moonchild' that follows.
Additionally, no two sets were ever exactly the same, either in rigid set-list terms or where Rory Gallagher might go with a particular song any given night.
Gallagher would happily extend a song with those trademark slide skills or wicked blues licks he made look, and sound, so easy (here a seven-and-a-half minute 'Bought and Sold' and an eight minute take of 'Walk On Hot Coals,' Lou Martin to the organ swirling fore, are excellent examples).
All of which makes this collection of 20 songs across two hours and four different shows so engrossing and entertaining.
It really is all the blues shades of Rory Gallagher in one sitting, from atmospheric blues statement 'A Million Miles Away' to a raucous, nine-and-a-half minute 'Bullfrog Blues' and trademark acoustic moments 'Out On the Western Plain,' 'Barley & Grape Rag,' 'Pistol Slapper Blues,' 'Too Much Alcohol' and the mandolin stomp of 'Going to My Hometown' where the band, behind some great ragtime piano, slowly reappear.
Indeed it’s when the band are firing on all four blues charged cylinders you are reminded of just how high energy and musically incandescent Gallagher & Co were – 'Secret Agent' is a highly charged riff and wild slide affair while 'Souped-Up Ford' is powered by a rhythm section in top gear, fuel injected electric piano and a turbo-charged slide & battered Strat.
By the time final encore number 'Country Mile' comes rattlin' down the tracks you feel as if you’re soaked in the perspiration that would have been stuck to your tour tee-shirt at the actual gig/s.
Forty-three years after it was performed and recorded and a quarter of a century after his untimely passing, the check shirted wizard and his band of the time have delivered the best blues/ rock live album you’ll hear this year.
Rory on, blues brothers and sisters.
Ross Muir
FabricationsHQ
Blues followed in the posthumous footsteps of the acoustic collection Wheels Within Wheels and 2CD set Notes From San Francisco, which included Rory Gallagher’s completed but never released studio album of 1977.
All three are excellent releases but with Check Shirt Wizard - Live in ’77 the Gallagher Estate, again through Chess/ UMC, has delivered the definitive, full performance statement of what Rory Gallagher was all about in the environment he excelled in.
Check Shirt Wizard (a nod to the fact the Irish six-string magician usually performed in casual, lumberjack styled shirts) is a superbly collated two hour set culled from four shows (Brighton, London, Sheffield and Newcastle) on Rory Gallagher’s January-February tour of the UK in 1977.
The album also showcases Rory Gallagher at the top of his game and in four-piece band arrangement, a format he favoured from late 1972 to mid 1978 with band members Lou Martin (organ & electric piano), bassist Gerry McAvoy and drummer Ron de’Ath (McAvoy & de'Ath weren't just a superb rhythm section, they were a smokin’ blues hot engine room).
Nor was Rory Gallagher ever one for dry ice, intro music, lights down and explosive openings.
More comfortable just plugging in after a quick introduction and getting on with it, the gritty mid-tempo strains of 'Do You Read Me' (the opening track of then current album Calling Card) makes for as impacting a start as any of his more up-tempo or faster-paced songs would have, such as the blistering but ultra-tight rendition of 'Moonchild' that follows.
Additionally, no two sets were ever exactly the same, either in rigid set-list terms or where Rory Gallagher might go with a particular song any given night.
Gallagher would happily extend a song with those trademark slide skills or wicked blues licks he made look, and sound, so easy (here a seven-and-a-half minute 'Bought and Sold' and an eight minute take of 'Walk On Hot Coals,' Lou Martin to the organ swirling fore, are excellent examples).
All of which makes this collection of 20 songs across two hours and four different shows so engrossing and entertaining.
It really is all the blues shades of Rory Gallagher in one sitting, from atmospheric blues statement 'A Million Miles Away' to a raucous, nine-and-a-half minute 'Bullfrog Blues' and trademark acoustic moments 'Out On the Western Plain,' 'Barley & Grape Rag,' 'Pistol Slapper Blues,' 'Too Much Alcohol' and the mandolin stomp of 'Going to My Hometown' where the band, behind some great ragtime piano, slowly reappear.
Indeed it’s when the band are firing on all four blues charged cylinders you are reminded of just how high energy and musically incandescent Gallagher & Co were – 'Secret Agent' is a highly charged riff and wild slide affair while 'Souped-Up Ford' is powered by a rhythm section in top gear, fuel injected electric piano and a turbo-charged slide & battered Strat.
By the time final encore number 'Country Mile' comes rattlin' down the tracks you feel as if you’re soaked in the perspiration that would have been stuck to your tour tee-shirt at the actual gig/s.
Forty-three years after it was performed and recorded and a quarter of a century after his untimely passing, the check shirted wizard and his band of the time have delivered the best blues/ rock live album you’ll hear this year.
Rory on, blues brothers and sisters.
Ross Muir
FabricationsHQ
Gallows Circus – II EP
Kent based foursome Gallows Circus showcased their classic & contemporary rock meets blues/ boogie/ heavy ballad influences on their ear-catching, self-titled 5 track debut EP released in 2017.
The Gallows Circus EP presented a promising set of songs (including the light and heavy shade of standout track 'Bones to Pick') from a promising band, with vocalist Ian Day in particular delivering strong performances.
But while a good sense of dynamics and some original riffage were also on display, the EP sounded like a band searching for their own identity.
A couple of single releases – 2018’s muscly, tempo changing 'Faith to Believe' and last year’s heavy boogie number, 'Shotgun With the Devil,' maintained and complemented the standard set by the EP.
The band – Ian Day (vocals, harmonica), Steve Kitchener (drums), Ben Atwood (guitar), Richard Tunbridge (bass) – have now released a second EP, simply and fittingly entitled II.
The good news is it highlights a set of songs, and a band, that are sounding altogether more assured.
Opener 'Hell’s Whisky' includes some down ‘n’ dirty riffing, a strong chorus and the first sign that guitarist Ben Atwood is to be more centre stage.
The number (here including a shorter Radio Edit version) also demonstrates how tight a band this is with unison riffs and sudden stop-start breaks – something that is becoming an early trademark of the band.
Following number 'Medicine Man' ups the riffage ante and delivers more of the tight stop-starts (maybe not every number, guys) before 'Who Cares' steps up to boogie on down with a side order of funk and another strong chorus.
'Bring Your Crucifix,' a heads-down grungy rocker, features some excellent riffing and another great vocal performance.
Contrast is provided by EP closer 'Hunt You Down,' which opens with acoustic guitar before morphing into an air punching number that should go down well at live gigs (whenever they might return).
The latter song is also reminiscent of Bon Jovi ('Dead Or Alive' period) and Thunder, but the band’s influences are perhaps more defined by the likes of Led Zeppelin, Blackstone Cherry and some nu-metal/grunge.
The resurgence in classic rock/ blues-rock has led to a lot of bands ploughing a similar furrow, which can lead do a bit of a crapshoot for even the most promising of acts.
But beyond the quality of material, Gallows Circus have three Ace cards up their record sleeve – their riffs, the vocals and band tightness.
Which means when a debut album does comes around it and Gallows Circus should, hopefully, be able to separate themselves from the pack.
Nelson McFarlane
FabricationsHQ
The Gallows Circus EP presented a promising set of songs (including the light and heavy shade of standout track 'Bones to Pick') from a promising band, with vocalist Ian Day in particular delivering strong performances.
But while a good sense of dynamics and some original riffage were also on display, the EP sounded like a band searching for their own identity.
A couple of single releases – 2018’s muscly, tempo changing 'Faith to Believe' and last year’s heavy boogie number, 'Shotgun With the Devil,' maintained and complemented the standard set by the EP.
The band – Ian Day (vocals, harmonica), Steve Kitchener (drums), Ben Atwood (guitar), Richard Tunbridge (bass) – have now released a second EP, simply and fittingly entitled II.
The good news is it highlights a set of songs, and a band, that are sounding altogether more assured.
Opener 'Hell’s Whisky' includes some down ‘n’ dirty riffing, a strong chorus and the first sign that guitarist Ben Atwood is to be more centre stage.
The number (here including a shorter Radio Edit version) also demonstrates how tight a band this is with unison riffs and sudden stop-start breaks – something that is becoming an early trademark of the band.
Following number 'Medicine Man' ups the riffage ante and delivers more of the tight stop-starts (maybe not every number, guys) before 'Who Cares' steps up to boogie on down with a side order of funk and another strong chorus.
'Bring Your Crucifix,' a heads-down grungy rocker, features some excellent riffing and another great vocal performance.
Contrast is provided by EP closer 'Hunt You Down,' which opens with acoustic guitar before morphing into an air punching number that should go down well at live gigs (whenever they might return).
The latter song is also reminiscent of Bon Jovi ('Dead Or Alive' period) and Thunder, but the band’s influences are perhaps more defined by the likes of Led Zeppelin, Blackstone Cherry and some nu-metal/grunge.
The resurgence in classic rock/ blues-rock has led to a lot of bands ploughing a similar furrow, which can lead do a bit of a crapshoot for even the most promising of acts.
But beyond the quality of material, Gallows Circus have three Ace cards up their record sleeve – their riffs, the vocals and band tightness.
Which means when a debut album does comes around it and Gallows Circus should, hopefully, be able to separate themselves from the pack.
Nelson McFarlane
FabricationsHQ
Steve Hackett - Selling England By The Pound & Spectral Mornings:
Live at Hammersmith (2CD&DVD)
Live at Hammersmith (2CD&DVD)
Selling England By The Pound is viewed by many fans and most music critics as Genesis’s finest (near) hour of their full blown, Peter Gabriel costumed progressive-era.
Some go further to cite it as their best album full prog-stop.
Steve Hackett, ex Genesis guitarist and a renowned and highly respected player of said instrument, would agree, having said on more than one occasion it’s his favourite Genesis album of all those he was part of.
More importantly, by playing the album in its entity on the 2019 Selling England By the Pound & Spectral Mornings tour, and as filmed and recorded at the Hammersmith Apollo in London, Steve Hackett offers proof (if proof still be needed) he had a significant part to play in that classic 70s Genesis sound.
But Steve Hackett would also be the first to tell you the annual Genesis Revisited & Classic Hackett tours are not all about the bloke in the middle with the guitar.
Top musicianship is required to so brilliantly deliver both the Genesis material and Hackett’s multi-faceted solo work, here courtesy of Roger King (keyboards), Rob Townsend (multi-instrumentation, vocals), Nad Sylvan (vocals) Jonas Reingold (bass, guitars, vocals), Craig Blundell (drums, vocals) and special guest Amanda Lehmann (guitars, vocals).
The 2019 tour was a win-win for the Hackett faithful.
As the tour name advertises, alongside Selling England were a selection of cuts from fan (and artist) favourite solo album Spectral Mornings, which celebrated its 40th anniversary in 2019.
It’s therefore fitting that six Spectral Morning songs grace this set, including vibrant vocal pop/ melodic rock hybrid 'Everyday' (show opener and a set staple), the acoustically led charm of 'The Virgin and The Gypsy' and the even more delicate 'The Red Flower of Tai Chi Blooms Everywhere' (the latter pair also feature Steve Hackett’s brother John on flute).
The uplifting grace of the album’s instrumental title track, featuring Steve Hackett in full melodic flow, is a highlight of any Hackett set while 'Clocks,' and the drum solo within, show that Craig Blundell is an able replacement for previous percussive mainstay Gary O’Toole.
Other Hackett highlights, standing as musically tall as any Spectral Morning number, are three songs from current solo album At the Edge of Light, including the pacey, four-harmony voiced 'Under the Eye of the Sun' and 'Beasts in Our Time,' the latter a sweeping, atmospheric piece that features soft, almost lullaby vocal passages and a romping, heavy rock closing section.
There is no denying however the majority of fans and concert goers came out to see and hear England being sold by, pound-for pound, a band that’s as good as any on the circuit.
From Ned Sylvan’s spookily Gabriel-esque "Can you tell me where my country lies?" intro to the progtastic 'Dancing With the Moonlit Knight' and the off-kilter fun of 'I Know What I Like' (with new, cool saxophone blowin’ jazz sequence) to the ever-captivating 'Firth of Fifth' and on to progressive tour-de-force 'The Cinema Show,' Selling England By the Pound was given a dusted down and freshened up outing none in attendance or hearing/ watching this CD/ DVD should quickly forget.
As icing on the Selling England cake the album performance culminates with 'Déjà Vu,' a lovely, atmospheric ballad developed by Peter Gabriel and Steve Hackett for the album but never finished – later completed by Hackett for his 1996 Genesis Revisited studio album.
'Dance on a Volcano' and a jazzier reworking of 'Los Endos' from Trick of the Tail ensure the latest Genesis revisit is wrapped up in the finest of 2+ hour fashion to close out another stellar performance from Steve Hackett and his band.
Classic Hackett. Classy Hackett.
Ross Muir
FabricationsHQ
Some go further to cite it as their best album full prog-stop.
Steve Hackett, ex Genesis guitarist and a renowned and highly respected player of said instrument, would agree, having said on more than one occasion it’s his favourite Genesis album of all those he was part of.
More importantly, by playing the album in its entity on the 2019 Selling England By the Pound & Spectral Mornings tour, and as filmed and recorded at the Hammersmith Apollo in London, Steve Hackett offers proof (if proof still be needed) he had a significant part to play in that classic 70s Genesis sound.
But Steve Hackett would also be the first to tell you the annual Genesis Revisited & Classic Hackett tours are not all about the bloke in the middle with the guitar.
Top musicianship is required to so brilliantly deliver both the Genesis material and Hackett’s multi-faceted solo work, here courtesy of Roger King (keyboards), Rob Townsend (multi-instrumentation, vocals), Nad Sylvan (vocals) Jonas Reingold (bass, guitars, vocals), Craig Blundell (drums, vocals) and special guest Amanda Lehmann (guitars, vocals).
The 2019 tour was a win-win for the Hackett faithful.
As the tour name advertises, alongside Selling England were a selection of cuts from fan (and artist) favourite solo album Spectral Mornings, which celebrated its 40th anniversary in 2019.
It’s therefore fitting that six Spectral Morning songs grace this set, including vibrant vocal pop/ melodic rock hybrid 'Everyday' (show opener and a set staple), the acoustically led charm of 'The Virgin and The Gypsy' and the even more delicate 'The Red Flower of Tai Chi Blooms Everywhere' (the latter pair also feature Steve Hackett’s brother John on flute).
The uplifting grace of the album’s instrumental title track, featuring Steve Hackett in full melodic flow, is a highlight of any Hackett set while 'Clocks,' and the drum solo within, show that Craig Blundell is an able replacement for previous percussive mainstay Gary O’Toole.
Other Hackett highlights, standing as musically tall as any Spectral Morning number, are three songs from current solo album At the Edge of Light, including the pacey, four-harmony voiced 'Under the Eye of the Sun' and 'Beasts in Our Time,' the latter a sweeping, atmospheric piece that features soft, almost lullaby vocal passages and a romping, heavy rock closing section.
There is no denying however the majority of fans and concert goers came out to see and hear England being sold by, pound-for pound, a band that’s as good as any on the circuit.
From Ned Sylvan’s spookily Gabriel-esque "Can you tell me where my country lies?" intro to the progtastic 'Dancing With the Moonlit Knight' and the off-kilter fun of 'I Know What I Like' (with new, cool saxophone blowin’ jazz sequence) to the ever-captivating 'Firth of Fifth' and on to progressive tour-de-force 'The Cinema Show,' Selling England By the Pound was given a dusted down and freshened up outing none in attendance or hearing/ watching this CD/ DVD should quickly forget.
As icing on the Selling England cake the album performance culminates with 'Déjà Vu,' a lovely, atmospheric ballad developed by Peter Gabriel and Steve Hackett for the album but never finished – later completed by Hackett for his 1996 Genesis Revisited studio album.
'Dance on a Volcano' and a jazzier reworking of 'Los Endos' from Trick of the Tail ensure the latest Genesis revisit is wrapped up in the finest of 2+ hour fashion to close out another stellar performance from Steve Hackett and his band.
Classic Hackett. Classy Hackett.
Ross Muir
FabricationsHQ
Harem Scarem – Change the World
It never fails to (pleasantly) surprise just how ridiculously good and consistently strong Harem Scarem product is,
especially given the Canadian melodic rockers don’t ever reinvent their four wheel drive of melodic hooks, huge harmonies, catchy riffs and even catchier choruses.
But such consistency and quality is a testament to how strong a team the songwriting heart and musical soul of the band – Harry Hess (vocals, keyboards) and Pete Lesperance (guitars) – actually are; a musical partnership these last thirty years (less a five year hiatus) that has produced fifteen studio albums, sixteen when including Mood Swings 2 (the 2013 re-record of the band’s classic 1992 sophomore release).
Change The world, which also features long-time drummer Creighton Doane (with original drummer Darren Smith on hand to add backing vocals) and bassist Mike Vassos, is a melodically shining example of that quality.
In terms of sound, style and substance it’s not that far removed from previous studio offering United but the strength of songwriting guarantees a fresh and at times truly invigorating musicality within a well-worn genre and not United Part 2.
For proof look (or rather listen) no further than the opening number and title track.
A sonically bristling, contemporary slice of mid-tempo melodic power rock that is part rallying cry and part song of hope, 'Change the World' lyrically resonates in a world of power mongering, greed, us and them politics and global pandemics.
"You and I are gonna change the world!" proudly and defiantly sings Harry Hess.
If only Harry; if only.
'Aftershock' (with a tasty little solo from Pete Lesperance; one of many sprinkled throughout the album) is the melodically rocking counter-point to 'Change the World' (the hope we are still walking on solid ground if we don’t sort ourselves out) while 'Searching For Meaning' is quintessential Harem Scarem, nodding to both melodic rock of the past and the thicker guitar sounding present.
The light and shade of Harem Scarem is highlighted on following brace 'The Death of Me' and 'Mother of Invention.'
The former is an edgy (musically and vocally), "pushed to the limit" guitars up front number while the latter is a keyboard and vocal led ballad that builds to become an admittedly predictable once lighters now backlit iPhones in the air number but, hey, that’s part of the territory and Harem Scarem plant their flag in that musical ground as well as any.
The second half of the album is no less impressive, from the atmospheric verses of the deceptively hooky 'No Man’s Land' and AOR sheen of 'In The Unknown' to the positively rockin’ 'Riot In My Head' and on to obligatory melodic power ballad 'No Me Without You' (get the backlit iPhones back out and above those heads, 80s melodic rock lovers).
Completed by the muscly and pacey 'Fire & Gasoline' and equally weighty album closer 'Swallowed by the Machine' Harem Scarem haven’t just reinforced that "ridiculously good and consistently strong" statement that opened this review, they’ve delivered one of the best albums of their career.
Ross Muir
FabricationsHQ
especially given the Canadian melodic rockers don’t ever reinvent their four wheel drive of melodic hooks, huge harmonies, catchy riffs and even catchier choruses.
But such consistency and quality is a testament to how strong a team the songwriting heart and musical soul of the band – Harry Hess (vocals, keyboards) and Pete Lesperance (guitars) – actually are; a musical partnership these last thirty years (less a five year hiatus) that has produced fifteen studio albums, sixteen when including Mood Swings 2 (the 2013 re-record of the band’s classic 1992 sophomore release).
Change The world, which also features long-time drummer Creighton Doane (with original drummer Darren Smith on hand to add backing vocals) and bassist Mike Vassos, is a melodically shining example of that quality.
In terms of sound, style and substance it’s not that far removed from previous studio offering United but the strength of songwriting guarantees a fresh and at times truly invigorating musicality within a well-worn genre and not United Part 2.
For proof look (or rather listen) no further than the opening number and title track.
A sonically bristling, contemporary slice of mid-tempo melodic power rock that is part rallying cry and part song of hope, 'Change the World' lyrically resonates in a world of power mongering, greed, us and them politics and global pandemics.
"You and I are gonna change the world!" proudly and defiantly sings Harry Hess.
If only Harry; if only.
'Aftershock' (with a tasty little solo from Pete Lesperance; one of many sprinkled throughout the album) is the melodically rocking counter-point to 'Change the World' (the hope we are still walking on solid ground if we don’t sort ourselves out) while 'Searching For Meaning' is quintessential Harem Scarem, nodding to both melodic rock of the past and the thicker guitar sounding present.
The light and shade of Harem Scarem is highlighted on following brace 'The Death of Me' and 'Mother of Invention.'
The former is an edgy (musically and vocally), "pushed to the limit" guitars up front number while the latter is a keyboard and vocal led ballad that builds to become an admittedly predictable once lighters now backlit iPhones in the air number but, hey, that’s part of the territory and Harem Scarem plant their flag in that musical ground as well as any.
The second half of the album is no less impressive, from the atmospheric verses of the deceptively hooky 'No Man’s Land' and AOR sheen of 'In The Unknown' to the positively rockin’ 'Riot In My Head' and on to obligatory melodic power ballad 'No Me Without You' (get the backlit iPhones back out and above those heads, 80s melodic rock lovers).
Completed by the muscly and pacey 'Fire & Gasoline' and equally weighty album closer 'Swallowed by the Machine' Harem Scarem haven’t just reinforced that "ridiculously good and consistently strong" statement that opened this review, they’ve delivered one of the best albums of their career.
Ross Muir
FabricationsHQ
Jo Harman – Signature Soul EP
Rootsy soul-blues singer Jo Harman’s ability to captivate with a gospel framed ballad or an up-tempo soul-pop/ soul-rock number is not in question.
Debut studio album Dirt on My Tongue and impressive follow-up People We Become are vocal & musical proof of that, as are live performances as captured on Live at Hideaway and the singer's Live at The Royal Albert Hall Bluesfest set.
But how does the soulful songstress deliver in a more impromptu, limited take, live in the studio environment?
The answer, via Signature Soul, is very impressively indeed.
The EP, recorded at Masterlink studios in Surrey, features Jo Harman and the Funkestra House Band, collectively the talents of Stefan Redtenbacher (bass, bandleader), Mike Outram (guitar, backing vocals), Ross Stanley (Hammond organ, Fender Rhodes) and Mike Sturgis (drums, percussion).
A three-take session (take one the agree-the-parts run through; take two the test run), the unedited third take captured and filmed as Signature Soul showcases Jo Harman at her soulful best; vocally uninhibited yet beautifully controlled.
The light and drifting slow soul-pop of 'Keep You Guessing' and the funkier vibe that clothes 'Say That You Want Me' (the latter featuring James Welch on backing vocals and a little Allman Brothers appeal courtesy of Mike Outram’s guitar licks) are original song winners but touching ballad 'The Angel Leaves Her Watermark' is Jo Harman at her emotive, vocally rising best.
Opening number 'Don’t Let Me Down' certainly needs no introduction; nor is it any surprise the band don’t stray too far from the Beatles arrangement.
The major difference is the soul-pop number now becomes soul-gospel; Jo Harman’s soul-stirring vocal is sympathetically backed by some great, gospel-Hammond from Ross Stanley.
As strong a quartet as the above songs are, the pick of the bunch is final track 'Loving Arms,' a six minute interpretation of Tom Jans oft-covered country-folk song (most famously, and firstly, by Kris Kristofferson and Rita Coolidge).
Here the song retains its country sensibility (more as a subtle undercurrent) but, in the six-string hands of Mike Outram and the delicate keyboard accompaniment from Ross Stanley, it becomes the perfect gospel-soul vehicle for Jo Harman’s impacting vocal.
For the record collector, or those that want to hear more of Jo Harman and the Funkestra collective, the vinyl edition of Signature Soul includes the Masterlink Session recordings of Harman and Redtenbacher’s Funkestra covering Hamish Stuart’s 'Cloudy' (a stripped back version also appears on Harman’s Found a Place EP) and a soul-jazz re-interpretation of Van Morrison’s 'Cyprus Avenue.'
But whether five tracks or seven, it’s Signature Soul from a Signature Voice.
Ross Muir
FabricationsHQ
Signature Soul is available as a CD, CD/DVD (Including videos of each song and mini-documentary) and vinyl (with two bonus tracks). You can purchase directly from the artist’s website: https://joharman.com/shop/
Debut studio album Dirt on My Tongue and impressive follow-up People We Become are vocal & musical proof of that, as are live performances as captured on Live at Hideaway and the singer's Live at The Royal Albert Hall Bluesfest set.
But how does the soulful songstress deliver in a more impromptu, limited take, live in the studio environment?
The answer, via Signature Soul, is very impressively indeed.
The EP, recorded at Masterlink studios in Surrey, features Jo Harman and the Funkestra House Band, collectively the talents of Stefan Redtenbacher (bass, bandleader), Mike Outram (guitar, backing vocals), Ross Stanley (Hammond organ, Fender Rhodes) and Mike Sturgis (drums, percussion).
A three-take session (take one the agree-the-parts run through; take two the test run), the unedited third take captured and filmed as Signature Soul showcases Jo Harman at her soulful best; vocally uninhibited yet beautifully controlled.
The light and drifting slow soul-pop of 'Keep You Guessing' and the funkier vibe that clothes 'Say That You Want Me' (the latter featuring James Welch on backing vocals and a little Allman Brothers appeal courtesy of Mike Outram’s guitar licks) are original song winners but touching ballad 'The Angel Leaves Her Watermark' is Jo Harman at her emotive, vocally rising best.
Opening number 'Don’t Let Me Down' certainly needs no introduction; nor is it any surprise the band don’t stray too far from the Beatles arrangement.
The major difference is the soul-pop number now becomes soul-gospel; Jo Harman’s soul-stirring vocal is sympathetically backed by some great, gospel-Hammond from Ross Stanley.
As strong a quartet as the above songs are, the pick of the bunch is final track 'Loving Arms,' a six minute interpretation of Tom Jans oft-covered country-folk song (most famously, and firstly, by Kris Kristofferson and Rita Coolidge).
Here the song retains its country sensibility (more as a subtle undercurrent) but, in the six-string hands of Mike Outram and the delicate keyboard accompaniment from Ross Stanley, it becomes the perfect gospel-soul vehicle for Jo Harman’s impacting vocal.
For the record collector, or those that want to hear more of Jo Harman and the Funkestra collective, the vinyl edition of Signature Soul includes the Masterlink Session recordings of Harman and Redtenbacher’s Funkestra covering Hamish Stuart’s 'Cloudy' (a stripped back version also appears on Harman’s Found a Place EP) and a soul-jazz re-interpretation of Van Morrison’s 'Cyprus Avenue.'
But whether five tracks or seven, it’s Signature Soul from a Signature Voice.
Ross Muir
FabricationsHQ
Signature Soul is available as a CD, CD/DVD (Including videos of each song and mini-documentary) and vinyl (with two bonus tracks). You can purchase directly from the artist’s website: https://joharman.com/shop/
Hawkwind – Carnivorous
When is a Hawkwind album not a Hawkwind album but still very much Hawkwind?
Actually there have been a fair few such instances from the now legendary and seemingly ageless space rockers.
There’s the Hawklords of the late 70s, the early 80s Church of Hawkwind and the 1995 Psychedelic Warriors for a start (the former was short-lived name change for legal reasons; the latter pair were intentional as the related albums were, even by Hawkwind standards, musical departures for the band).
There was also the album Spacebrock in 2000 (a de facto solo album from ever-present Captain of the good ship Hawkwind, Dave Brock) and, in 2012, Stellar Variations, attributed to the Hawkwind Light Orchestra (Brock, long standing ‘Hawk drummer Richard Chadwick and bassist/ keyboardist Niall Hone).
And now Carnivorous, the second album to carry the HLO moniker, this time in the three-piece shape of Dave Brock, Richard Chadwick and Magnus Martin (here adding additional guitars and vocals), who joined the band in 2017.
Carnivorous is also cleverly, and topically, named.
As many will have worked out, the title is an anagram of Coronavirus, the concerning and, at time of this review, still spreading pandemic that has dominated the news, life and sadly, many deaths of 2020 (the album itself was recorded during the UK’s lockdown period in the spring of the year).
It’s also an issue that’s not lost on Dave Brock within the space-grooves of this second HLO offering – two of the most striking numbers on the 15 track, 70 minute album are the back to back pairing of 'Lockdown (Keep Calm)' and 'The Virus.'
'Lockdown' is a more tongue-in-cheek ‘Stay Calm! Stay Home!” nod to the band’s Michael Moorcock penned 'Sonic Attack' while 'The Virus,' an intense, ten minute piece, is far darker in tone.
Through a fast-paced Dave Brock lyrical narrative, 'The Virus' considers the possibility of the pandemic being (the start of) an end-game brought on by the errors of the human race ("Is this how it’s going to end?").
Elsewhere it’s Hawkwind business as usual, and business has been good for a revitalised band who had chart success with the conceptual brace of The Machine Stops (2016) and Into the Woods (2017) and critically acclaimed, 50th Anniversary album, All Aboard the Skylark in 2019.
The eerie opening of 'Expedition to Planet X' quickly gives way to trademark Hawk-rock on 'Dyna-mite,' which interestingly comes across as HLO meets a space-rock version of mid-70s EL0.
Following number, 'Void of Wasteland,' is quintessential instrumental Hawkwind, Dave Brock’s guitar flitting and floating atop a pulsating, synth blanketed rhythm.
The bass driving, guitar up front blasts of 'Human Behaviour (No Sex Allowed)' is Hawkwind/ HLO in full blown space-punk mode while 'Windy Day' is a decidedly quirky take on where we may be headed ("a change is approaching there’s no holding back, you cannot wait for the sonic attack").
Providing contrast are 'Model Farm Blues,' a near eight minute Hawkwind harmonica space blues, and 'Forgotten Memories,' a busy and (intentionally?) cluttered piece that lyrically reflects on the distressing effects of Alzheimer’s disease.
Closing out with the uplifting and space funky 'Higher Ground,' Carnivorous is another winner in the recent run of worthy Hawkwind releases, whatever the name be on the cover.
Carnivorous? Carnimarvellous.
Ross Muir
FabricationsHQ
Actually there have been a fair few such instances from the now legendary and seemingly ageless space rockers.
There’s the Hawklords of the late 70s, the early 80s Church of Hawkwind and the 1995 Psychedelic Warriors for a start (the former was short-lived name change for legal reasons; the latter pair were intentional as the related albums were, even by Hawkwind standards, musical departures for the band).
There was also the album Spacebrock in 2000 (a de facto solo album from ever-present Captain of the good ship Hawkwind, Dave Brock) and, in 2012, Stellar Variations, attributed to the Hawkwind Light Orchestra (Brock, long standing ‘Hawk drummer Richard Chadwick and bassist/ keyboardist Niall Hone).
And now Carnivorous, the second album to carry the HLO moniker, this time in the three-piece shape of Dave Brock, Richard Chadwick and Magnus Martin (here adding additional guitars and vocals), who joined the band in 2017.
Carnivorous is also cleverly, and topically, named.
As many will have worked out, the title is an anagram of Coronavirus, the concerning and, at time of this review, still spreading pandemic that has dominated the news, life and sadly, many deaths of 2020 (the album itself was recorded during the UK’s lockdown period in the spring of the year).
It’s also an issue that’s not lost on Dave Brock within the space-grooves of this second HLO offering – two of the most striking numbers on the 15 track, 70 minute album are the back to back pairing of 'Lockdown (Keep Calm)' and 'The Virus.'
'Lockdown' is a more tongue-in-cheek ‘Stay Calm! Stay Home!” nod to the band’s Michael Moorcock penned 'Sonic Attack' while 'The Virus,' an intense, ten minute piece, is far darker in tone.
Through a fast-paced Dave Brock lyrical narrative, 'The Virus' considers the possibility of the pandemic being (the start of) an end-game brought on by the errors of the human race ("Is this how it’s going to end?").
Elsewhere it’s Hawkwind business as usual, and business has been good for a revitalised band who had chart success with the conceptual brace of The Machine Stops (2016) and Into the Woods (2017) and critically acclaimed, 50th Anniversary album, All Aboard the Skylark in 2019.
The eerie opening of 'Expedition to Planet X' quickly gives way to trademark Hawk-rock on 'Dyna-mite,' which interestingly comes across as HLO meets a space-rock version of mid-70s EL0.
Following number, 'Void of Wasteland,' is quintessential instrumental Hawkwind, Dave Brock’s guitar flitting and floating atop a pulsating, synth blanketed rhythm.
The bass driving, guitar up front blasts of 'Human Behaviour (No Sex Allowed)' is Hawkwind/ HLO in full blown space-punk mode while 'Windy Day' is a decidedly quirky take on where we may be headed ("a change is approaching there’s no holding back, you cannot wait for the sonic attack").
Providing contrast are 'Model Farm Blues,' a near eight minute Hawkwind harmonica space blues, and 'Forgotten Memories,' a busy and (intentionally?) cluttered piece that lyrically reflects on the distressing effects of Alzheimer’s disease.
Closing out with the uplifting and space funky 'Higher Ground,' Carnivorous is another winner in the recent run of worthy Hawkwind releases, whatever the name be on the cover.
Carnivorous? Carnimarvellous.
Ross Muir
FabricationsHQ
Hawkwind – 50th Anniversary Live
Having delivered Carnivorous as a remote and light (orchestra) version of themselves Hawkwind then saw the year out with 50th Anniversary Live, recorded during the celebratory November 2019 UK tour and prestigious final show at The Royal Albert Hall.
During the tour, and as confirmed on the live album, the band didn’t put much of a musical foot wrong across the entire one hundred minute set.
Nor did it hurt that the current line-up of ever-present and (then) 78 years young Dave Brock, veteran 'Hawk drummer Richard Chadwick, bassist/ keyboardist/ vocalist Niall Hone and latest recruit, keyboardist/ guitarist/ vocalist Magnus Martin (with the band since 2016) were joined by Hawkwind musical associate Tim Blake and, guesting at The Royal Albert Hall show, guitarist Phil Campbell.
Guest returnee Tim Blake features on keytar but truly comes in to his space rocking own when adding his atmospheric and sonically sculptured Theremin pitches; Phil Campbell adds some six-string grit to 'The Watcher' and 'Silver Machine.'
Opening with the semi-hypnotic rock of 'Motorway City' from fan favourite Levitation pretty much guarantees you’re on to a Hawkwind Anniversary set winner.
Other Hawkwind classics mix with a liberal sprinkling of tasty offerings from then current album studio album All Aboard the Skylark including 'Flesh Fondue,' in all its space-punk romping glory (complete with trademark/ jagged Dave Brock vocals and equally jagged/ punk-edged guitar).
'Flesh Fondue' is one of five songs to feature from All Aboard the Skylark; others include the fairy-tale epic 'The Fantasy of Faldum' and 'Last Man On Earth' (which nods to the band’s earliest folk-pop prog leanings).
The latter number is sung by Magnus Martin, which leads to the one weak link in the 50th Anniversary armoury – while a good vocal fit for the more melodic or mellow numbers, Magnus Martin is not the strongest voiced singer in the world.
That said the band’s three and occasionally four part harmonies work extremely well and help fill out the vocal sound.
Beyond the impressive Skylark material (including the brooding '65 Million Years Ago') classics shining under the Hawk lights of 50th Anniversary Live include a storming version of 'Born to Go,' the time & space travelling 'Spirit of the Age,' Richard Chadwick’s superbly voiced rendition of 'Silver Machine' and a full sounding 'Assault and Battery/ The Golden Void,' the latter sweeping us all back to "the edge of time."
The new wave techno rocker 'Right to Decide' is perhaps a surprising set-list choice but given the current state of political & global affairs ("You can't do this, you can't do that, you can't go forward and you can't go back") it was, and is, an inspired air punching set closer.
An encore of psychedelic folk rocker 'Hurry On Sundown' (taking us back to where it all started) and a Space Ritual ending of 'Master of the Universe' (Niall Hone giving it some serious bass riffing) and 'Welcome to the Future' (listen beyond the crowd fade for a very telling (given the current viral infected climate) repeat of the introduction to 'Last Man on Earth') means anyone cranking this album up in the company of your favourite tipple or, ahem, smoke, is going to be a very happy Hawkwind fan.
Happy Anniversary, boys.
Ross Muir
FabricationsHQ
During the tour, and as confirmed on the live album, the band didn’t put much of a musical foot wrong across the entire one hundred minute set.
Nor did it hurt that the current line-up of ever-present and (then) 78 years young Dave Brock, veteran 'Hawk drummer Richard Chadwick, bassist/ keyboardist/ vocalist Niall Hone and latest recruit, keyboardist/ guitarist/ vocalist Magnus Martin (with the band since 2016) were joined by Hawkwind musical associate Tim Blake and, guesting at The Royal Albert Hall show, guitarist Phil Campbell.
Guest returnee Tim Blake features on keytar but truly comes in to his space rocking own when adding his atmospheric and sonically sculptured Theremin pitches; Phil Campbell adds some six-string grit to 'The Watcher' and 'Silver Machine.'
Opening with the semi-hypnotic rock of 'Motorway City' from fan favourite Levitation pretty much guarantees you’re on to a Hawkwind Anniversary set winner.
Other Hawkwind classics mix with a liberal sprinkling of tasty offerings from then current album studio album All Aboard the Skylark including 'Flesh Fondue,' in all its space-punk romping glory (complete with trademark/ jagged Dave Brock vocals and equally jagged/ punk-edged guitar).
'Flesh Fondue' is one of five songs to feature from All Aboard the Skylark; others include the fairy-tale epic 'The Fantasy of Faldum' and 'Last Man On Earth' (which nods to the band’s earliest folk-pop prog leanings).
The latter number is sung by Magnus Martin, which leads to the one weak link in the 50th Anniversary armoury – while a good vocal fit for the more melodic or mellow numbers, Magnus Martin is not the strongest voiced singer in the world.
That said the band’s three and occasionally four part harmonies work extremely well and help fill out the vocal sound.
Beyond the impressive Skylark material (including the brooding '65 Million Years Ago') classics shining under the Hawk lights of 50th Anniversary Live include a storming version of 'Born to Go,' the time & space travelling 'Spirit of the Age,' Richard Chadwick’s superbly voiced rendition of 'Silver Machine' and a full sounding 'Assault and Battery/ The Golden Void,' the latter sweeping us all back to "the edge of time."
The new wave techno rocker 'Right to Decide' is perhaps a surprising set-list choice but given the current state of political & global affairs ("You can't do this, you can't do that, you can't go forward and you can't go back") it was, and is, an inspired air punching set closer.
An encore of psychedelic folk rocker 'Hurry On Sundown' (taking us back to where it all started) and a Space Ritual ending of 'Master of the Universe' (Niall Hone giving it some serious bass riffing) and 'Welcome to the Future' (listen beyond the crowd fade for a very telling (given the current viral infected climate) repeat of the introduction to 'Last Man on Earth') means anyone cranking this album up in the company of your favourite tipple or, ahem, smoke, is going to be a very happy Hawkwind fan.
Happy Anniversary, boys.
Ross Muir
FabricationsHQ
Mick Hayes – My Claim to Fame
The My Claim to Fame title of the latest offering from US bluesman Mick Hayes is a clever reference, and musically satisfying nod, to recording said album at the famous Fame Studios in Muscle Shoals, Alabama.
Further, and perhaps more importantly, while the Buffalo born Hayes cites the album as "Southern-Soul music with a California finish" it has a bold, bluesy, brass playin’ and soul-swayin’ Muscle Shoals sound stamped all over, across and through it.
That particular Fame comes courtesy of a finely honed collection of ten, self-penned songs (recorded on vintage equipment) augmented by a host of noted "in-house" musicians including Bob Wray (bass), Clayton Ivey (keys), Vinnie Ciesielski (trumpet, flugelhorn), Brad Guin (saxophones, flute) and on a couple of songs, Will McFarlane (rhythm guitar).
That the above have, between them, recorded with or accompanied the likes of Ray Charles, Etta James, B.B. King, Gladys Knight, Bonnie Raitt and Levon Helm gives you an indicator of the quality complementing and backing Mick Hayes’ southern, soul-inflected blues vocal and throaty toned, usually understated (less is more, baby) six-string remarks.
From funky, horn-fueled soul opener 'Sweet to Me' and finger-clicking Stax-shuffle sway of 'Hand Me Down,' through the blues two-step of 'My Heart' and on to gorgeously smooth, slow-blues album closer 'Saddest Picture of Me,' My Claim to Fame is a fine outing from a fine artist & songwriter.
Nor does it hurt that The Muscle Shoals Singers Marie Lewey & Cindy Walker add their soul-silky backing vocals to all ten tracks.
The pair are in particularly fitting harmony with Mick Hayes on the cleverly titled 'Political Funk,' a song that funkily slithers across its three and a half minutes while lyrically decrying the current funk of political and personal division – "it’s just governmental junk!" sings Mick Hayes.
Indeed Mr. Hayes; indeed. And not just on your side of the pond.
Elsewhere Billy Bargetzi (trombone) & Ken Watters (trumpet) deliver some sassy brass on funky senorita song 'Ramona' before making a brassy dance impression on 'Parking Lot Romance,' a sixties soul styled nod to the sort of thing Ray Charles used to knock out with ridiculous ease and aplomb.
(A clear Mick Hayes influence, Ray Charles was part of the Muscle Shoals sound/scene back in the day).
Given the legendary recording studio and sixties soul-blues sonic stamp attached to the album (with a great production and warm, well balanced mix), My Claim to Fame is a significant, box ticked career moment for Mick Hayes.
Having also recently unshackled himself from the music business to become an Independent Artist with his own label, it’s also a bit of a new start – and he couldn’t have made a better one.
Ross Muir
FabricationsHQ
Further, and perhaps more importantly, while the Buffalo born Hayes cites the album as "Southern-Soul music with a California finish" it has a bold, bluesy, brass playin’ and soul-swayin’ Muscle Shoals sound stamped all over, across and through it.
That particular Fame comes courtesy of a finely honed collection of ten, self-penned songs (recorded on vintage equipment) augmented by a host of noted "in-house" musicians including Bob Wray (bass), Clayton Ivey (keys), Vinnie Ciesielski (trumpet, flugelhorn), Brad Guin (saxophones, flute) and on a couple of songs, Will McFarlane (rhythm guitar).
That the above have, between them, recorded with or accompanied the likes of Ray Charles, Etta James, B.B. King, Gladys Knight, Bonnie Raitt and Levon Helm gives you an indicator of the quality complementing and backing Mick Hayes’ southern, soul-inflected blues vocal and throaty toned, usually understated (less is more, baby) six-string remarks.
From funky, horn-fueled soul opener 'Sweet to Me' and finger-clicking Stax-shuffle sway of 'Hand Me Down,' through the blues two-step of 'My Heart' and on to gorgeously smooth, slow-blues album closer 'Saddest Picture of Me,' My Claim to Fame is a fine outing from a fine artist & songwriter.
Nor does it hurt that The Muscle Shoals Singers Marie Lewey & Cindy Walker add their soul-silky backing vocals to all ten tracks.
The pair are in particularly fitting harmony with Mick Hayes on the cleverly titled 'Political Funk,' a song that funkily slithers across its three and a half minutes while lyrically decrying the current funk of political and personal division – "it’s just governmental junk!" sings Mick Hayes.
Indeed Mr. Hayes; indeed. And not just on your side of the pond.
Elsewhere Billy Bargetzi (trombone) & Ken Watters (trumpet) deliver some sassy brass on funky senorita song 'Ramona' before making a brassy dance impression on 'Parking Lot Romance,' a sixties soul styled nod to the sort of thing Ray Charles used to knock out with ridiculous ease and aplomb.
(A clear Mick Hayes influence, Ray Charles was part of the Muscle Shoals sound/scene back in the day).
Given the legendary recording studio and sixties soul-blues sonic stamp attached to the album (with a great production and warm, well balanced mix), My Claim to Fame is a significant, box ticked career moment for Mick Hayes.
Having also recently unshackled himself from the music business to become an Independent Artist with his own label, it’s also a bit of a new start – and he couldn’t have made a better one.
Ross Muir
FabricationsHQ
Häxan – White Noise
All-female Welsh trio Häxan have slowly but assuredly raised their profile over the last few years via the pub and club gigs, various support slots and a notable selection of festivals including Download, Planet Rockstock, Monsters Of Rock Cruise (USA), Rock The Boat Cruise (Australia) and Hard Rock Hell.
In short, Häxan have more than paid their dues but even in these more ‘woke’ days it must have been challenging for an all female band to win over rock audiences.
However with debut album White Noise (produced, mixed and mastered by Todd Campbell of Phil Campbell and the Bastard Sons) they have surely done exactly that – Sam Bolderson (vocals/ guitar), Harriet Wadeson (bass) and Jess Hartley (drums) make a mighty noise and have the attitude, the chops and the songs to back it up.
Opening track 'Damned if You Do' immediately gives you the modus operandi of the band – big guitar sound, driving rhythm section and a powerhouse rock trio with an ear-worm chorus.
For a group clearly steeped in classic rock it’s also interesting (and refreshing) to note the undercurrent of power-pop that’s at play here (think Green Day).
Other reference points, more vocally, are the Japanese girl metal bands that were in vogue for a short burst of time and the Häxan girls compatriot Burke Shelley in his 70s and 80s high vocal heyday.
But then there’s nothing wrong with a bit of commercial viability or Budgie, respectively.
Second number 'Killing Time' keeps up the weighty standard and is reminiscent of early Dio in its mid-tempo punch.
'Nine Lives,' which carries a punk-pop-rock sensibility, is an equally strong offering but 'Grave Digger' drops both the pace and impetus, being a slightly too derivative take on the aforementioned Dio template.
Things pick back up with the rabble-rousing 'Louder than Words,' a song that should go down very well live (once we return to post Covid-19 gigging); it’s also another number with commercial appeal, which should help with the band’s longevity.
'Black Sheep' returns to the brooding, mid-tempo style of 'Grave Digger' but succeeds by being built on a muscular riff and a huge chorus cry.
The rock and riffy roll groove of 'Crash and Burn' recalls later era Girlschool without ever getting out of second gear but 'Skeletons,' released as the lead-off single, sees the band back in full fuzzed guitar flight with a flurry of rifferama and another power pop styled hook chorus (one of the best on the album).
Closing number 'Living Dead' is another power pop/rock hybrid but one that is bolstered by a big guitar sound, an echo of the Scorpions and, again, a clearly intentional commercial edge (including an effective harmony voiced outro).
If there’s a criticism to be made it’s in the vocal department but given the UK wide lockdown was enforced before all the vocals were finished, and with the band determined to complete the album, an isolated makeshift vocal booth had to be made for final get-them-done vocal recordings.
That, coupled with a sterling production and mixing job from Todd Campbell, guaranteed a finished, if not 100% perfect, product.
The results are proof that Häxan don’t just have potential; they have a very good debut album.
Nelson McFarlane
FabricationsHQ
In short, Häxan have more than paid their dues but even in these more ‘woke’ days it must have been challenging for an all female band to win over rock audiences.
However with debut album White Noise (produced, mixed and mastered by Todd Campbell of Phil Campbell and the Bastard Sons) they have surely done exactly that – Sam Bolderson (vocals/ guitar), Harriet Wadeson (bass) and Jess Hartley (drums) make a mighty noise and have the attitude, the chops and the songs to back it up.
Opening track 'Damned if You Do' immediately gives you the modus operandi of the band – big guitar sound, driving rhythm section and a powerhouse rock trio with an ear-worm chorus.
For a group clearly steeped in classic rock it’s also interesting (and refreshing) to note the undercurrent of power-pop that’s at play here (think Green Day).
Other reference points, more vocally, are the Japanese girl metal bands that were in vogue for a short burst of time and the Häxan girls compatriot Burke Shelley in his 70s and 80s high vocal heyday.
But then there’s nothing wrong with a bit of commercial viability or Budgie, respectively.
Second number 'Killing Time' keeps up the weighty standard and is reminiscent of early Dio in its mid-tempo punch.
'Nine Lives,' which carries a punk-pop-rock sensibility, is an equally strong offering but 'Grave Digger' drops both the pace and impetus, being a slightly too derivative take on the aforementioned Dio template.
Things pick back up with the rabble-rousing 'Louder than Words,' a song that should go down very well live (once we return to post Covid-19 gigging); it’s also another number with commercial appeal, which should help with the band’s longevity.
'Black Sheep' returns to the brooding, mid-tempo style of 'Grave Digger' but succeeds by being built on a muscular riff and a huge chorus cry.
The rock and riffy roll groove of 'Crash and Burn' recalls later era Girlschool without ever getting out of second gear but 'Skeletons,' released as the lead-off single, sees the band back in full fuzzed guitar flight with a flurry of rifferama and another power pop styled hook chorus (one of the best on the album).
Closing number 'Living Dead' is another power pop/rock hybrid but one that is bolstered by a big guitar sound, an echo of the Scorpions and, again, a clearly intentional commercial edge (including an effective harmony voiced outro).
If there’s a criticism to be made it’s in the vocal department but given the UK wide lockdown was enforced before all the vocals were finished, and with the band determined to complete the album, an isolated makeshift vocal booth had to be made for final get-them-done vocal recordings.
That, coupled with a sterling production and mixing job from Todd Campbell, guaranteed a finished, if not 100% perfect, product.
The results are proof that Häxan don’t just have potential; they have a very good debut album.
Nelson McFarlane
FabricationsHQ
Heavy Pettin - Best Of
The groundwork of a successful 1980s for Scottish rockers Heavy Pettin was through Stephen "Hamie" Hayman (vocals), Gordon Bonnar & Punky Mendoza (guitars), Brian Waugh (bass) and Gary Moat (drums) honing their skills and song repertoire through constant gigging and a single release in 1982.
But there is no question the band’s sonic, and pretty immediate, impact was through 'In And Out Of Love,' the opening number of the Brian May & Reinhold Mack produced debut album Lettin’ Loose (1983) and the song that introduces this 14 track compilation, hand picked and sequenced by Gary Moat to present the definitive best of Heavy Pettin.
A vibrant and high energy slice of 80s melodic rock-metal, 'In And Out Of Love,' along with the hooky call and answer chorus of 'Love Times Love,' played their part in more than one critic declaring "Blimey, it’s the Scottish Def Leppard" (many a rock fan gave the nod to Lettin’ Loose over the Lepp’s own, hugely successful 1983 offering Pyromania).
That the band also emerged during the New Wave Of British Heavy Metal (NWOBHM) movement of the time didn’t do them any harm – the thunderous and purposeful 'Hell is Beautiful' is a song NWOBHM era Saxon would love to have called their own.
But the Pettin quintet could also change it up or give it a US rock sheen as required – the tempo-changing strut of 'Rock Me' and US melodic-metal styled 'Devil in Her Eyes'’ are respective cases in point.
The UK/US crossover style was more evident on second album Rock Ain’t Dead (1985), which featured not just the fist-raising title track but a number of songs that merged the British hard rock sound with the hooks and harmonies of the US melodic rock scene, as showcased on 'Sole Survivor.'
Rock Ain't Dead also provided the air punching, big-beats of 'China Boy,' the rock 'n' roll swagger of 'Throw a Party' and the mid-tempo shimmer of 'Northwinds.'
History shows that The Big Bang (1989), in terms of anticipated success for Heavy Pettin and Stateside impact (the market the album was aimed at, typified by synth-sheened rocker 'Born to Burn' and the rhythmic AOR of 'Lonely People') turned out to be anything but.
However that was down to a discernible change of the musical times and unsupported, different label distribution, which took the album out of the band’s hands (at every level).
The results were a relatively unheralded release for an album that deserved a far better fate, especially as it dovetailed the edgier, rock side of the band ('Don’t Call it Love') with intentionally geared for US radio play numbers ('Two Hearts').
All these years on, in the midst of a New Wave of Classic Rock, this Best Of Heavy Pettin also plays its part in what is a Best Of both worlds for the band and some of its original members – Hamie and Gordon Bonnar are out there flying the original, on-stage Lion Rampant flag as Heavy Pettin while Gary Moat fronts his classic guitar rock outfit, Burnt Out Wreck.
Rock Ain’t Dead – it’s just three and a half decades older.
Ross Muir
FabricationsHQ
The Best Of Heavy Pettin will be released on 27th November on Burnt Out Wreckords / Cherry Red.
But there is no question the band’s sonic, and pretty immediate, impact was through 'In And Out Of Love,' the opening number of the Brian May & Reinhold Mack produced debut album Lettin’ Loose (1983) and the song that introduces this 14 track compilation, hand picked and sequenced by Gary Moat to present the definitive best of Heavy Pettin.
A vibrant and high energy slice of 80s melodic rock-metal, 'In And Out Of Love,' along with the hooky call and answer chorus of 'Love Times Love,' played their part in more than one critic declaring "Blimey, it’s the Scottish Def Leppard" (many a rock fan gave the nod to Lettin’ Loose over the Lepp’s own, hugely successful 1983 offering Pyromania).
That the band also emerged during the New Wave Of British Heavy Metal (NWOBHM) movement of the time didn’t do them any harm – the thunderous and purposeful 'Hell is Beautiful' is a song NWOBHM era Saxon would love to have called their own.
But the Pettin quintet could also change it up or give it a US rock sheen as required – the tempo-changing strut of 'Rock Me' and US melodic-metal styled 'Devil in Her Eyes'’ are respective cases in point.
The UK/US crossover style was more evident on second album Rock Ain’t Dead (1985), which featured not just the fist-raising title track but a number of songs that merged the British hard rock sound with the hooks and harmonies of the US melodic rock scene, as showcased on 'Sole Survivor.'
Rock Ain't Dead also provided the air punching, big-beats of 'China Boy,' the rock 'n' roll swagger of 'Throw a Party' and the mid-tempo shimmer of 'Northwinds.'
History shows that The Big Bang (1989), in terms of anticipated success for Heavy Pettin and Stateside impact (the market the album was aimed at, typified by synth-sheened rocker 'Born to Burn' and the rhythmic AOR of 'Lonely People') turned out to be anything but.
However that was down to a discernible change of the musical times and unsupported, different label distribution, which took the album out of the band’s hands (at every level).
The results were a relatively unheralded release for an album that deserved a far better fate, especially as it dovetailed the edgier, rock side of the band ('Don’t Call it Love') with intentionally geared for US radio play numbers ('Two Hearts').
All these years on, in the midst of a New Wave of Classic Rock, this Best Of Heavy Pettin also plays its part in what is a Best Of both worlds for the band and some of its original members – Hamie and Gordon Bonnar are out there flying the original, on-stage Lion Rampant flag as Heavy Pettin while Gary Moat fronts his classic guitar rock outfit, Burnt Out Wreck.
Rock Ain’t Dead – it’s just three and a half decades older.
Ross Muir
FabricationsHQ
The Best Of Heavy Pettin will be released on 27th November on Burnt Out Wreckords / Cherry Red.
Ken Hensley - Tales of Live Fire & Other Mysteries (5CD clamshell boxset)
5CD set Tales of Live Fire & Other Mysteries isn’t just the perfect Ken Hensley complement to last year’s Cherry Red Records / HNE release The Bronze Years (collecting Hensley’s first three solo albums with bonus tracks and interview DVD); it also catalogues two of the most prolific, later era years of a musician who was an integral part of Uriah Heep’s greatest successes.
More interestingly, it’s as stylistically different a collection as you could imagine.
The set presents Ken Hensley in his three natural musical environments – solo artist, live performer and rock band musician.
The former is represented by 2012 album Love & Other Mysteries and the latter via Ken Hensley & Live Fire album, Trouble, released in 2013.
Those albums bookend the two live sides of Hensley – solo acoustic performer (Live Tales) and with Live Fire, on 2013 release Live!!.
The aforementioned stylistic differences come from the fact that Love & Other Mysteries is a conceptual work on the topics of love, life and romance (recurring themes in Hensley‘s lyricism).
The album features not just the voice of Hensley (such as on country-themed opener '(This) Bleeding Heart' and the jauntier, Fleetwood Mac-esque 'Walk Away') but those of Roberto Tiranti (Live Fire), Irene Fornaciari, Santra Salkova and Glenn Hughes.
The latter pair feature on duet number 'Romance,' a stage musical styled song about a doomed from the start love between an American aristocrat and a Russian nobleman.
By far his lightest, predominately ballads release, Love & Other Mysteries is also one of Ken Hensley’s most personal and lyrically important works (as reiterated by Hensley on the reprinted liner notes of the 40 page booklet that accompanies this set).
In complete musical contrast, Trouble by Ken Hensley & Live Fire (featuring Roberto Tiranti on vocals and bass) is a great rock album and one of the best releases in Ken Hensley’s 21st century catalogue.
From the rocking and decidedly Heepified 'Ready to Die,' through tracks such as the slow and bluesy 'Todo Loco,' the rock radio friendly 'Dangerous Desire' and closing ballad 'The Longest Night,' Trouble isn’t just a must-have for the Hensley aficionado, it’s a highly recommended listen for anyone who likes guitars and Hammond up front rock and roll.
Live Tales, from 2013, is Ken Hensley in an intimate, solo acoustic guitar & piano environment.
Playing to his songwriting strengths, with songs performed as they were originally written, you’ll find a smattering of Uriah Heep classics and earlier solo songs (including 'The Wizard' and 'Through the Eyes of a Child'), 'Slipping Away' (from first Live Fire album, Faster), piano ballad 'Come to Me' (from Love & Other Mysteries) and a host of other Hensley penned nuggets.
The 2CD Live!! album by Ken Hensley & Live Fire (recorded during the band's 2012 European tour and featuring vocalist Eirikur Haukkson) hits the Heep highs through the inclusion of 'Circle of Hands,' 'July Morning,' 'Look at Yourself,' 'Easy Livin’' and half a dozen others; but Hensley solo album title tracks 'Blood on the Highway' and nine minute progressive piece 'The Last Dance' are worthy of their place.
Additionally, a Live Fire Faster brace of the muscly and bluesy 'Set Me Free (From Yesterday)' and the pacier, no less impressive 'The Curse' make for a powerful one-two opening.
For those that appreciate there was a lot more to Ken Hensley (he sadly passed away on the 4th of November 2020 after a short illness) than Uriah Heep or his Bronze years, and/ or want to introduce themselves to his more recent work and its lighter love song and heavier rock shades, this is most certainly a set to consider.
Kenneth William David Hensley (1945-2020)
Ross Muir
FabricationsHQ
More interestingly, it’s as stylistically different a collection as you could imagine.
The set presents Ken Hensley in his three natural musical environments – solo artist, live performer and rock band musician.
The former is represented by 2012 album Love & Other Mysteries and the latter via Ken Hensley & Live Fire album, Trouble, released in 2013.
Those albums bookend the two live sides of Hensley – solo acoustic performer (Live Tales) and with Live Fire, on 2013 release Live!!.
The aforementioned stylistic differences come from the fact that Love & Other Mysteries is a conceptual work on the topics of love, life and romance (recurring themes in Hensley‘s lyricism).
The album features not just the voice of Hensley (such as on country-themed opener '(This) Bleeding Heart' and the jauntier, Fleetwood Mac-esque 'Walk Away') but those of Roberto Tiranti (Live Fire), Irene Fornaciari, Santra Salkova and Glenn Hughes.
The latter pair feature on duet number 'Romance,' a stage musical styled song about a doomed from the start love between an American aristocrat and a Russian nobleman.
By far his lightest, predominately ballads release, Love & Other Mysteries is also one of Ken Hensley’s most personal and lyrically important works (as reiterated by Hensley on the reprinted liner notes of the 40 page booklet that accompanies this set).
In complete musical contrast, Trouble by Ken Hensley & Live Fire (featuring Roberto Tiranti on vocals and bass) is a great rock album and one of the best releases in Ken Hensley’s 21st century catalogue.
From the rocking and decidedly Heepified 'Ready to Die,' through tracks such as the slow and bluesy 'Todo Loco,' the rock radio friendly 'Dangerous Desire' and closing ballad 'The Longest Night,' Trouble isn’t just a must-have for the Hensley aficionado, it’s a highly recommended listen for anyone who likes guitars and Hammond up front rock and roll.
Live Tales, from 2013, is Ken Hensley in an intimate, solo acoustic guitar & piano environment.
Playing to his songwriting strengths, with songs performed as they were originally written, you’ll find a smattering of Uriah Heep classics and earlier solo songs (including 'The Wizard' and 'Through the Eyes of a Child'), 'Slipping Away' (from first Live Fire album, Faster), piano ballad 'Come to Me' (from Love & Other Mysteries) and a host of other Hensley penned nuggets.
The 2CD Live!! album by Ken Hensley & Live Fire (recorded during the band's 2012 European tour and featuring vocalist Eirikur Haukkson) hits the Heep highs through the inclusion of 'Circle of Hands,' 'July Morning,' 'Look at Yourself,' 'Easy Livin’' and half a dozen others; but Hensley solo album title tracks 'Blood on the Highway' and nine minute progressive piece 'The Last Dance' are worthy of their place.
Additionally, a Live Fire Faster brace of the muscly and bluesy 'Set Me Free (From Yesterday)' and the pacier, no less impressive 'The Curse' make for a powerful one-two opening.
For those that appreciate there was a lot more to Ken Hensley (he sadly passed away on the 4th of November 2020 after a short illness) than Uriah Heep or his Bronze years, and/ or want to introduce themselves to his more recent work and its lighter love song and heavier rock shades, this is most certainly a set to consider.
Kenneth William David Hensley (1945-2020)
Ross Muir
FabricationsHQ
Iconic Eye – Back From Behind the Sun EP
British rock band Iconic Eye have a couple of albums (including 2017’s Into the Light) and some notable festival and support slots under their belts, but the Back From Behind the Sun EP is, title fittingly, a bit of a return and new dawn for the band – Greg Dean (guitars, keys, backing vox), Neil Hackett (lead guitar), Mike Dagnall (bass, backing vox), Jon Cooksey (drums) – now fronted by singer Janey Smith.
Miss Smith’s vocal presence (first heard on the remix of the band’s first ever single 'Now That I’ve Found Love' earlier this year) is up front and centre on the EP opening title track, a catchy little rocker that allows the singer to flex her impressive vocal muscles.
'Back From Behind the Sun' takes its lead from the herder edged melodic rock of the mid to late 80s but it also carries a contemporary edge – think a female voiced VEGA with keys lower in the mix and used for background accentuation.
There’s an argument that, with its "80s rock classic" status and the vocal performance of one Mickey Thomas, Jefferson Starship’s 'Jane' should be left well alone.
But given Iconic Eye’s obvious penchant for classic melodic rock (along with the fact they perform it live) it's a perfect fit for this EP.
Delivered with guitars a tad crunchier and keys again lower in the mix, Iconic Eye’s version of 'Jane' comes complete with a belting lead vocal from Janey Smith and a blistering little guitar solo.
The decidedly Pat Benatar-esque 'Ghost Town' (lyrically reflecting on recent Lockdowns) follows before the weightier 'Have My Day' (hard melodic rock with an edgier, contemporary sheen) steps up to make its mark.
Closing track 'Femme Fatale' is an all-out rocker with organ keys filling out any space left between the riffy and gritty guitars, big beats and Janey Smith’s purposeful vocal.
The sort of song mid to late 80s Heart (when at amps to 11) would have delivered with some serious aplomb, 'Feme Fatale' comes across very much as Iconic Eye’s answer to Heart's ‘If Looks Could Kill’ in its female empowered style.
As a 5 Track (re)introduction, Back From Behind the Sun is a welcome return to the light for the new-look Iconic Eye.
Ross Muir
FabricationsHQ
Miss Smith’s vocal presence (first heard on the remix of the band’s first ever single 'Now That I’ve Found Love' earlier this year) is up front and centre on the EP opening title track, a catchy little rocker that allows the singer to flex her impressive vocal muscles.
'Back From Behind the Sun' takes its lead from the herder edged melodic rock of the mid to late 80s but it also carries a contemporary edge – think a female voiced VEGA with keys lower in the mix and used for background accentuation.
There’s an argument that, with its "80s rock classic" status and the vocal performance of one Mickey Thomas, Jefferson Starship’s 'Jane' should be left well alone.
But given Iconic Eye’s obvious penchant for classic melodic rock (along with the fact they perform it live) it's a perfect fit for this EP.
Delivered with guitars a tad crunchier and keys again lower in the mix, Iconic Eye’s version of 'Jane' comes complete with a belting lead vocal from Janey Smith and a blistering little guitar solo.
The decidedly Pat Benatar-esque 'Ghost Town' (lyrically reflecting on recent Lockdowns) follows before the weightier 'Have My Day' (hard melodic rock with an edgier, contemporary sheen) steps up to make its mark.
Closing track 'Femme Fatale' is an all-out rocker with organ keys filling out any space left between the riffy and gritty guitars, big beats and Janey Smith’s purposeful vocal.
The sort of song mid to late 80s Heart (when at amps to 11) would have delivered with some serious aplomb, 'Feme Fatale' comes across very much as Iconic Eye’s answer to Heart's ‘If Looks Could Kill’ in its female empowered style.
As a 5 Track (re)introduction, Back From Behind the Sun is a welcome return to the light for the new-look Iconic Eye.
Ross Muir
FabricationsHQ
JW-Jones – Sonic Departures
Award winning Canadian bluesman JW-Jones tenth studio album, the follow-up to the 2016’s excellent High Temperature, is both well named and one suspects, quite the blues-swinging dream come true for a musician with an old blues soul.
Sonic Departures sees Jones, for the first time, playing with and fronting a Big Band – in this case a 17 piece ensemble including 13 horn players.
And while a studio album, all the songs were recorded live, with the full band, horns included.
As ill-luck would have it however Covid-19 hit just as those involved were considering what to do with the recordings.
The upside was the subsequent lockdown allowed more time to be spent on the album, from bigger production values (there’s an almost widescreen sound which helps capture the Big Band sonic) and clean ups to studio vocals and additional backing vocals.
But the vibrant, live resonance remains intact – as mentioned above the horns were recorded live, as is every guitar solo (bar one); indeed each solo is the first, and only, take, which is pretty impressive given this was JW-Jones’ first adventure with a big band, the different dynamics involved and the more disciplined arrangement structures.
The album is made up of nine songs lifted from some of JW-Jones’ solo albums and a handful of well-chosen covers – 'It’s Obdacious' for example, retains the big band swing and fun vibe of the 1955 original by Buddy Johnson and his Orchestra (well, if it ain’t swing-jazz broke…).
Then there's the cover of The Everly Brothers pop-abilly classic 'Bye Bye Love,' here reimagined as a jumping jive-blues, which works ridiculously well (both songs feature JW-Jones’ wife, Brit Wynne-Jones, on harmony vocals).
The album opens however with a triple-salvo of JW-Jones originals, starting with 'Blue Jean Jacket,' which has a short sonic departure of its own as the intro. This R&B finger-clicker swings its way towards a totally unfettered JW-Jones guitar solo, backed by horns at full tilt and rhythm section Will Laurin (drums) and Jacob Clarke (bass) giving it plenty.
'Same Mistakes,' a delightful slice of AOR soul-blues, doesn’t stray too far from the original High Temperature version, here enhanced by horns and some cool organ backing from Jesse Whitely.
The sixties-beat groove of 'Ain’t Gonna Beg' is another that’s pretty faithful to the original but bolstered by full blown (in both senses) horns and a seriously feisty guitar solo, JW-Jones going off on one before reining back in for the final verse and chorus.
Other highlights include the oft-covered blues standard 'The Things I Used to Do' (think a fuller bodied and fuller sounding version of the Guitar Slim original) and 'Drowning On Dry Land.'
The latter, perhaps best known for its association with Albert King, eschews its slow blues origins for a soul-funky arrangement; the horns and guitar then become a cacophony of musical colours as the song reaches its conclusion.
JW-Jones can blues it up, R&B it out and rockabilly the roll with the best of ‘em.
Turns out he can swing, jump and jive with the best of ‘em too.
Ross Muir
FabricationsHQ
Sonic Departures sees Jones, for the first time, playing with and fronting a Big Band – in this case a 17 piece ensemble including 13 horn players.
And while a studio album, all the songs were recorded live, with the full band, horns included.
As ill-luck would have it however Covid-19 hit just as those involved were considering what to do with the recordings.
The upside was the subsequent lockdown allowed more time to be spent on the album, from bigger production values (there’s an almost widescreen sound which helps capture the Big Band sonic) and clean ups to studio vocals and additional backing vocals.
But the vibrant, live resonance remains intact – as mentioned above the horns were recorded live, as is every guitar solo (bar one); indeed each solo is the first, and only, take, which is pretty impressive given this was JW-Jones’ first adventure with a big band, the different dynamics involved and the more disciplined arrangement structures.
The album is made up of nine songs lifted from some of JW-Jones’ solo albums and a handful of well-chosen covers – 'It’s Obdacious' for example, retains the big band swing and fun vibe of the 1955 original by Buddy Johnson and his Orchestra (well, if it ain’t swing-jazz broke…).
Then there's the cover of The Everly Brothers pop-abilly classic 'Bye Bye Love,' here reimagined as a jumping jive-blues, which works ridiculously well (both songs feature JW-Jones’ wife, Brit Wynne-Jones, on harmony vocals).
The album opens however with a triple-salvo of JW-Jones originals, starting with 'Blue Jean Jacket,' which has a short sonic departure of its own as the intro. This R&B finger-clicker swings its way towards a totally unfettered JW-Jones guitar solo, backed by horns at full tilt and rhythm section Will Laurin (drums) and Jacob Clarke (bass) giving it plenty.
'Same Mistakes,' a delightful slice of AOR soul-blues, doesn’t stray too far from the original High Temperature version, here enhanced by horns and some cool organ backing from Jesse Whitely.
The sixties-beat groove of 'Ain’t Gonna Beg' is another that’s pretty faithful to the original but bolstered by full blown (in both senses) horns and a seriously feisty guitar solo, JW-Jones going off on one before reining back in for the final verse and chorus.
Other highlights include the oft-covered blues standard 'The Things I Used to Do' (think a fuller bodied and fuller sounding version of the Guitar Slim original) and 'Drowning On Dry Land.'
The latter, perhaps best known for its association with Albert King, eschews its slow blues origins for a soul-funky arrangement; the horns and guitar then become a cacophony of musical colours as the song reaches its conclusion.
JW-Jones can blues it up, R&B it out and rockabilly the roll with the best of ‘em.
Turns out he can swing, jump and jive with the best of ‘em too.
Ross Muir
FabricationsHQ
JUBE – As One Door Closes…
You would be forgiven for assuming Bennett Holland, a musician of some black and white keyed note (Laurence Jones Band, ex King King and a musical CV more diverse and lengthier than you may think, including Groove Armada side project the Weekend Players) has used non-gigging (lock)downtime to record and deliver, with partner and singer-songwriter Julie Clarkson, As One Door Closes...
The lengthier reality however is the pair, under the name joining JUBE moniker, wrote and recorded the album, on and off, over a twelve year period – which gives you an idea how busy Mr Holland and Miss Clarkson have been in their respective musical endeavours up until now.
Nor is it the blues meets singer-songwriter hybrid one might expect.
While both those traits feature (to a lesser extent) the album is a highly accomplished, organically formed mix of just about every influence and musical style Bennett Holland and Julie Clarkson hold dear, from soul-pop, funk and jazz to syncopated rhythms and drum 'n' bass.
Given such diversity, a rhythm section who get what JUBE are all about was clearly called for.
Darren Campbell (bass) and Richard Storer (drums) convincingly tick that box; there’s both a meeting of rhythmic minds (from Storer’s percussive grooves to Campbell’s bubbly bass lines) and a clear simpatico between the players (Campbell toured with Bennett Holland when they were session players in the Groove Armada side project; Storer and Holland are old school friends/ band mates).
Special mention too for producer Tom Henthorn (another old school friend) who has done a fine job of providing a warm, almost vintage sound (complementing the album's organic creation).
The light and breezy coastal soul-pop of 'Everything' opens the album in delightful style before giving way to the jazzier and punchier 'Deep Blue Sea,' followed by the soul-swaying groove of 'Breathe.'
The opening trio of songs don’t just showcase the talents of the quartet, they beautifully highlight Julie Clarkson’s breathy vocal and impeccably phrased deliveries.
That said the simple in arrangement (but highly impacting) acoustic number 'Comfort Me' is the Julie Clarkson vocal highlight of the album; the solo performance of 'Comfort Me' then segues to the contrasting, funky full band coolness of 'Wear Yourself Thin.'
The aforementioned keys-bass-drums simpatico is at play (in both senses) on 'Tease.'
The short instrumental acts as both a quirky mid-album interlude and teaser (hence the title) to 'Bare Faced Lies,' which closes out the album six songs later in fine soul-swaying, jazz-tinged fashion.
Other highlights across an impressive album include the drum 'n' bass influenced 'People,' the highly contemporary and soul influenced 'Drag' (Bennett Holland’s lead vocal is particularly impacting (and positive) on the lyrically floating "to change!" chorus) and the atmospheric 'Civilised' (piano led Kate Bush in contemporary soul-jazz clothing).
Impressive as the album is, its quality is further enhanced by watching the excellent 23 minute Making Of documentary on YouTube, which features interviews with Bennett Holland, Julie Clarkson and Tom Henthorn, while accompanying song excerpts act as the background soundtrack.
In 1969 Bennett Holland’s parents, the singing duo John and Anne Ryder, released their pop-with-strings album I Still Believe in Tomorrow, of which the title track was a Billboard charting single.
Successful music family history repeating itself?
Well, as one door closes…
Ross Muir
FabricationsHQ
The lengthier reality however is the pair, under the name joining JUBE moniker, wrote and recorded the album, on and off, over a twelve year period – which gives you an idea how busy Mr Holland and Miss Clarkson have been in their respective musical endeavours up until now.
Nor is it the blues meets singer-songwriter hybrid one might expect.
While both those traits feature (to a lesser extent) the album is a highly accomplished, organically formed mix of just about every influence and musical style Bennett Holland and Julie Clarkson hold dear, from soul-pop, funk and jazz to syncopated rhythms and drum 'n' bass.
Given such diversity, a rhythm section who get what JUBE are all about was clearly called for.
Darren Campbell (bass) and Richard Storer (drums) convincingly tick that box; there’s both a meeting of rhythmic minds (from Storer’s percussive grooves to Campbell’s bubbly bass lines) and a clear simpatico between the players (Campbell toured with Bennett Holland when they were session players in the Groove Armada side project; Storer and Holland are old school friends/ band mates).
Special mention too for producer Tom Henthorn (another old school friend) who has done a fine job of providing a warm, almost vintage sound (complementing the album's organic creation).
The light and breezy coastal soul-pop of 'Everything' opens the album in delightful style before giving way to the jazzier and punchier 'Deep Blue Sea,' followed by the soul-swaying groove of 'Breathe.'
The opening trio of songs don’t just showcase the talents of the quartet, they beautifully highlight Julie Clarkson’s breathy vocal and impeccably phrased deliveries.
That said the simple in arrangement (but highly impacting) acoustic number 'Comfort Me' is the Julie Clarkson vocal highlight of the album; the solo performance of 'Comfort Me' then segues to the contrasting, funky full band coolness of 'Wear Yourself Thin.'
The aforementioned keys-bass-drums simpatico is at play (in both senses) on 'Tease.'
The short instrumental acts as both a quirky mid-album interlude and teaser (hence the title) to 'Bare Faced Lies,' which closes out the album six songs later in fine soul-swaying, jazz-tinged fashion.
Other highlights across an impressive album include the drum 'n' bass influenced 'People,' the highly contemporary and soul influenced 'Drag' (Bennett Holland’s lead vocal is particularly impacting (and positive) on the lyrically floating "to change!" chorus) and the atmospheric 'Civilised' (piano led Kate Bush in contemporary soul-jazz clothing).
Impressive as the album is, its quality is further enhanced by watching the excellent 23 minute Making Of documentary on YouTube, which features interviews with Bennett Holland, Julie Clarkson and Tom Henthorn, while accompanying song excerpts act as the background soundtrack.
In 1969 Bennett Holland’s parents, the singing duo John and Anne Ryder, released their pop-with-strings album I Still Believe in Tomorrow, of which the title track was a Billboard charting single.
Successful music family history repeating itself?
Well, as one door closes…
Ross Muir
FabricationsHQ
Kansas – The Absence of Presence
That the Kansas who released the excellent Prelude Implicit (the band’s first studio album in sixteen years) carry the musical spirit of the original band, yet are writing for the present, is showcased in fine fashion on sixteenth studio album The Absence of Presence.
That nod to the past while keeping it fresh is evident on the eight minute title track, which opens the album in musically grandiose yet lyrically poignant style (reflecting on the loss of human contact in the mirrored face of digital screens).
'The Absence of Presence' carries atmospheric, modern widescreen moments that are very much a product of present day Kansas – Phil Ehart (drums), Rich Williams (guitars), Billy Greer (bass/ vocals), David Ragsdale (violin/ vocals), Ronnie Platt (lead vocals), Zakk Rizvi (guitars/ vocals), Tom Brislin (keys) – but intertwined with that classic Kansas sound, including some rocking interplay between keys, guitars and violin.
Following number 'Throwing Mountains' is a Kansas rocker featuring David Ragsdale violin passages of pomp and serious circumstance; it also delivers melody through the bombast.
Nor does it hurt that Kansas front man Ronnie Platt has, not coincidentally, a tonality and timbre very close to Steve Walsh (giving familiar 'Voice' to a now legacy sound; similarly Journey, Foreigner and Styx).
'Jets Overhead,' again with David Ragsdale’s violin featured, is quintessential arena rock Kansas.
It's also, along with 'Throwing Mountains' and the more contemporary styled rock of 'Animals On the Roof,' the perfect Kansas rock contrast to the reflective (and genuinely poignant) 'Memories Down the Line' and AOR ballad 'Never.'
Interestingly The Absence of Presence is formed around the songwriting skills of new boys Zakk Rizvi (who joined during, and co-produced, The Prelude Implicit) and latest member Tom Brislin (who has toured or worked with YES, Meat Loaf and Renaissance, among others).
Rizvi wrote the music for five of the nine numbers (including short and rockin’ instrumental 'Propulsion 1'), Brislin three, and one co-write.
Tom Brislin is also the primary lyricist on the album (with four co-written with Phil Ehart), although Ronnie Platt supplies the lyrics for 'Circus of Illusion,' a rhythmic, mid-tempo number that could be as much about fantasy as real world ringmasters ("With nothing up my sleeve, I compel you to believe, in the sound of my conviction…").
Tom Brislin takes lead vocal on self-penned closing number 'The Song the River Sang,' an up-tempo track built on a rippling piano line and Phil Ehart’s rhythmic drum pattern.
The song then takes a darker turn on the guitar crying and violin wailing instrumental outro, which works well up until its abrupt ending (the results being more of an anti-climax than an exclamation point).
There is no denying that guitarist/ songwriter Kerry Livgren was the architect of the classic Kansas sound and some of their greatest, progressively arranged, moments, along with the voice and complementary songwriting skills of Steve Walsh.
But Phil Ehart and Rich Williams are the ever-present heart and soul of a band that, in its present incarnation, through outstanding live shows (as heard on 2017’s Leftoverture: Live and Beyond), The Prelude Implicit and now The Absence of Presence, still has a lot to say.
You know what Toto, I've a feeling we’re still in Kansas after all.
Ross Muir
FabricationsHQ
That nod to the past while keeping it fresh is evident on the eight minute title track, which opens the album in musically grandiose yet lyrically poignant style (reflecting on the loss of human contact in the mirrored face of digital screens).
'The Absence of Presence' carries atmospheric, modern widescreen moments that are very much a product of present day Kansas – Phil Ehart (drums), Rich Williams (guitars), Billy Greer (bass/ vocals), David Ragsdale (violin/ vocals), Ronnie Platt (lead vocals), Zakk Rizvi (guitars/ vocals), Tom Brislin (keys) – but intertwined with that classic Kansas sound, including some rocking interplay between keys, guitars and violin.
Following number 'Throwing Mountains' is a Kansas rocker featuring David Ragsdale violin passages of pomp and serious circumstance; it also delivers melody through the bombast.
Nor does it hurt that Kansas front man Ronnie Platt has, not coincidentally, a tonality and timbre very close to Steve Walsh (giving familiar 'Voice' to a now legacy sound; similarly Journey, Foreigner and Styx).
'Jets Overhead,' again with David Ragsdale’s violin featured, is quintessential arena rock Kansas.
It's also, along with 'Throwing Mountains' and the more contemporary styled rock of 'Animals On the Roof,' the perfect Kansas rock contrast to the reflective (and genuinely poignant) 'Memories Down the Line' and AOR ballad 'Never.'
Interestingly The Absence of Presence is formed around the songwriting skills of new boys Zakk Rizvi (who joined during, and co-produced, The Prelude Implicit) and latest member Tom Brislin (who has toured or worked with YES, Meat Loaf and Renaissance, among others).
Rizvi wrote the music for five of the nine numbers (including short and rockin’ instrumental 'Propulsion 1'), Brislin three, and one co-write.
Tom Brislin is also the primary lyricist on the album (with four co-written with Phil Ehart), although Ronnie Platt supplies the lyrics for 'Circus of Illusion,' a rhythmic, mid-tempo number that could be as much about fantasy as real world ringmasters ("With nothing up my sleeve, I compel you to believe, in the sound of my conviction…").
Tom Brislin takes lead vocal on self-penned closing number 'The Song the River Sang,' an up-tempo track built on a rippling piano line and Phil Ehart’s rhythmic drum pattern.
The song then takes a darker turn on the guitar crying and violin wailing instrumental outro, which works well up until its abrupt ending (the results being more of an anti-climax than an exclamation point).
There is no denying that guitarist/ songwriter Kerry Livgren was the architect of the classic Kansas sound and some of their greatest, progressively arranged, moments, along with the voice and complementary songwriting skills of Steve Walsh.
But Phil Ehart and Rich Williams are the ever-present heart and soul of a band that, in its present incarnation, through outstanding live shows (as heard on 2017’s Leftoverture: Live and Beyond), The Prelude Implicit and now The Absence of Presence, still has a lot to say.
You know what Toto, I've a feeling we’re still in Kansas after all.
Ross Muir
FabricationsHQ
Erja Lyytinen – Lockdown Live 2020 (CD/DVD)
Finnish slide guitar maestro and melodic rock-blues songstress Erja Lyytinen, like so many other artists, had to postpone European and UK tour dates during a pandemic hit 2020.
Lyytinen and her band are now (re)scheduled to fulfil some of the dates in February 2021 (pandemic and vaccination situation willing) but she didn’t let 2020 get the better of her as regards a complete curtailing of live performance, as the 12 track 60 minute CD/DVD Lockdown Live 2020 testifies to in fine style.
Recorded and filmed at Bluesounds Warehouse Studios in Erja Lyytinen’s hometown of Kuopio in May of this year, the set unsurprisingly concentrates on songs from recent studio offerings Stolen Hearts (2017) and last year’s Another World, Lyytinen's best album to date.
The good, all-encompassing news however is Erja Lyytinen’s earlier blues orientated works are not ignored, providing for a Best Of show and not just a new product promotion.
Erja Lyytinen majors on slide guitar (indeed she is an exemplary and noted player of the slide in its blues and rock forms) and on opener 'Don’t Let a Good Woman Down' she sets her slide and heavy blues stall out in impressive style.
The energetic opener also showcases just how good a band Miss Lyytinen has behind her – keyboardist Miika Aukio shines in full-bodied support while drummer Iiro Laitinen and five-string bassist Tatu Back don’t so much lock down the rhythm as groove the bejesus out of it.
'Cherry Overdrive,' the first of six songs lifted from Another World, is a Purple-esque and progressively arranged affair with unison guitar & keyboard riffs atop a bluesy underbelly.
The pseudo funky 'Black Ocean' is equally impressive through its down 'n' dirty riff and bigger, melodic chorus; following number, the angular and darker 'Hard as Stone,' mixes things up with an unusual time signature in the verse sections and a strong chorus.
The lighter, Celtic-tinged blues of 'Torn' (written for those who live to fight another day) is another with an off-kilter time signature thrown in – there’s some genuinely clever stuff going on here.
'Dreamland Blues' from the 2006 album of the same name does exactly what it says in its title while Erja Lyytinen delivers in spades on both vocals and slide guitar; equally tasty slide work is then heard on the rhythmically pumpin' blues of 'Lover’s Novels.'
The atmospheric 'Another World' (complete with sci-fi slanted environmental & love story lyric) then shakes the blues off in contemporary melodic rock fashion before 'Snake in the Grass' rocks out with some serious and feisty wah guitar and more clever (and tight) time changes.
'Rocking Chair' and the pacey boogie of 'Wedding Day' (featuring some nifty organ keyboard work from Miika Aukio) provide more straight-ahead rockin' blues before the down-tempo and delicate 'Wildflower' (which hearkens back to that very 2003 album) showcases Erja Lyytinen’s emotive vocals and guitar skills (sans slide).
'Wildflower' also closes out an excellent Lockdown set that delivers the type of gig we wish we could have attended in 2020 – but will, hopefully, be able to attend in the not too distant 2021 future.
Ross Muir & Nelson McFarlane
FabricationsHQ
Lyytinen and her band are now (re)scheduled to fulfil some of the dates in February 2021 (pandemic and vaccination situation willing) but she didn’t let 2020 get the better of her as regards a complete curtailing of live performance, as the 12 track 60 minute CD/DVD Lockdown Live 2020 testifies to in fine style.
Recorded and filmed at Bluesounds Warehouse Studios in Erja Lyytinen’s hometown of Kuopio in May of this year, the set unsurprisingly concentrates on songs from recent studio offerings Stolen Hearts (2017) and last year’s Another World, Lyytinen's best album to date.
The good, all-encompassing news however is Erja Lyytinen’s earlier blues orientated works are not ignored, providing for a Best Of show and not just a new product promotion.
Erja Lyytinen majors on slide guitar (indeed she is an exemplary and noted player of the slide in its blues and rock forms) and on opener 'Don’t Let a Good Woman Down' she sets her slide and heavy blues stall out in impressive style.
The energetic opener also showcases just how good a band Miss Lyytinen has behind her – keyboardist Miika Aukio shines in full-bodied support while drummer Iiro Laitinen and five-string bassist Tatu Back don’t so much lock down the rhythm as groove the bejesus out of it.
'Cherry Overdrive,' the first of six songs lifted from Another World, is a Purple-esque and progressively arranged affair with unison guitar & keyboard riffs atop a bluesy underbelly.
The pseudo funky 'Black Ocean' is equally impressive through its down 'n' dirty riff and bigger, melodic chorus; following number, the angular and darker 'Hard as Stone,' mixes things up with an unusual time signature in the verse sections and a strong chorus.
The lighter, Celtic-tinged blues of 'Torn' (written for those who live to fight another day) is another with an off-kilter time signature thrown in – there’s some genuinely clever stuff going on here.
'Dreamland Blues' from the 2006 album of the same name does exactly what it says in its title while Erja Lyytinen delivers in spades on both vocals and slide guitar; equally tasty slide work is then heard on the rhythmically pumpin' blues of 'Lover’s Novels.'
The atmospheric 'Another World' (complete with sci-fi slanted environmental & love story lyric) then shakes the blues off in contemporary melodic rock fashion before 'Snake in the Grass' rocks out with some serious and feisty wah guitar and more clever (and tight) time changes.
'Rocking Chair' and the pacey boogie of 'Wedding Day' (featuring some nifty organ keyboard work from Miika Aukio) provide more straight-ahead rockin' blues before the down-tempo and delicate 'Wildflower' (which hearkens back to that very 2003 album) showcases Erja Lyytinen’s emotive vocals and guitar skills (sans slide).
'Wildflower' also closes out an excellent Lockdown set that delivers the type of gig we wish we could have attended in 2020 – but will, hopefully, be able to attend in the not too distant 2021 future.
Ross Muir & Nelson McFarlane
FabricationsHQ
Malone Sibun - Come Together
Soul blues singer, guitarist and successful Detroit export Marcus Malone and British blues guitar slinger Innes Sibun have ploughed an impressive furrow for themselves as solo artists with some nineteen albums between them.
There’s also Innes Sibun’s role playing foil to Robert Plant in 1993 and, more recently, as the six-string high energy Yin to Sari Schorr’s operatic blues vocal Yang in her original band, The Engine Room.
But, after a chance meeting at a show and on a clearly simpatico path, the pair decided to join forces in early 2018 as the Malone Sibun Band.
They then undertook a host of well received gigs in the UK and parts of Europe before heading to the studio to record their debut album.
On Come Together the impressive pairing of Messrs Malone & Sibun are have put together an equally impressive band.
Marcus Malone Band drummer Chris Nugent keeps a solid and muscly beat throughout while keyboardist Stevie Watts (Danny Bryant, Stevie Watts Organ Trio) and six-string bassist Roger Innis (John Verity, Blues Caravan) are respected staples of the British blues rock circuit.
The collective chemistry of the unit is evident from the title track get-go.
'Come Together' is a funky and gritty blues rocker with vocal intro and outro, a distinctly Lenny Kravitz groove and Marcus Malone’s vocal and Innes Sibun’s guitar front and centre.
Lyrically the song is a cry for global unification in a worried and war-torn world; it also gives a nod to 'I Am The Walrus' through its "I am You, You are Me, We Can Come Together" tag line and re-imagines a couple of 'Swing Low' lines ("I looked over Jordan, what did I see... a war machine a comin’ after me").
'Come Together' is one of three Malone Sibun co-writes on the album, the others being honky-tonk country rocker 'Jodie' (Chris Nugent giving it plenty on the kit) and album closer 'Everyday’s a Miracle.'
The latter, a radio friendly gospel-soul pop blues, features Moz Gamble on keys, backing vocals from Chantelle Duncan (who features on many of the numbers) and a breezy solo from Innes Sibun.
There are also a couple of great fit re-workings from the pair’s back catalogue, namely 'A Taste of Your Love' and 'So Tired of Living.'
'A Taste of Your Love' (from Marcus Malone’s excellent Hurricane album of 2007) carries a country meets Zeppelin 70s vibe on the acoustic guitar (from Massimiliano Guidi) and mandolin introduction before becoming a Free spirited rock blues (there’s a touch of the Rodgers and Kossoff in Malone and Sibun here). The song then culminates on a chorus of gospel-soul vocals.
'So Tired of Living' (written by Innes Sibun for his 2005 album Farmhouse Blues) is the album’s slow blues moment.
With Innes Sibun playing superbly off of Marcus Malone’s throaty but soulful blues vocal (delivering a relatively restrained but perfectly complementary solo before becoming fully unleashed on the outro) 'So Tired of Living' has gained a new lease of minor blues life in the voice and hands of Malone and Sibun.
Other Come Together highlights include the mid-tempo Texas blues boogie of 'Lovelight' (delivering fast fingered fretwork, a big hook chorus and cute key change), the Curtis Mayfield meets Robert Cray styled soul blues of 'I Want You Back' and the lyrically soul-selling, southern-styled slide guitar rock 'n' roll of 'Rabbit Hole.'
When the Malone Sibun Band first hit the stage they were tagged as one of the best new acts on the blues/ blues rock circuit.
With Come Together they haven’t just reinforced that credential, they’ve also delivered a contender for blues rock album of the year.
Ross Muir
FabricationsHQ
There’s also Innes Sibun’s role playing foil to Robert Plant in 1993 and, more recently, as the six-string high energy Yin to Sari Schorr’s operatic blues vocal Yang in her original band, The Engine Room.
But, after a chance meeting at a show and on a clearly simpatico path, the pair decided to join forces in early 2018 as the Malone Sibun Band.
They then undertook a host of well received gigs in the UK and parts of Europe before heading to the studio to record their debut album.
On Come Together the impressive pairing of Messrs Malone & Sibun are have put together an equally impressive band.
Marcus Malone Band drummer Chris Nugent keeps a solid and muscly beat throughout while keyboardist Stevie Watts (Danny Bryant, Stevie Watts Organ Trio) and six-string bassist Roger Innis (John Verity, Blues Caravan) are respected staples of the British blues rock circuit.
The collective chemistry of the unit is evident from the title track get-go.
'Come Together' is a funky and gritty blues rocker with vocal intro and outro, a distinctly Lenny Kravitz groove and Marcus Malone’s vocal and Innes Sibun’s guitar front and centre.
Lyrically the song is a cry for global unification in a worried and war-torn world; it also gives a nod to 'I Am The Walrus' through its "I am You, You are Me, We Can Come Together" tag line and re-imagines a couple of 'Swing Low' lines ("I looked over Jordan, what did I see... a war machine a comin’ after me").
'Come Together' is one of three Malone Sibun co-writes on the album, the others being honky-tonk country rocker 'Jodie' (Chris Nugent giving it plenty on the kit) and album closer 'Everyday’s a Miracle.'
The latter, a radio friendly gospel-soul pop blues, features Moz Gamble on keys, backing vocals from Chantelle Duncan (who features on many of the numbers) and a breezy solo from Innes Sibun.
There are also a couple of great fit re-workings from the pair’s back catalogue, namely 'A Taste of Your Love' and 'So Tired of Living.'
'A Taste of Your Love' (from Marcus Malone’s excellent Hurricane album of 2007) carries a country meets Zeppelin 70s vibe on the acoustic guitar (from Massimiliano Guidi) and mandolin introduction before becoming a Free spirited rock blues (there’s a touch of the Rodgers and Kossoff in Malone and Sibun here). The song then culminates on a chorus of gospel-soul vocals.
'So Tired of Living' (written by Innes Sibun for his 2005 album Farmhouse Blues) is the album’s slow blues moment.
With Innes Sibun playing superbly off of Marcus Malone’s throaty but soulful blues vocal (delivering a relatively restrained but perfectly complementary solo before becoming fully unleashed on the outro) 'So Tired of Living' has gained a new lease of minor blues life in the voice and hands of Malone and Sibun.
Other Come Together highlights include the mid-tempo Texas blues boogie of 'Lovelight' (delivering fast fingered fretwork, a big hook chorus and cute key change), the Curtis Mayfield meets Robert Cray styled soul blues of 'I Want You Back' and the lyrically soul-selling, southern-styled slide guitar rock 'n' roll of 'Rabbit Hole.'
When the Malone Sibun Band first hit the stage they were tagged as one of the best new acts on the blues/ blues rock circuit.
With Come Together they haven’t just reinforced that credential, they’ve also delivered a contender for blues rock album of the year.
Ross Muir
FabricationsHQ
Samantha Martin & Delta Sugar – The Reckless One
Toronto based blues and gospel-soul songstress Samantha Martin & Delta Sugar have, over the last couple of years, started to make an impact outside of their native Canada where it’s hard to keep up with the number of award nominations received.
2018’s Run to Me, a Juno and four Maple Leaf nominated album, led to a 42 club date of Europe in early 2019, which set up a number of next-time-around bookings at European festivals.
But if there’s any justice The Reckless One will help turn those nominations into award wins because the third Samantha Martin & Delta Sugar album is just that – a winner.
Opener 'Love is All Around' is a soul-funk 'n’ horns, mid tempo swing-groover of a song that has a retro feel and a whole lotta summer of 60s lovin’ vibe going on.
"Love is all around you… love is all you need!" sings Samantha Martin in that slightly husky, highly impacting soul-soaked voice that got her noticed, and received such high praise, when heard on her third (and first Delta Sugar) album, 2015's stripped back Send the Nightingale (which also received four Maple Blues nominations).
It’s a fabulous little start to what is a fabulous little album; one that channels many of Samantha Martin’s influences (from Mavis Staples and Sharon Jones to Otis Redding and Booker T., to name but four) into a musically satisfying fusion and sweet Delta Sugar mix of blues, soul, R&B and Motown.
Second number, 'Don’t Have to Be,' recalls the Memphis Horns in full Stax/ R&B swing while the one cover on offer, Bob Dylan’s 'Meet Me in the Morning,' gets a fully funked up reimagining.
Horns and Hammond give it plenty on the Dylan rework while Samantha Martin belts out a raw but resonating vocal that Tina Turner and Maggie Bell at their peak wouldn’t have bettered.
As excellent a reworking as 'Meet Me in the Morning' is, the musical richness of The Reckless One lies in the deeper cuts of soul-blues originals (nine Samantha Martin co-writes feature along with two songs penned solely by the singer – the more up-tempo (and ever so subtly Nashville) 'Loving You is Easy' and the heartbreak lyric of Memphis blues meets gospel number 'Better to Have Never').
In that deeper cut regard, the slow and soulful gospel-tinged ballad 'I’ve Got a Feeling' (featuring one of Samantha Martin’s strongest and most impacting vocal performance to date) is an absolute winner, as is the bigger strings-backed sound of pacey soul-pop number, 'Sacrifice.'
Elsewhere there’s the change of hand jiving & foot stomping pace of the decidedly 60s 'Pass Me By' and the short, sweet and soulful three minutes of 'All That I Am,' which carries an early 70s female vocal-pop vibe.
Run to Me was a soul-sultry meets gospel and horns affair that expanded Delta Sugar to a full band and hinted, in fine musical and vocal style (the backing singers are as much a part of the Delta Sugar sound as Samantha Martin’s impassioned and impacting lead vocal), of what was to come.
And what was to come is The Reckless One, an album that Samantha Martin & Delta Sugar deserve not just to be nominated for, but also delivers a haul of retro-sheened gospel-soul and R&B silverware.
Ross Muir
FabricationsHQ
2018’s Run to Me, a Juno and four Maple Leaf nominated album, led to a 42 club date of Europe in early 2019, which set up a number of next-time-around bookings at European festivals.
But if there’s any justice The Reckless One will help turn those nominations into award wins because the third Samantha Martin & Delta Sugar album is just that – a winner.
Opener 'Love is All Around' is a soul-funk 'n’ horns, mid tempo swing-groover of a song that has a retro feel and a whole lotta summer of 60s lovin’ vibe going on.
"Love is all around you… love is all you need!" sings Samantha Martin in that slightly husky, highly impacting soul-soaked voice that got her noticed, and received such high praise, when heard on her third (and first Delta Sugar) album, 2015's stripped back Send the Nightingale (which also received four Maple Blues nominations).
It’s a fabulous little start to what is a fabulous little album; one that channels many of Samantha Martin’s influences (from Mavis Staples and Sharon Jones to Otis Redding and Booker T., to name but four) into a musically satisfying fusion and sweet Delta Sugar mix of blues, soul, R&B and Motown.
Second number, 'Don’t Have to Be,' recalls the Memphis Horns in full Stax/ R&B swing while the one cover on offer, Bob Dylan’s 'Meet Me in the Morning,' gets a fully funked up reimagining.
Horns and Hammond give it plenty on the Dylan rework while Samantha Martin belts out a raw but resonating vocal that Tina Turner and Maggie Bell at their peak wouldn’t have bettered.
As excellent a reworking as 'Meet Me in the Morning' is, the musical richness of The Reckless One lies in the deeper cuts of soul-blues originals (nine Samantha Martin co-writes feature along with two songs penned solely by the singer – the more up-tempo (and ever so subtly Nashville) 'Loving You is Easy' and the heartbreak lyric of Memphis blues meets gospel number 'Better to Have Never').
In that deeper cut regard, the slow and soulful gospel-tinged ballad 'I’ve Got a Feeling' (featuring one of Samantha Martin’s strongest and most impacting vocal performance to date) is an absolute winner, as is the bigger strings-backed sound of pacey soul-pop number, 'Sacrifice.'
Elsewhere there’s the change of hand jiving & foot stomping pace of the decidedly 60s 'Pass Me By' and the short, sweet and soulful three minutes of 'All That I Am,' which carries an early 70s female vocal-pop vibe.
Run to Me was a soul-sultry meets gospel and horns affair that expanded Delta Sugar to a full band and hinted, in fine musical and vocal style (the backing singers are as much a part of the Delta Sugar sound as Samantha Martin’s impassioned and impacting lead vocal), of what was to come.
And what was to come is The Reckless One, an album that Samantha Martin & Delta Sugar deserve not just to be nominated for, but also delivers a haul of retro-sheened gospel-soul and R&B silverware.
Ross Muir
FabricationsHQ
Kenny McCabe – It Always Shines For Everyone (remixed & remastered CD edition)
Scottish drummer about town(s) and multi-instrumentalist Kenny McCabe has a wide ranging, multi-genre played for/ performs with CV behind the kit.
Notable couldn’t-be-more-different examples include classic rock with Manny Charlton (on the guitarist's Homecoming gigs of 2017) and the post-punk/ Indie rock of Bulky Matron, an Edinburgh based trio that eschew the guitar-bass-drums format for guitar-drums-saxophone (and theremin).
Within solo album It Always Shines For Everyone however you’ll find yet another skill-set; that of singer-songwriter.
Additionally, while the album was originally released in 2018 (in digital/ streaming format) it now stands firmly as a CD release in its own remixed, remastered and slightly reworked right (by Edinburgh based producer/ mix engineer Jamie Turnbull).
It Always Shines For Everyone (a title that helps put some positivity on a negative, pandemic plagued year we’d all rather forget) also includes some folksier elements and, on four tracks, a brass section.
All of which makes for an album that is both charming and, on its strongest numbers, quite impressive.
Take for example the lovely little opening 'Intro' track (a classically themed solo piano piece) and following number 'Bit of a Mystery,' which is also a bit of a melodically shaped winner in its acoustic-electric rock clothing.
The more downtempo but no less effective '21 Years,' which follows, brings slightly folksier contrast (with an electric edge) before the jauntier 'Light' (which carries more than a touch of Glenn Tilbrook) puts itself forward as the radio play track of the album.
The latter also features Kenny McCabe accompanying himself on harmony backing vocals and the aforementioned brass section, who reappear on the delightful little ballad 'Running,' the acoustic led 'Your Smile' and the near eight-minute title track, which closes out the album in fine, progressive balladeering fashion.
Other songs making an impression include the up-tempo and slightly rockier 'Walls' and slow-moving 'Of Space and Time' which, title fittingly, could have been written in the 70s.
Elsewhere the piano and vocal ballad 'Stay in the Shadows' highlights that Kenny McCabe isn’t the strongest voiced singer in the world, but there’s a vocal vulnerability that suits the song’s lyricism perfectly.
Kenny McCabe has taken some care and attention to deliver this CD edition of his solo album but he isn’t resting on its musical laurels – no sooner had the album been released than confirmation came from McCabe that a 6 track EP was in the pipeline, which will see the light of day early in 2021.
In keeping with his musical diversity however, It Always Shines on Everyone Part 2 it most certainly won’t be.
Meanwhile the charm of that very album should shine on everyone that hears this remixed and remastered CD variant.
Ross Muir
FabricationsHQ
Notable couldn’t-be-more-different examples include classic rock with Manny Charlton (on the guitarist's Homecoming gigs of 2017) and the post-punk/ Indie rock of Bulky Matron, an Edinburgh based trio that eschew the guitar-bass-drums format for guitar-drums-saxophone (and theremin).
Within solo album It Always Shines For Everyone however you’ll find yet another skill-set; that of singer-songwriter.
Additionally, while the album was originally released in 2018 (in digital/ streaming format) it now stands firmly as a CD release in its own remixed, remastered and slightly reworked right (by Edinburgh based producer/ mix engineer Jamie Turnbull).
It Always Shines For Everyone (a title that helps put some positivity on a negative, pandemic plagued year we’d all rather forget) also includes some folksier elements and, on four tracks, a brass section.
All of which makes for an album that is both charming and, on its strongest numbers, quite impressive.
Take for example the lovely little opening 'Intro' track (a classically themed solo piano piece) and following number 'Bit of a Mystery,' which is also a bit of a melodically shaped winner in its acoustic-electric rock clothing.
The more downtempo but no less effective '21 Years,' which follows, brings slightly folksier contrast (with an electric edge) before the jauntier 'Light' (which carries more than a touch of Glenn Tilbrook) puts itself forward as the radio play track of the album.
The latter also features Kenny McCabe accompanying himself on harmony backing vocals and the aforementioned brass section, who reappear on the delightful little ballad 'Running,' the acoustic led 'Your Smile' and the near eight-minute title track, which closes out the album in fine, progressive balladeering fashion.
Other songs making an impression include the up-tempo and slightly rockier 'Walls' and slow-moving 'Of Space and Time' which, title fittingly, could have been written in the 70s.
Elsewhere the piano and vocal ballad 'Stay in the Shadows' highlights that Kenny McCabe isn’t the strongest voiced singer in the world, but there’s a vocal vulnerability that suits the song’s lyricism perfectly.
Kenny McCabe has taken some care and attention to deliver this CD edition of his solo album but he isn’t resting on its musical laurels – no sooner had the album been released than confirmation came from McCabe that a 6 track EP was in the pipeline, which will see the light of day early in 2021.
In keeping with his musical diversity however, It Always Shines on Everyone Part 2 it most certainly won’t be.
Meanwhile the charm of that very album should shine on everyone that hears this remixed and remastered CD variant.
Ross Muir
FabricationsHQ
Neil McFarlane – Harmonic Chances
As much an extended maxi EP as a mini album (7 tracks across 30 minutes) Harmonic Chances is a great introduction to the music and instrumentation of young Glasgow musician Neil McFarlane, who showcases his jazz fusion leanings in the company of Arion Xenos (guitars, keys) Philip Gurrey (trumpet; featured on three tracks) and George Falconer (drums, percussion).
Falconer also plays in a couple of other bands with Neil McFarlane’s father, bassist Nelson McFarlane, including Scotland’s best fusion outfit the Oscar Cordoba Band (who feature the younger McFarlane on occasion).
The album cover would lead you to believe there’s going to be plenty of alto saxophone leading the jazz charge but only four numbers feature the sax appeal of Neil McFarlane; his bass playing however (another instrumentation strength) features on all seven tracks.
Opening track 'Intro' is just that, a three minute piece that conjures up sand blown images of middle eastern deserts via wailing in the wind saxophone, percussion and Arion Xenos on middle eastern stringed instrument the Oud.
'Intro' doesn’t segue into 'What Did the Dust Do For You?' but frankly it could and should have, the latter carrying further eastern intrigue across a primarily up-tempo piece with alto sax and trumpet in perfect middle eastern flavoured harmony (Bazaar jazz? Believe it).
'Distant' is a short solo bass guitar piece that segues to 'Jocko,' a bass, guitar and electro-percussive combination that is part work-out, part jam and part harmonic exercise.
The final three tracks are more structured (or accessible) pieces, putting them squarely in the more jazz friendly side of Neil McFarlane’s repertoire.
'The Chicken' is a funky little offering with grooving bass line, cool little guitar expressions and a blast or three of sax and trumpet while the shorter 'Daddy Dogs Don’t Stick Around' is a smoother saxophone over electro-beat affair.
Eight and a half minute closing number 'Jean Pierre' features all four musicians settling in to a slower but subtly shifting and slightly funky jazz groove, with plenty of space for the brass instruments to breath and blow.
It also features a needless (but absolutely mandatory for the genre) 45 second outburst of jazz cacophony as its finale.
Neil McFarlane and his debut solo album are further examples of the wealth of musical talent Scotland has to offer beyond the more traditional folk artists or the pop, rock and blues genres (Fat Suit are the primary case in ensemble point but there are a host of others).
In short, if you want to stretch your musical boundaries, or if jazz is already your thing (man), you could do a lot worse than taking your Harmonic Chances with Neil McFarlane.
Ross Muir
FabricationsHQ
Falconer also plays in a couple of other bands with Neil McFarlane’s father, bassist Nelson McFarlane, including Scotland’s best fusion outfit the Oscar Cordoba Band (who feature the younger McFarlane on occasion).
The album cover would lead you to believe there’s going to be plenty of alto saxophone leading the jazz charge but only four numbers feature the sax appeal of Neil McFarlane; his bass playing however (another instrumentation strength) features on all seven tracks.
Opening track 'Intro' is just that, a three minute piece that conjures up sand blown images of middle eastern deserts via wailing in the wind saxophone, percussion and Arion Xenos on middle eastern stringed instrument the Oud.
'Intro' doesn’t segue into 'What Did the Dust Do For You?' but frankly it could and should have, the latter carrying further eastern intrigue across a primarily up-tempo piece with alto sax and trumpet in perfect middle eastern flavoured harmony (Bazaar jazz? Believe it).
'Distant' is a short solo bass guitar piece that segues to 'Jocko,' a bass, guitar and electro-percussive combination that is part work-out, part jam and part harmonic exercise.
The final three tracks are more structured (or accessible) pieces, putting them squarely in the more jazz friendly side of Neil McFarlane’s repertoire.
'The Chicken' is a funky little offering with grooving bass line, cool little guitar expressions and a blast or three of sax and trumpet while the shorter 'Daddy Dogs Don’t Stick Around' is a smoother saxophone over electro-beat affair.
Eight and a half minute closing number 'Jean Pierre' features all four musicians settling in to a slower but subtly shifting and slightly funky jazz groove, with plenty of space for the brass instruments to breath and blow.
It also features a needless (but absolutely mandatory for the genre) 45 second outburst of jazz cacophony as its finale.
Neil McFarlane and his debut solo album are further examples of the wealth of musical talent Scotland has to offer beyond the more traditional folk artists or the pop, rock and blues genres (Fat Suit are the primary case in ensemble point but there are a host of others).
In short, if you want to stretch your musical boundaries, or if jazz is already your thing (man), you could do a lot worse than taking your Harmonic Chances with Neil McFarlane.
Ross Muir
FabricationsHQ
Paul McGranaghan – La Maleta
Prior to La Maleta, Glasgow based singer songwriter multi-instrumentalist Paul McGranaghan’s output had been a mixture of gritty guitar led rock and well-crafted melodic pop (both heard to superb effect on debut album Carry the Torch, FabricationsHQ’s solo artist album of the year in 2012) and delicate, acoustic balladeering, as heard on more recent single, 'Little Flame.'
There were also guitar & vocal stints with Brown Bear & the Bandits and the Indie styled Freelance Liars, which led to extensive UK touring.
But nothing before hinted at what would be discovered when opening the suitcase (a Spanish one, title wise) full of post-punk new wave, darker soundscapes and experimental textures that make up La Maleta.
Additionally, the album doesn’t so much nod as offer a full-blown bow to the mid to late 70s era of David Bowie, Iggy Pop and Brian Eno and the latter pair's association with Bowie's "Berlin" period.
Other influences include new wave/ post-punk revivalist bands The Strokes and The Nationals (there's a sprinkle of Bill Nelson in his Red Noise and new wave pop days in there, too).
Recorded entirely by Paul McGranaghan, the self-produced sound of La Maleta also works to the benefit of the songs, their style and instrumentation employed.
The instrumental title track, which opens the album, is all synths and angular atmosphere.
You can almost hear it as a piece of what’s-about-to-happen? music in a fantasy horror or modern film noire movie (open the suitcase, I dare you, amigo).
It’s an interesting opening to an intriguing album.
Following number 'Venus at Night' is built on a simple beat but sonically hearkens back to the aforementioned Berlin period – to such a degree you’d be forgiven for thinking it was a 1977 composition from Messrs Bowie, Pop and Eno (the Robert Fripp-esque six-string textures are the guitar icing on the new wave cake).
The curiously infectious guitar riff meets synth pop backing of 'Time Out of Joint' is another strong, Iggy styled offering, as is the contrasting 'Tiergarten,' which comes across as an offspring of the UK New Wave scene of the early 80s (its dark pop underbelly fits the La Maleta profile perfectly however).
Other highlights across the nine track album include 'I Am Helpless I Have to Obey,' the sparser sound and almost trance like bass pulse of which pretty much dictates the title, and the brooding, bristling slow Indie rock of 'We Had a Chance.'
Paul McGranaghan leaves the best to last however with the contemporary Indie sound of 'When They Send the Army;' the song's slow beat and ever rising wall of shoegazing styled guitars gives way, at song’s end, to the sound of a desolate wind.
From extremely well crafted singer-songwriter material to indie rock and now old wave meets new wave, La Maleta makes you wonder just where Paul McGranaghan may be heading next.
Frankly, it could be anywhere from industrial metal to country – because you get the impression he has at least another suitcase full of ideas to draw his wide songwriting influences from.
Ross Muir
FabricationsHQ
La Maleta is available across all digital platforms and on the artist’s bandcamp page:
https://paulmcgranaghan.bandcamp.com/album/la-maleta
There were also guitar & vocal stints with Brown Bear & the Bandits and the Indie styled Freelance Liars, which led to extensive UK touring.
But nothing before hinted at what would be discovered when opening the suitcase (a Spanish one, title wise) full of post-punk new wave, darker soundscapes and experimental textures that make up La Maleta.
Additionally, the album doesn’t so much nod as offer a full-blown bow to the mid to late 70s era of David Bowie, Iggy Pop and Brian Eno and the latter pair's association with Bowie's "Berlin" period.
Other influences include new wave/ post-punk revivalist bands The Strokes and The Nationals (there's a sprinkle of Bill Nelson in his Red Noise and new wave pop days in there, too).
Recorded entirely by Paul McGranaghan, the self-produced sound of La Maleta also works to the benefit of the songs, their style and instrumentation employed.
The instrumental title track, which opens the album, is all synths and angular atmosphere.
You can almost hear it as a piece of what’s-about-to-happen? music in a fantasy horror or modern film noire movie (open the suitcase, I dare you, amigo).
It’s an interesting opening to an intriguing album.
Following number 'Venus at Night' is built on a simple beat but sonically hearkens back to the aforementioned Berlin period – to such a degree you’d be forgiven for thinking it was a 1977 composition from Messrs Bowie, Pop and Eno (the Robert Fripp-esque six-string textures are the guitar icing on the new wave cake).
The curiously infectious guitar riff meets synth pop backing of 'Time Out of Joint' is another strong, Iggy styled offering, as is the contrasting 'Tiergarten,' which comes across as an offspring of the UK New Wave scene of the early 80s (its dark pop underbelly fits the La Maleta profile perfectly however).
Other highlights across the nine track album include 'I Am Helpless I Have to Obey,' the sparser sound and almost trance like bass pulse of which pretty much dictates the title, and the brooding, bristling slow Indie rock of 'We Had a Chance.'
Paul McGranaghan leaves the best to last however with the contemporary Indie sound of 'When They Send the Army;' the song's slow beat and ever rising wall of shoegazing styled guitars gives way, at song’s end, to the sound of a desolate wind.
From extremely well crafted singer-songwriter material to indie rock and now old wave meets new wave, La Maleta makes you wonder just where Paul McGranaghan may be heading next.
Frankly, it could be anywhere from industrial metal to country – because you get the impression he has at least another suitcase full of ideas to draw his wide songwriting influences from.
Ross Muir
FabricationsHQ
La Maleta is available across all digital platforms and on the artist’s bandcamp page:
https://paulmcgranaghan.bandcamp.com/album/la-maleta
The Milk Men – Deliverance
Born out of a Dr Feelgood influenced fun project initiated by Mustangs front man/ guitarist Adam Norsworthy and vocalist Jamie Smy, The Milk Men, through debut offering Full Phat and follow-up Gold Top, established themselves as a British blues rock outfit worthy of some attention.
Now, with Deliverance, the band, who also feature ex Pirates drummer Mike Roberts and bassist Lloyd Green (son of The Pirates guitar legend Mick Green) have announced themselves as one of the best retro-styled rock ‘n’ roll blues outfits in the UK.
Opener 'Gasoline,' driven by a feisty little riff and equally feisty vocal from Jamie Smy (whose huskier tones seem to have been gargling with the liquid hydrocarbon of the song’s title), rocks and rolls on a sharp dressed beat, just enough cowbell (nice touch) and a seemingly impromptu but perfectly punctuated bass break.
It’s a great start to proceedings but the better news is The Milk Men aren’t "running out of gasoline" after that first three high-octane minutes; in fact they are only just getting started.
'When the Blues Keeps Calling' is another gritty riff-led, gravel voiced number, and one that could well be the band’s calling card; following number and lead-off single 'Little Miss Attention' then demands just that.
The latter is led by an infectious riff and a mix of Dr Feelgood, Stonesy rock 'n' roll (Milk Men traits) and a little "ooh la la-la" appeal (such vocal interjections, along with Adam Norsworthy’s quirky little solo, add some Ray Davies/ Kinks sprinkles).
The Rolling Stones influences are up front and centre on the groove driven 'Taking Her Time' (which also employs a deceptively hooky chorus and more cowbell) and the raunchier 'Bad Girl,' but in reality the Stones comparison is more in sound-shape than any song similarity.
And that’s due, in part, to an excellent mix (and mastering) job from Wayne Proctor, where the guitars are thick and up front and the percussion crisp (The Milk Men haven’t just found their blues shod feet on Deliverance, they’ve found their full, fat bodied sound, courtesy of the in-demand Proctor).
There are some other well-conceived blues shades at play on Deliverance.
'Sail Away' manages to incorporate a little southern swagger, simple but effective pop harmonies and a 'While My Guitar'/ Harrison-esque vibe on the outro; following number 'Why Can’t You Stay?' (featuring a really nice vocal from Jamie Smy) proves The Milk Men can also deliver on a slow, melodically framed blues.
Deliverance wraps itself up as strongly as it opened.
Penultimate number 'Alive' rattles down the blues-train tracks at a fair old pace while chain gang styled blues 'One More Day' plays out as both the perfect contrast to 'Alive' and the perfect album closer.
Both tracks also feature harmonica from guest player Gareth Huggett.
In keeping with the band’s milk puns, Full Phat was a cool mix of feelgood flavour and some tasty covers while Gold Top was a fuller bodied offering.
With album number three however Messrs Norsworthy, Smy, Roberts & Green have, much like your local milk man, successfully bottled and delivered the highly refreshing goods.
Ross Muir
FabricationsHQ
Now, with Deliverance, the band, who also feature ex Pirates drummer Mike Roberts and bassist Lloyd Green (son of The Pirates guitar legend Mick Green) have announced themselves as one of the best retro-styled rock ‘n’ roll blues outfits in the UK.
Opener 'Gasoline,' driven by a feisty little riff and equally feisty vocal from Jamie Smy (whose huskier tones seem to have been gargling with the liquid hydrocarbon of the song’s title), rocks and rolls on a sharp dressed beat, just enough cowbell (nice touch) and a seemingly impromptu but perfectly punctuated bass break.
It’s a great start to proceedings but the better news is The Milk Men aren’t "running out of gasoline" after that first three high-octane minutes; in fact they are only just getting started.
'When the Blues Keeps Calling' is another gritty riff-led, gravel voiced number, and one that could well be the band’s calling card; following number and lead-off single 'Little Miss Attention' then demands just that.
The latter is led by an infectious riff and a mix of Dr Feelgood, Stonesy rock 'n' roll (Milk Men traits) and a little "ooh la la-la" appeal (such vocal interjections, along with Adam Norsworthy’s quirky little solo, add some Ray Davies/ Kinks sprinkles).
The Rolling Stones influences are up front and centre on the groove driven 'Taking Her Time' (which also employs a deceptively hooky chorus and more cowbell) and the raunchier 'Bad Girl,' but in reality the Stones comparison is more in sound-shape than any song similarity.
And that’s due, in part, to an excellent mix (and mastering) job from Wayne Proctor, where the guitars are thick and up front and the percussion crisp (The Milk Men haven’t just found their blues shod feet on Deliverance, they’ve found their full, fat bodied sound, courtesy of the in-demand Proctor).
There are some other well-conceived blues shades at play on Deliverance.
'Sail Away' manages to incorporate a little southern swagger, simple but effective pop harmonies and a 'While My Guitar'/ Harrison-esque vibe on the outro; following number 'Why Can’t You Stay?' (featuring a really nice vocal from Jamie Smy) proves The Milk Men can also deliver on a slow, melodically framed blues.
Deliverance wraps itself up as strongly as it opened.
Penultimate number 'Alive' rattles down the blues-train tracks at a fair old pace while chain gang styled blues 'One More Day' plays out as both the perfect contrast to 'Alive' and the perfect album closer.
Both tracks also feature harmonica from guest player Gareth Huggett.
In keeping with the band’s milk puns, Full Phat was a cool mix of feelgood flavour and some tasty covers while Gold Top was a fuller bodied offering.
With album number three however Messrs Norsworthy, Smy, Roberts & Green have, much like your local milk man, successfully bottled and delivered the highly refreshing goods.
Ross Muir
FabricationsHQ
Barry Myers – Angel
As has been written by many before, including FabricationsHQ, the musical influences of Floridian singer, songwriter and musician Barry Myers range from The Beatles and Dan Fogelberg to Pink Floyd.
The singer-songwriter meets soft rock stylings of Barry Myers were heard to good effect back in 2010 on debut album 7th Avenue (which also included a little cool jazz and plenty of melody) before the Floyd-esque atmospheres, mixed with Myers’ own highly captivating sound, came to the fore on the semi-conceptual and outstanding Starseeds and Dreamcatchers four years later (the album also featured Pat Travers on lead guitar).
On Angel, Barry Myers’ third album (more accurately a mini-album or extended EP of seven tracks), Myers and his live band (Barry Stone - lead guitar, Glenn Davis - drums, Bobby Granato - bass) have fused the sonic atmospheres of Starseeds and Dreamcatchers and the soft rock appeal of 7th Avenue to deliver an introspective album that holds true to Barry Myers’ musical strengths – delightful melodies, thoughtful harmonies and great songwriting.
Nor does it hurt that Sean Shannon – a musician/ sound engineer who is as good behind a drum kit as he is sitting in the producer’s chair (and that’s very good indeed), is back to help out – Shannon (who shares drum duties with Glenn Davis) played on, and produced, both 7th Avenue and Starseeds and Dreamcatchers.
The results are a warm, full sound that fits the album’s sonic and songwriting profile.
Opening number and lead-off single 'The Ways of Love' is John Lennon transported to 21st century soft rock land, right down to Barry Myers’ little Lennon-esque drops of vocality (I swear you can almost hear Lennon singing harmony on the choruses).
Following number 'The Drive' offers up delightful little electric guitar remarks from Barry Stone, sprinkled over an acoustic backing, before the fuller sounding 'I’m Not Finished Yet' (again with a highly effective less is more approach to the lead guitar) is a lessons learned song of self-empowerment ("I’m not finished yet – not by a long shot!")
The airy and breezy 'No More Goodbyes' is the sort of warm sounding melodic pop number that should be saturating the US coastal airwaves while you sing-a-long on your car radio while the rythmic 'This is True' brings a little samba-esque pop soul to proceedings.
'Sailing in Solitude' is the most introspective number on Angel, but the song manages to float above the melancholy through its harmonic structure, deft lead guitar touches and a deceptively uplifting vibe.
The short piano-and-vocal piece 'This Angel' is in complete contrast to the bigger production of the previous six songs but it works as an effective, and personal, sign-off to what is another lovely little release from Barry Myers.
Ross Muir
FabricationsHQ
The singer-songwriter meets soft rock stylings of Barry Myers were heard to good effect back in 2010 on debut album 7th Avenue (which also included a little cool jazz and plenty of melody) before the Floyd-esque atmospheres, mixed with Myers’ own highly captivating sound, came to the fore on the semi-conceptual and outstanding Starseeds and Dreamcatchers four years later (the album also featured Pat Travers on lead guitar).
On Angel, Barry Myers’ third album (more accurately a mini-album or extended EP of seven tracks), Myers and his live band (Barry Stone - lead guitar, Glenn Davis - drums, Bobby Granato - bass) have fused the sonic atmospheres of Starseeds and Dreamcatchers and the soft rock appeal of 7th Avenue to deliver an introspective album that holds true to Barry Myers’ musical strengths – delightful melodies, thoughtful harmonies and great songwriting.
Nor does it hurt that Sean Shannon – a musician/ sound engineer who is as good behind a drum kit as he is sitting in the producer’s chair (and that’s very good indeed), is back to help out – Shannon (who shares drum duties with Glenn Davis) played on, and produced, both 7th Avenue and Starseeds and Dreamcatchers.
The results are a warm, full sound that fits the album’s sonic and songwriting profile.
Opening number and lead-off single 'The Ways of Love' is John Lennon transported to 21st century soft rock land, right down to Barry Myers’ little Lennon-esque drops of vocality (I swear you can almost hear Lennon singing harmony on the choruses).
Following number 'The Drive' offers up delightful little electric guitar remarks from Barry Stone, sprinkled over an acoustic backing, before the fuller sounding 'I’m Not Finished Yet' (again with a highly effective less is more approach to the lead guitar) is a lessons learned song of self-empowerment ("I’m not finished yet – not by a long shot!")
The airy and breezy 'No More Goodbyes' is the sort of warm sounding melodic pop number that should be saturating the US coastal airwaves while you sing-a-long on your car radio while the rythmic 'This is True' brings a little samba-esque pop soul to proceedings.
'Sailing in Solitude' is the most introspective number on Angel, but the song manages to float above the melancholy through its harmonic structure, deft lead guitar touches and a deceptively uplifting vibe.
The short piano-and-vocal piece 'This Angel' is in complete contrast to the bigger production of the previous six songs but it works as an effective, and personal, sign-off to what is another lovely little release from Barry Myers.
Ross Muir
FabricationsHQ
Cormac Neeson - White Feather : Deluxe Edition
White Feather, the limited edition ten-track debut solo album from Cormac Neeson, originally released at the top of 2019, is being given a reappraised review for good and deserved reason – its six bonus tracks Deluxe Edition release on Social Family Records.
Given Cormac Neeson is front man of acclaimed Northern Irish rock outfit The Answer, you would be forgiven for thinking White Feather might be based around the singer’s rock orientated credentials.
But the reality is White Feather showcases Neeson’s other musical world and his life affirming love of country, soul, blues and Celtic folk.
The results are an album of well-crafted, introspective numbers that draw heavily from the aforementioned influences but shaped by Cormac Neeson's personal experiences of upheaval and change over the last few years.
The generally under-stated and mid to slow tempo collection of songs that make up White Feather are genuinely warm and at times quite poignant, but then there is some seriously top-notch songwriting at play.
(Cormac Neeson worked with a number of leading Nashville country song writers including Allen Palmer, Corey Lee Barker and the late Blue Miller).
The country pedal steel and piano (some lovely ivory tinkling remarks from John McCullough) of opening number 'White Feather' is the perfect vehicle for Cormac Neeson’s Celtic lilted vocal and lyric that reflects on the impact of a new birth ("spent two weeks waiting on a heartbeat, no bigger than a small seed…") and, one surmises, a rebirth of sorts for Cormac Neeson.
Following number 'Do Something Today' reminds of Frankie Miller in slower, county-blues clothing; similarly Miller-esque is the up-tempo 'Don’t Wait Up.'
'Broken Wing' has, in the saddest of unforeseen circumstances, become the calling card of Cormac Neeson’s brand of downtempo country blues.
An emotive ballad written for Cormac Neeson’s son and the challenges he has faced in his young life, 'Broken Wing' was co-written with ex Bob Seger guitarist and India.Arie producer Blue Miller (as was the vocally rhythmic, country soul number 'Oh Son').
Tragically, Blue Miller died of a brain aneurysm in August of 2018 as White Feather neared completion.
'Song That Lives Forever' (with cello interjections floating atop guitars, dobro and banjo) and 'Home to Me' offer, in turn, simple but delightful blues waltzing and homecoming country tones but 'Artefact' and the prayer plea 'Look Down On Me' might be a melancholic step too far for some.
The latter pair do, however, benefit from their use of well-arranged female backing vocals, as do half the numbers on the album.
The Deluxe part of the equation comes by way of six additional songs.
The ballad 'Everywhere But Here,' the slow rhythm ‘n’ bluesy 'What You Do To Me' and the piano led & string backed 'Whole Again' originally fell victim to Pledge Music's well documented payment problems of 2018.
All three are now deservedly reinstated.
The other three tracks are a radio edit of 'Do Something Today' and two brand new recordings – the Nashville pedal steel & guitar picking blues of 'You Gotta Make a Change' and the country rock and roll of better times ahead number, 'Blue Beyond the Grey.'
White Feather might not be the album you would expect Cormac Neeson to make, but it’s unquestionably the album he needed to make.
Those with a fondness or appreciation for Celtic influenced country blues should be very glad he did.
Ross Muir
FabricationsHQ
Given Cormac Neeson is front man of acclaimed Northern Irish rock outfit The Answer, you would be forgiven for thinking White Feather might be based around the singer’s rock orientated credentials.
But the reality is White Feather showcases Neeson’s other musical world and his life affirming love of country, soul, blues and Celtic folk.
The results are an album of well-crafted, introspective numbers that draw heavily from the aforementioned influences but shaped by Cormac Neeson's personal experiences of upheaval and change over the last few years.
The generally under-stated and mid to slow tempo collection of songs that make up White Feather are genuinely warm and at times quite poignant, but then there is some seriously top-notch songwriting at play.
(Cormac Neeson worked with a number of leading Nashville country song writers including Allen Palmer, Corey Lee Barker and the late Blue Miller).
The country pedal steel and piano (some lovely ivory tinkling remarks from John McCullough) of opening number 'White Feather' is the perfect vehicle for Cormac Neeson’s Celtic lilted vocal and lyric that reflects on the impact of a new birth ("spent two weeks waiting on a heartbeat, no bigger than a small seed…") and, one surmises, a rebirth of sorts for Cormac Neeson.
Following number 'Do Something Today' reminds of Frankie Miller in slower, county-blues clothing; similarly Miller-esque is the up-tempo 'Don’t Wait Up.'
'Broken Wing' has, in the saddest of unforeseen circumstances, become the calling card of Cormac Neeson’s brand of downtempo country blues.
An emotive ballad written for Cormac Neeson’s son and the challenges he has faced in his young life, 'Broken Wing' was co-written with ex Bob Seger guitarist and India.Arie producer Blue Miller (as was the vocally rhythmic, country soul number 'Oh Son').
Tragically, Blue Miller died of a brain aneurysm in August of 2018 as White Feather neared completion.
'Song That Lives Forever' (with cello interjections floating atop guitars, dobro and banjo) and 'Home to Me' offer, in turn, simple but delightful blues waltzing and homecoming country tones but 'Artefact' and the prayer plea 'Look Down On Me' might be a melancholic step too far for some.
The latter pair do, however, benefit from their use of well-arranged female backing vocals, as do half the numbers on the album.
The Deluxe part of the equation comes by way of six additional songs.
The ballad 'Everywhere But Here,' the slow rhythm ‘n’ bluesy 'What You Do To Me' and the piano led & string backed 'Whole Again' originally fell victim to Pledge Music's well documented payment problems of 2018.
All three are now deservedly reinstated.
The other three tracks are a radio edit of 'Do Something Today' and two brand new recordings – the Nashville pedal steel & guitar picking blues of 'You Gotta Make a Change' and the country rock and roll of better times ahead number, 'Blue Beyond the Grey.'
White Feather might not be the album you would expect Cormac Neeson to make, but it’s unquestionably the album he needed to make.
Those with a fondness or appreciation for Celtic influenced country blues should be very glad he did.
Ross Muir
FabricationsHQ
The Noble Jacks – Stay Awake (Deluxe Edition)
Folksy, fiddle led debut album What the Hammer garnered some deserved attention for the Brighton based Noble Jacks in 2017.
By 2019 however, as heard on second album Stay Awake, the band, formed around the duo partnership of Will Page (vocals/ fiddle) and Matty Deveson (guitars), had developed their sound to a full blown blend of melodic alt-folk, fiddle and jangly guitar pop, nodding to both Americana and bands closer to home such as fellow Brightonians the Levellers.
One year on Stay Awake has been given a deserved
re-release; each song from the original album has been re-recorded / re-produced with a fuller sound and four bonus/ new studio tracks.
The Deluxe Edition results are a 14 track offering that’s chock full of infectious hooks, sing-a-long vocal harmonies, melodic folk poppery and truly earwormery moments – in short, it’s Messrs Page & Deveson delivering feel-good fiddle and melodic Americana with plenty of guitar chiming charm and up-tempo, up-beat appeal.
From the alt-folk fiddle, guitars and sharp drum beats of up-tempo opener 'Ten Times' and on to the hooky 'Lights Out' and Celtic-pop styled positivity of 'Rely on Love,' Stay Awake is an up-beat, foot tapping, smile-on-the-face winner.
An infectious mix of lyrical positivity (heard to great effect on the melodic folk-pop and harmonica accompanied 'New Beginnings'), Americana pop, alt-folk and Celtic rhythms (the latter to the fore on the Paul Simon-esque 'Morning Light'), Stay Awake and the Noble jacks are a musical tonic for what ails us.
That the county-folk stylings of literal/ lyrical “pick-me-up” number 'Lift Me From the Floor' could as easily be from old-school Nashville as 'BrAmericana' Brighton also helps reinforces the band’s both sides of the pond appeal.
Not that it’s all about the melodic charge of the folk brigade – 'What Did You Say' has a weightier swagger that comes from the folk-blues south (and I don’t mean Brighton) while 'This is Real' has a touch of early Waterboys / Mike Scott solo about it.
Stay Awake was a 10 track success in 2019 but the Deluxe Edition adds some garnish via its bigger sound and the four additional tracks, including the joyous jangle and radio friendliness of a re-recorded 'Enjoy the Ride' (which first appeared on What the Hammer) and the more alt-folk orientated 'Noble Ground.'
The other two songs, unsurprisingly, carry far more positivity than their title or lyrical slants would first suggest.
The jaunty and rhythmic 'Road of Death' belies its title and is lifted by the tag line "but against all odds he makes it down that dusty road again" while the tribal beat and Celtic fiddle-play of 'Dreams Carry Me On' produces positivity where there seems to be none ("I’m tired of these faces telling me I’m wrong… my dreams will carry me on!").
Stay Awake Deluxe Edition isn’t just one of the best albums you’ll hear this year, it’s arguably the best of the albums you have to hear this year; an injection of musical positivity to help ward off the current state of global and viral (Covid-19 was hitting pandemic status just as the Deluxe Edition was being released) affairs.
Ross Muir
FabricationsHQ
By 2019 however, as heard on second album Stay Awake, the band, formed around the duo partnership of Will Page (vocals/ fiddle) and Matty Deveson (guitars), had developed their sound to a full blown blend of melodic alt-folk, fiddle and jangly guitar pop, nodding to both Americana and bands closer to home such as fellow Brightonians the Levellers.
One year on Stay Awake has been given a deserved
re-release; each song from the original album has been re-recorded / re-produced with a fuller sound and four bonus/ new studio tracks.
The Deluxe Edition results are a 14 track offering that’s chock full of infectious hooks, sing-a-long vocal harmonies, melodic folk poppery and truly earwormery moments – in short, it’s Messrs Page & Deveson delivering feel-good fiddle and melodic Americana with plenty of guitar chiming charm and up-tempo, up-beat appeal.
From the alt-folk fiddle, guitars and sharp drum beats of up-tempo opener 'Ten Times' and on to the hooky 'Lights Out' and Celtic-pop styled positivity of 'Rely on Love,' Stay Awake is an up-beat, foot tapping, smile-on-the-face winner.
An infectious mix of lyrical positivity (heard to great effect on the melodic folk-pop and harmonica accompanied 'New Beginnings'), Americana pop, alt-folk and Celtic rhythms (the latter to the fore on the Paul Simon-esque 'Morning Light'), Stay Awake and the Noble jacks are a musical tonic for what ails us.
That the county-folk stylings of literal/ lyrical “pick-me-up” number 'Lift Me From the Floor' could as easily be from old-school Nashville as 'BrAmericana' Brighton also helps reinforces the band’s both sides of the pond appeal.
Not that it’s all about the melodic charge of the folk brigade – 'What Did You Say' has a weightier swagger that comes from the folk-blues south (and I don’t mean Brighton) while 'This is Real' has a touch of early Waterboys / Mike Scott solo about it.
Stay Awake was a 10 track success in 2019 but the Deluxe Edition adds some garnish via its bigger sound and the four additional tracks, including the joyous jangle and radio friendliness of a re-recorded 'Enjoy the Ride' (which first appeared on What the Hammer) and the more alt-folk orientated 'Noble Ground.'
The other two songs, unsurprisingly, carry far more positivity than their title or lyrical slants would first suggest.
The jaunty and rhythmic 'Road of Death' belies its title and is lifted by the tag line "but against all odds he makes it down that dusty road again" while the tribal beat and Celtic fiddle-play of 'Dreams Carry Me On' produces positivity where there seems to be none ("I’m tired of these faces telling me I’m wrong… my dreams will carry me on!").
Stay Awake Deluxe Edition isn’t just one of the best albums you’ll hear this year, it’s arguably the best of the albums you have to hear this year; an injection of musical positivity to help ward off the current state of global and viral (Covid-19 was hitting pandemic status just as the Deluxe Edition was being released) affairs.
Ross Muir
FabricationsHQ
Orianthi – O
Orianthi Penny Panagaris has already packed more into her career than most musicians do in a lifetime.
Known as just Orianthi, the Australian born guitarist-singer-songwriter rehearsed in 2009 with Michael Jackson in preparation for his ill-fated This Is It concert series; she has also been part of the Alice Cooper touring band and played on stage, at a young age, with both Steve Vai and Carlos Santana.
The winner of various awards from respected guitar publications, Orianthi has an endorsement with PRS Guitars, appeared on National TV and contributed to numerous album sessions
A highly respected guitarist and Platinum selling recording artist who has toured the world with various bands and as a solo musician, O is, remarkably, Orianthi's first new music as a solo artist in six years and first new studio album in seven.
So, with the seven year itching wait now over, do Orianthi and O, in the company of Evan Frederiksen (drums, bass) and Marti Frederiksen (percussion & programming) cut the musical mustard’?
Well the knife is certainly sharp enough on opener 'Contagious,' a likeable and melodic piece of industrial-metal which reminds of Nine Inch Nails and Rage Against the Machine (due to the Tom Morello-esque whammy pedal).
The song also benefits from a touch of Rainbow’s 'Gates of Babylon' in the chorus melody line.
'Sinner’s Hymn' continues the industrial feel and benefits from Orianthi keeping the guitar histrionics to a minimum, instead concentrating on the song.
'Rescue Me 'then provides a change of pace through its down-tempo, blues style (complete with some tasty Hendrix-isms and harmonica) before changing, temporarily, to some angry riffing.
'Blow' starts with some more electronica and a slightly risqué lyric where Orianthi just wants to "blow… your mind!" but then this is a highly confident artist who is not scared to use her femininity and obvious charms to create a highly attractive, girl power image (check out the album cover and, for further, semi-clothed proof, the glamtastic Music Video for 'Impulsive').
'Blow' also features another Hendrix-type solo along with more underlying electronica, further evidence of Orianthi’s eclectic (and electric) influences.
'Sorry,' which carries a seriously catchy chorus, is perhaps the most rock guitar meets electronica track on the album (an influence from Orianthi’s time with Michael Jackson perhaps) while the ballad 'Crawling Out of the Dark' builds slightly towards the end but only ever features Orianthi’s genuinely impassioned vocal and guitar (including a tasteful Stevie Ray Vaughan type solo).
In short, an impressive number.
The aforementioned 'Impulsive' jangles its hard pop and glams up its rock before further contrast is provided by the mid-tempo 'Streams of Consciousness,' another well-produced piece of electronica with seriously raunchy guitars.
The latter also has an air of menace about it, which could well be nod to another of Orianthi’s former employers, Mr Furnier.
'Company' is another well-crafted electro rock / rhythmic pop song whose arpeggiated keys in the background (and guitar part playing in unison with the verse vocal) leads to another fine example of Orianthi’s electronica/ Hendrix hybrid style.
Closing track 'Moonwalker' (a tribute through title) sounds like a semi-atmospheric/ modern Bond theme.
Built on sparse electronic backing and impressive vocal parts, 'Moonwalker' ends on another well delivered Stevie Ray Vaughan type solo.
O is an impressive, who I am marker from Orianthi, but it’s not the guitar album many might have expected.
Instead she has concentrated on the songs and vocals (which are strong throughout) and delivered on both.
Mustard duly cut.
Nelson McFarlane
FabricationsHQ
Known as just Orianthi, the Australian born guitarist-singer-songwriter rehearsed in 2009 with Michael Jackson in preparation for his ill-fated This Is It concert series; she has also been part of the Alice Cooper touring band and played on stage, at a young age, with both Steve Vai and Carlos Santana.
The winner of various awards from respected guitar publications, Orianthi has an endorsement with PRS Guitars, appeared on National TV and contributed to numerous album sessions
A highly respected guitarist and Platinum selling recording artist who has toured the world with various bands and as a solo musician, O is, remarkably, Orianthi's first new music as a solo artist in six years and first new studio album in seven.
So, with the seven year itching wait now over, do Orianthi and O, in the company of Evan Frederiksen (drums, bass) and Marti Frederiksen (percussion & programming) cut the musical mustard’?
Well the knife is certainly sharp enough on opener 'Contagious,' a likeable and melodic piece of industrial-metal which reminds of Nine Inch Nails and Rage Against the Machine (due to the Tom Morello-esque whammy pedal).
The song also benefits from a touch of Rainbow’s 'Gates of Babylon' in the chorus melody line.
'Sinner’s Hymn' continues the industrial feel and benefits from Orianthi keeping the guitar histrionics to a minimum, instead concentrating on the song.
'Rescue Me 'then provides a change of pace through its down-tempo, blues style (complete with some tasty Hendrix-isms and harmonica) before changing, temporarily, to some angry riffing.
'Blow' starts with some more electronica and a slightly risqué lyric where Orianthi just wants to "blow… your mind!" but then this is a highly confident artist who is not scared to use her femininity and obvious charms to create a highly attractive, girl power image (check out the album cover and, for further, semi-clothed proof, the glamtastic Music Video for 'Impulsive').
'Blow' also features another Hendrix-type solo along with more underlying electronica, further evidence of Orianthi’s eclectic (and electric) influences.
'Sorry,' which carries a seriously catchy chorus, is perhaps the most rock guitar meets electronica track on the album (an influence from Orianthi’s time with Michael Jackson perhaps) while the ballad 'Crawling Out of the Dark' builds slightly towards the end but only ever features Orianthi’s genuinely impassioned vocal and guitar (including a tasteful Stevie Ray Vaughan type solo).
In short, an impressive number.
The aforementioned 'Impulsive' jangles its hard pop and glams up its rock before further contrast is provided by the mid-tempo 'Streams of Consciousness,' another well-produced piece of electronica with seriously raunchy guitars.
The latter also has an air of menace about it, which could well be nod to another of Orianthi’s former employers, Mr Furnier.
'Company' is another well-crafted electro rock / rhythmic pop song whose arpeggiated keys in the background (and guitar part playing in unison with the verse vocal) leads to another fine example of Orianthi’s electronica/ Hendrix hybrid style.
Closing track 'Moonwalker' (a tribute through title) sounds like a semi-atmospheric/ modern Bond theme.
Built on sparse electronic backing and impressive vocal parts, 'Moonwalker' ends on another well delivered Stevie Ray Vaughan type solo.
O is an impressive, who I am marker from Orianthi, but it’s not the guitar album many might have expected.
Instead she has concentrated on the songs and vocals (which are strong throughout) and delivered on both.
Mustard duly cut.
Nelson McFarlane
FabricationsHQ
The Outlaw Orchestra - Pantomime Villains
When a band describe themselves as "heavygrass" and "too rock for country; too country for rock," deliver a couple of banjo pickin’ Dixie rockin‘ EPs and have a number of "must see" accolades via a clutch of well received festival appearances (including the biggest crowd yet seen at Ramblin Man’s Rising Stage), you don’t just hope, you know, a debut album from The Outlaw Orchestra is going to be well worth the wait.
That no tracks from the two EPs feature on the ten track debut Pantomime Villains also tells you that David Roux and fellow orchestrated Outlaws Ryan Smith (drums, percussion, vocals); Pete Briley (banjo, lap steel, vocals) and Alex Barter (double bass, vocals) have stepped up to the plate to deliver a well-honed mix of Cajun, country, southern and rock styles that eclipses what has gone before (that said EP songs such as the southern fried 'Going Back to Georgia' and banjo riffin’ Dixie rocker 'See You in Hell' stand tall as songs that could have made the debut album cut).
Opener 'Take a Bow' has electric guitar and banjo sharing the riff on a southern slanted Cajun number that underlines the band’s "heavygrass" style while lead-off single 'Chicken Fried Snake' (a title that came by Dave Roux mis-hearing a reply to his "What’s on the special board?" in a Louisiana diner) is, much like the eatin’ in the title, a tougher and grittier number.
The latter also emphasises the rock aspect of the band, albeit rock from the deep south – in The Outlaw Orchestra’s case that’s the deep South(ampton) of the UK, y’all.
The hoedown styled 'Hanging Tree' gallops along as fast as the man trying to avoid the calamity of the title (Alex Barter’s alligator skull topped double bass and Ryan Smith’s kit on double-time duties) before 'Whiskey Drinking Liar' steps up to show the band can do rhythm 'n' blues rock too.
It’s also interesting to musically note that, with slightly different arrangements, songs such as 'Whiskey Drinking Liar,' it’s drinking partner in crime the Skynyrd-ish 'Take Some Whiskey Home' and the jauntier Nashville rock and roll of 'Arabia' would stand strong in many a southern blues rock band’s repertoire.
The band’s humour also shines strong on Pantomime Villains (well there’s that title for a start), best reflected on the lyricism of country-pickin’ blues number 'Too Much Willie Nelson' (“I can’t play Johnny Cash!").
Elsewhere the rockabilly 'Jumpin’ Jive' is just that (if Status Quo had been from Nashville), 'Voodoo Queen' conjures up images of Creole storytelling in a French Quarter New Orleans bar while 'It Happened Again' is the lighter, Allman Brothers tinged moment of the album.
Through strong song-writing (peppered by that Outlaw Orchestra humour), clever arrangements and some great musicianship (Pete Briley’s lap-steel is not a predominant feature but it’s as well placed as it is well played; Dave Roux delivers some nifty slide guitar; Ryan Smith and Alex Barter are comfortable in any number of rhythmic styles) The Outlaw Orchestra have delivered one Cajun flavoured, finger lickin’ good album.
Ross Muir
FabricationsHQ
That no tracks from the two EPs feature on the ten track debut Pantomime Villains also tells you that David Roux and fellow orchestrated Outlaws Ryan Smith (drums, percussion, vocals); Pete Briley (banjo, lap steel, vocals) and Alex Barter (double bass, vocals) have stepped up to the plate to deliver a well-honed mix of Cajun, country, southern and rock styles that eclipses what has gone before (that said EP songs such as the southern fried 'Going Back to Georgia' and banjo riffin’ Dixie rocker 'See You in Hell' stand tall as songs that could have made the debut album cut).
Opener 'Take a Bow' has electric guitar and banjo sharing the riff on a southern slanted Cajun number that underlines the band’s "heavygrass" style while lead-off single 'Chicken Fried Snake' (a title that came by Dave Roux mis-hearing a reply to his "What’s on the special board?" in a Louisiana diner) is, much like the eatin’ in the title, a tougher and grittier number.
The latter also emphasises the rock aspect of the band, albeit rock from the deep south – in The Outlaw Orchestra’s case that’s the deep South(ampton) of the UK, y’all.
The hoedown styled 'Hanging Tree' gallops along as fast as the man trying to avoid the calamity of the title (Alex Barter’s alligator skull topped double bass and Ryan Smith’s kit on double-time duties) before 'Whiskey Drinking Liar' steps up to show the band can do rhythm 'n' blues rock too.
It’s also interesting to musically note that, with slightly different arrangements, songs such as 'Whiskey Drinking Liar,' it’s drinking partner in crime the Skynyrd-ish 'Take Some Whiskey Home' and the jauntier Nashville rock and roll of 'Arabia' would stand strong in many a southern blues rock band’s repertoire.
The band’s humour also shines strong on Pantomime Villains (well there’s that title for a start), best reflected on the lyricism of country-pickin’ blues number 'Too Much Willie Nelson' (“I can’t play Johnny Cash!").
Elsewhere the rockabilly 'Jumpin’ Jive' is just that (if Status Quo had been from Nashville), 'Voodoo Queen' conjures up images of Creole storytelling in a French Quarter New Orleans bar while 'It Happened Again' is the lighter, Allman Brothers tinged moment of the album.
Through strong song-writing (peppered by that Outlaw Orchestra humour), clever arrangements and some great musicianship (Pete Briley’s lap-steel is not a predominant feature but it’s as well placed as it is well played; Dave Roux delivers some nifty slide guitar; Ryan Smith and Alex Barter are comfortable in any number of rhythmic styles) The Outlaw Orchestra have delivered one Cajun flavoured, finger lickin’ good album.
Ross Muir
FabricationsHQ
Ben Poole – Trio /// Live ‘19 (2CD Set)
There’s an ongoing argument that Ben Poole, primarily because of his huskier and at times softer singing style and predilection for dipping in to soulful pop blues, doesn’t carry the same weight as many of his blues rock contemporaries.
Beg to differ.
That Ben Poole’s three studio albums thus far have mixed and matched his soulful pop sensibilities with a harder, blues rock edge simply showcases, and to extremely good effect, who Ben Poole is as a musician, player and songwriter.
Nor should there be any doubt that Ben Poole can rock and play as hard (and as well) as any British blues rock artist out there – the dirty big riff-motif and muscly solo lines of 'Take it No More,' which opens new double album Trio /// Live ’19, proves that very rock point. Similarly Poole’s funky and thick Fender tones on 'Further On Down the Line.'
The weightier sound on offer is also, in part, due to the trio format on display (the band also perform as a quartet, most lately with keyboardist Joe Mac); the trio line-up of Ben Poole, bassist Steve Amadeo and drummer Wayne Proctor naturally leads to an increase in guitar presence and filling-the-space embellishments from Ben Poole’s weapon of choice.
But it’s not all about the six-string textures from Ben Poole’s favoured Telecaster.
Steve Amadeo (who gets to flex his funky bass solo muscles on an extended 'Anytime You Need Me') and Wayne Proctor make for a solid rhythmic tandem, the pair dovetailing nicely on the groove that drives shuffle number 'Win You Over.'
Wayne Proctor is also responsible for the excellent mix that captures the sound of the trio, and the audio ambience of a blues club gig, perfectly (Proctor’s tidy mix and mastering job sits atop Andy Banfield’s recordings culled from shows at The Old Schoolhouse in Barnsley, The Half Moon Putney and The Bootleggers Bar in Kendal).
Ben Poole does forego the tones of his Telecaster on occasion, such as on mid-tempo soul-blues number 'The Question Why' where he produces squeals of blues delight from his Les Paul.
The same results are evidenced, to powerful effect, on the eight minute slow blues 'Don’t Cry For Me' via a searing solo delivered toward song’s end.
As with any Ben Poole performance there’s always room for a non-original or three.
This cover-time around it’s Jude Cole's 'Start the Car' (a great fit for Ben Poole and the excellent Anytime You Need Me album, where the studio version resides), Mark Knopfler’s 'I Think I Love You Too Much' (which also features on Poole’s second studio album Time Has Come) and the guitarist's superb eleven minute interpretation of the Freddie King classic 'Have You Ever Loved a Woman.'
Final song, a fifteen minute outing for the Gary Moore nodding 'Time Might Never Come,' brings to close a fine double live album by an outstanding player who remains one of the most under-appreciated on the British blues rock circuit.
Ben Poole not weighty enough? Do me a favour.
Or do yourself a favour and grab a copy of Trio /// Live '19.
Ross Muir
FabricationsHQ
Beg to differ.
That Ben Poole’s three studio albums thus far have mixed and matched his soulful pop sensibilities with a harder, blues rock edge simply showcases, and to extremely good effect, who Ben Poole is as a musician, player and songwriter.
Nor should there be any doubt that Ben Poole can rock and play as hard (and as well) as any British blues rock artist out there – the dirty big riff-motif and muscly solo lines of 'Take it No More,' which opens new double album Trio /// Live ’19, proves that very rock point. Similarly Poole’s funky and thick Fender tones on 'Further On Down the Line.'
The weightier sound on offer is also, in part, due to the trio format on display (the band also perform as a quartet, most lately with keyboardist Joe Mac); the trio line-up of Ben Poole, bassist Steve Amadeo and drummer Wayne Proctor naturally leads to an increase in guitar presence and filling-the-space embellishments from Ben Poole’s weapon of choice.
But it’s not all about the six-string textures from Ben Poole’s favoured Telecaster.
Steve Amadeo (who gets to flex his funky bass solo muscles on an extended 'Anytime You Need Me') and Wayne Proctor make for a solid rhythmic tandem, the pair dovetailing nicely on the groove that drives shuffle number 'Win You Over.'
Wayne Proctor is also responsible for the excellent mix that captures the sound of the trio, and the audio ambience of a blues club gig, perfectly (Proctor’s tidy mix and mastering job sits atop Andy Banfield’s recordings culled from shows at The Old Schoolhouse in Barnsley, The Half Moon Putney and The Bootleggers Bar in Kendal).
Ben Poole does forego the tones of his Telecaster on occasion, such as on mid-tempo soul-blues number 'The Question Why' where he produces squeals of blues delight from his Les Paul.
The same results are evidenced, to powerful effect, on the eight minute slow blues 'Don’t Cry For Me' via a searing solo delivered toward song’s end.
As with any Ben Poole performance there’s always room for a non-original or three.
This cover-time around it’s Jude Cole's 'Start the Car' (a great fit for Ben Poole and the excellent Anytime You Need Me album, where the studio version resides), Mark Knopfler’s 'I Think I Love You Too Much' (which also features on Poole’s second studio album Time Has Come) and the guitarist's superb eleven minute interpretation of the Freddie King classic 'Have You Ever Loved a Woman.'
Final song, a fifteen minute outing for the Gary Moore nodding 'Time Might Never Come,' brings to close a fine double live album by an outstanding player who remains one of the most under-appreciated on the British blues rock circuit.
Ben Poole not weighty enough? Do me a favour.
Or do yourself a favour and grab a copy of Trio /// Live '19.
Ross Muir
FabricationsHQ
Félix Rabin – Pogboy
2020 started very well for young French singer guitarist Félix Rabin, a player who was inspired by the likes of Jimi Hendrix, Gary Clark Jr. and David Gilmour / Pink Floyd but who carries a very inventive sound in both his playing and original song styles.
In January he won Best Act at the Giants of Rock Festival in the UK and has been invited back to play the main stage in 2021; at the end of February Félix Rabin and his band kicked off their Special Guest support slot on American roots-blues guitarist Samantha Fish’s UK & European tour.
And now debut EP Pogboy, which is more accurately a six-track, 30 minute mini-album that showcases and presents the multi-styled song writing growth of an already talented musician still only in his mid-twenties.
It should be musically noted that Pogboy (a nickname coined by sound engineer and mixer Ross Hogarth that relates to Félix Rabin’s favoured effects pedal, a significant factor in his highly individualistic sound) isn’t actually the first EP, but Down Our Roads (given a re-push two years ago when Rabin supported Wishbone Ash on their 2018 UK tour), a solid enough offering, was more promotional tool than product.
In short, Down Our Roads was Félix Rabin in musical sketch form while Pogboy is the fuller and complete picture, from the huge sounding 'Walk' (a progressively styled melodic monster of a song with Monsieur Rabin in full polyphonic octave generated cry) and pulsating groove of 'Moving On' to EP closer Gone, a "she ain’t coming back" rise-and-fall blues rock song punctuated by short but effective trumpet and tenor sax solo bursts.
That those horns are also utilised on the aforementioned 'Moving On' (giving it a little Stax appeal) and the uber-funky 'Say' (You Won't Leave Me)' only adds to the depth, richness and appeal of Pogboy.
The choppier guitar chord structure of bluesy, mid-tempo number 'Angel' (complete with organ backing and Pogified guitar remarks) makes for another winner but the seven minute plus 'Death' is the grower and stand out track of Pogboy.
Evolving from Félix Rabin’s love of a decades old poem of the same title and framed within an atmospheric and at times haunting soundscape, 'Death' resonates like a downplayed blues version of 'Like a Hurricane' mixed with film noire (and fittingly melancholic trumpet) and a Pink Floyd vibe.
Nor does it hurt that the song’s conclusion/ finale features Félix Rabin’s best solo to date; heavily influenced by David Gilmour for sure but all Félix Rabin in sound and tone.
If you’re looking for more traditional blues rock fare of shuffles and twelve-bar or plenty of wah pedal and reverb, you may want to boogie on off elsewhere.
But if you want someone who is ploughing his own progressively tinged blues, rock, pop and soul furrow, Félix Rabin and his tight, tidy and rhythmically flexible band mates Niccolò Rebecchi (drums) and Vincenzo Capodivento (bass) may well be your guys.
Vive la France; vive le Pogboy.
Ross Muir
FabricationsHQ
In January he won Best Act at the Giants of Rock Festival in the UK and has been invited back to play the main stage in 2021; at the end of February Félix Rabin and his band kicked off their Special Guest support slot on American roots-blues guitarist Samantha Fish’s UK & European tour.
And now debut EP Pogboy, which is more accurately a six-track, 30 minute mini-album that showcases and presents the multi-styled song writing growth of an already talented musician still only in his mid-twenties.
It should be musically noted that Pogboy (a nickname coined by sound engineer and mixer Ross Hogarth that relates to Félix Rabin’s favoured effects pedal, a significant factor in his highly individualistic sound) isn’t actually the first EP, but Down Our Roads (given a re-push two years ago when Rabin supported Wishbone Ash on their 2018 UK tour), a solid enough offering, was more promotional tool than product.
In short, Down Our Roads was Félix Rabin in musical sketch form while Pogboy is the fuller and complete picture, from the huge sounding 'Walk' (a progressively styled melodic monster of a song with Monsieur Rabin in full polyphonic octave generated cry) and pulsating groove of 'Moving On' to EP closer Gone, a "she ain’t coming back" rise-and-fall blues rock song punctuated by short but effective trumpet and tenor sax solo bursts.
That those horns are also utilised on the aforementioned 'Moving On' (giving it a little Stax appeal) and the uber-funky 'Say' (You Won't Leave Me)' only adds to the depth, richness and appeal of Pogboy.
The choppier guitar chord structure of bluesy, mid-tempo number 'Angel' (complete with organ backing and Pogified guitar remarks) makes for another winner but the seven minute plus 'Death' is the grower and stand out track of Pogboy.
Evolving from Félix Rabin’s love of a decades old poem of the same title and framed within an atmospheric and at times haunting soundscape, 'Death' resonates like a downplayed blues version of 'Like a Hurricane' mixed with film noire (and fittingly melancholic trumpet) and a Pink Floyd vibe.
Nor does it hurt that the song’s conclusion/ finale features Félix Rabin’s best solo to date; heavily influenced by David Gilmour for sure but all Félix Rabin in sound and tone.
If you’re looking for more traditional blues rock fare of shuffles and twelve-bar or plenty of wah pedal and reverb, you may want to boogie on off elsewhere.
But if you want someone who is ploughing his own progressively tinged blues, rock, pop and soul furrow, Félix Rabin and his tight, tidy and rhythmically flexible band mates Niccolò Rebecchi (drums) and Vincenzo Capodivento (bass) may well be your guys.
Vive la France; vive le Pogboy.
Ross Muir
FabricationsHQ
Dan Reed - Liftoff
Let’s establish a few launch protocols before we Liftoff with Dan Reed’s fifth solo album (sixth if including 2019's meditative instrumental album Alchemy).
If you’re expecting rock(et) power or even spaced out funk a la the Dan Reed Network then Houston, you have a serious problem.
However if you like to float in the ambient and electro percussive world of Dan Reed’s more recent solo excursions then you’ve come to the right place, as Liftoff is as musically chilled as they come, complemented by Reed’s contemplative, questioning and intelligently crafted lyrics.
Launching with the title track, 'Liftoff' lyrically contemplates the not so pleasant global situation and world affairs ("the harder we fall, the deeper we pray").
Negative as that sounds, the clearer message of 'Liftoff' is salvation may come through burying hatchets, togetherness and love (the very lyrical essence of Dan Reed, especially in solo artist mode).
'Liftoff' then segues (through some Mission Control/ Neil Armstrong dialogue) to 'Spaceship Built For Two,'
a delicate number that contemplates the imaginary joy of being able to spend some uninterrupted off-world time in the company of your closest companion.
(The song also features the wonderful voices and vocal arrangements of UK artists Emily Lynn and Lara Smiles).
The soulful ambience of 'Landslide' is a pseudo companion to 'Spaceship Built For Two' via its after-all-we’ve-been-through/ you-by-my-side lyrical theme before re-entry is accomplished through 'Back to Earth.'
A love song to the planet, the ancients/ native peoples and a plea to "heal this broken land," 'Back to Earth' also features the voice of the late Oglala Lakota campaigner Russell Means (from his address to the US Congress in 1989).
The more up-tempo 'Hang Back' is a lovely little slice of soul-pop that leads to a mid-album instrumental interlude entitled 'Docking Sequence.'
Following the successful docking the synth blanketed and electro-percussive 'Shed My Skin' (which also features some nice little guitar remarks) gives lyrical thought to the advancement of robotics, A.I. and if such progress will make "for a better day."
'Butterfly' isn’t as fluttery as the title suggests (indeed its rhythmic structure and darker undertone makes it an album highlight); as such it acts as the perfect contrast to following number 'Deeper Than Our Fear'
(co-written with James Bird of Scottish rock band Mason Hill), which returns to the slow and soulful Dan Reed.
'Man Of War' is another beautifully constructed and contemplative number where the softer music belies the finger pointing lyricism ("you never need a reason, it’s always killing season, when you think you’ve got God on your side") while the slow pulse of love song 'Heaven’s in Flames' is the perfect closer, given the ambient nature of the album.
Liftoff is as intimate as the one-man recording sessions that conceived it (the album was primarily recorded at Dan Reed’s Zero One Studios in Prague, with Reed performing all lead vocals, guitars, keys, bass, drum & percussion programming); yet it manages to carry wider, ambient appeal and, perhaps more importantly, be lyrically universal.
We just need to heed Dan Reed’s call and get with the space-age programme before it’s too late.
Ross Muir
FabricationsHQ
If you’re expecting rock(et) power or even spaced out funk a la the Dan Reed Network then Houston, you have a serious problem.
However if you like to float in the ambient and electro percussive world of Dan Reed’s more recent solo excursions then you’ve come to the right place, as Liftoff is as musically chilled as they come, complemented by Reed’s contemplative, questioning and intelligently crafted lyrics.
Launching with the title track, 'Liftoff' lyrically contemplates the not so pleasant global situation and world affairs ("the harder we fall, the deeper we pray").
Negative as that sounds, the clearer message of 'Liftoff' is salvation may come through burying hatchets, togetherness and love (the very lyrical essence of Dan Reed, especially in solo artist mode).
'Liftoff' then segues (through some Mission Control/ Neil Armstrong dialogue) to 'Spaceship Built For Two,'
a delicate number that contemplates the imaginary joy of being able to spend some uninterrupted off-world time in the company of your closest companion.
(The song also features the wonderful voices and vocal arrangements of UK artists Emily Lynn and Lara Smiles).
The soulful ambience of 'Landslide' is a pseudo companion to 'Spaceship Built For Two' via its after-all-we’ve-been-through/ you-by-my-side lyrical theme before re-entry is accomplished through 'Back to Earth.'
A love song to the planet, the ancients/ native peoples and a plea to "heal this broken land," 'Back to Earth' also features the voice of the late Oglala Lakota campaigner Russell Means (from his address to the US Congress in 1989).
The more up-tempo 'Hang Back' is a lovely little slice of soul-pop that leads to a mid-album instrumental interlude entitled 'Docking Sequence.'
Following the successful docking the synth blanketed and electro-percussive 'Shed My Skin' (which also features some nice little guitar remarks) gives lyrical thought to the advancement of robotics, A.I. and if such progress will make "for a better day."
'Butterfly' isn’t as fluttery as the title suggests (indeed its rhythmic structure and darker undertone makes it an album highlight); as such it acts as the perfect contrast to following number 'Deeper Than Our Fear'
(co-written with James Bird of Scottish rock band Mason Hill), which returns to the slow and soulful Dan Reed.
'Man Of War' is another beautifully constructed and contemplative number where the softer music belies the finger pointing lyricism ("you never need a reason, it’s always killing season, when you think you’ve got God on your side") while the slow pulse of love song 'Heaven’s in Flames' is the perfect closer, given the ambient nature of the album.
Liftoff is as intimate as the one-man recording sessions that conceived it (the album was primarily recorded at Dan Reed’s Zero One Studios in Prague, with Reed performing all lead vocals, guitars, keys, bass, drum & percussion programming); yet it manages to carry wider, ambient appeal and, perhaps more importantly, be lyrically universal.
We just need to heed Dan Reed’s call and get with the space-age programme before it’s too late.
Ross Muir
FabricationsHQ
Renaissance – Turn of the Cards
Opening with John Tout’s piano introduction (borrowed from 'Litanies' by Jehan Alain) the up-tempo and orchestrally scored 'Running Hard' set the scene for another outstanding offering from folk & symphonic progressives Renaissance.
Turn of the Cards was the third of the band’s seven Annie Haslam fronted studio albums of their critically acclaimed 70s decade, which also produced the magnificent Live at Carnegie Hall, as delivered by the classic line-up of Haslam (vocals), Michael Dunsford (primary songwriter, acoustic guitar, vocals), Jon Camp (bass, vocals), John Tout (keyboards) and Terry Sullivan (drums).
It’s also one of the band’s strongest ever offerings, featuring as it does not just 'Running Hard' but the jazz-folk stylings of 'Things I Don’t Understand' (an older song that dates back to original member Jim McCarty’s time in Renaissance) and fully orchestrated tour de force, 'Mother Russia.'
The latter features lyrics by "sixth member" Betty Thatcher, which were based on Nobel prize winning writer Aleksandr Solzhenitsyn’s 1962 novel One Day in the Life of Ivan Denisovich (which lifted the lid on Soviet repression).
Those three long-form numbers (each just under or just over nine and half minutes long) were the vibrant opening, central core and symphonic climax of Turn of The Cards.
While their sheer compositional strength and orchestrated arrangements would set that trio up as soon to be Renaissance classics, the other three numbers on the album are also worthy of attention.
The simply arranged but gorgeous ballad 'I Think of You' frames and feature the beautiful voice of Annie Haslam while the medieval-folk leanings of 'Black Flame' adds slightly darker contrast.
The haunting vocal and organ piece 'Cold is Being,' based on 'Adagio in G Minor' by Tomaso Albinoni, features another beautiful vocal performance from Haslam (the singer would revisit and retitle the song eleven years later for her orchestrated solo album Still Life).
That Turn of The Cards has received a deserved and fully remastered re-release through Esoteric Recordings/ Cherry Red Records (as has most of the band’s classic era catalogue) could be seen as reward enough for the album’s gravitas (a forerunner of modern symphonic prog) but, as with the other re-releases in this series, Renaissance’s 1974 studio offering is only part of the 4 discs, 16 page booklet and Clamshell box deal.
The album now carries five bonus tracks including the previously unreleased cover of Wishbone Ash song 'Everybody Needs a Friend,' the single edit of 'Mother Russia' and three new stereo mixes.
Discs 2 and 3 collectively present the band’s show with 24 piece orchestra at The Academy of Music in New York City on 17th May 1974.
A superb performance, the nine song set features five of the six Turn of the Cards songs and guest guitarist Andy Powell on 'Ashes Are Burning.'
Disc 4 is a DVD containing both a brand new 5.1 surround sound mix of the album and a new, high resolution stereo mix.
In short, it's a Turn of the Cards from Renaissance that produced, and continues to produce, all the musical aces.
Ross Muir
FabricationsHQ
Turn of the Cards was the third of the band’s seven Annie Haslam fronted studio albums of their critically acclaimed 70s decade, which also produced the magnificent Live at Carnegie Hall, as delivered by the classic line-up of Haslam (vocals), Michael Dunsford (primary songwriter, acoustic guitar, vocals), Jon Camp (bass, vocals), John Tout (keyboards) and Terry Sullivan (drums).
It’s also one of the band’s strongest ever offerings, featuring as it does not just 'Running Hard' but the jazz-folk stylings of 'Things I Don’t Understand' (an older song that dates back to original member Jim McCarty’s time in Renaissance) and fully orchestrated tour de force, 'Mother Russia.'
The latter features lyrics by "sixth member" Betty Thatcher, which were based on Nobel prize winning writer Aleksandr Solzhenitsyn’s 1962 novel One Day in the Life of Ivan Denisovich (which lifted the lid on Soviet repression).
Those three long-form numbers (each just under or just over nine and half minutes long) were the vibrant opening, central core and symphonic climax of Turn of The Cards.
While their sheer compositional strength and orchestrated arrangements would set that trio up as soon to be Renaissance classics, the other three numbers on the album are also worthy of attention.
The simply arranged but gorgeous ballad 'I Think of You' frames and feature the beautiful voice of Annie Haslam while the medieval-folk leanings of 'Black Flame' adds slightly darker contrast.
The haunting vocal and organ piece 'Cold is Being,' based on 'Adagio in G Minor' by Tomaso Albinoni, features another beautiful vocal performance from Haslam (the singer would revisit and retitle the song eleven years later for her orchestrated solo album Still Life).
That Turn of The Cards has received a deserved and fully remastered re-release through Esoteric Recordings/ Cherry Red Records (as has most of the band’s classic era catalogue) could be seen as reward enough for the album’s gravitas (a forerunner of modern symphonic prog) but, as with the other re-releases in this series, Renaissance’s 1974 studio offering is only part of the 4 discs, 16 page booklet and Clamshell box deal.
The album now carries five bonus tracks including the previously unreleased cover of Wishbone Ash song 'Everybody Needs a Friend,' the single edit of 'Mother Russia' and three new stereo mixes.
Discs 2 and 3 collectively present the band’s show with 24 piece orchestra at The Academy of Music in New York City on 17th May 1974.
A superb performance, the nine song set features five of the six Turn of the Cards songs and guest guitarist Andy Powell on 'Ashes Are Burning.'
Disc 4 is a DVD containing both a brand new 5.1 surround sound mix of the album and a new, high resolution stereo mix.
In short, it's a Turn of the Cards from Renaissance that produced, and continues to produce, all the musical aces.
Ross Muir
FabricationsHQ
Mike Ross – The Clovis Limit Pt 2 ('Transitions' Deluxe CD edition)
The latest offering from Durham born, Brighton based singer songwriter - guitarist - multi-instrumentalist Mike Ross is, as the title confirms, the follow-up to 2019's Pt 1 of the same name (itself lifted from the name of a store in William Gibson’s sci-fi mystery novel, The Peripheral).
But where The Clovis Limit Pt 1 was a more laid back, rootsy, recorded in Nashville affair Pt 2 has a whole lot of rockin’ going on – the angrier Yin to the former’s more mellow Yang.
Opener 'Thanks a Lot,' steeped in lyrical sarcasm, musically recalls early 70s Doobie Brothers before hitting a spikier, fast-boogie mid-section; a bluesy shuffle then take the song home (tempo changes and shifts of musical gears are a feature throughout).
'None of Your Business' is an even angrier affair.
The song positively bristles with southern, Skynyrd-esque energy (and a whole does of attitude), set either side of a more contemplative instrumental section (another great example of that musical gear shifting).
Mike Ross gets fully fuzzed up and swamp-blues dirty for 'The Only Place You Take Me is Down' (now there’s a blues title) before the seven minute 'Hammer' (written by Durham musician Paul Dent) takes centre stage.
A melodically shaped, southern affected ballad, 'Hammer' features some seriously tasty solo remarks from Ross.
Further contrast is provided by Americana tinged, acoustic-led, whistle-a-long number 'The Loser' and two instrumentals, both of which come across as intentional (and pretty damn cool) homages.
'Tell Jerry,' driven by a funky bass line, is the musical grand-nephew of Joe Walsh’s James Gang number 'Ashton Park' while 'Unforgiven' shares DNA with Allman Brothers instrumentals 'Pegasus' and 'Jessica.'
(The 'Transitions' Deluxe CD edition of the album includes a moog affected, vocal mix of 'Unforgiven' as well as short instrumental transitions between each song).
It’s also worth mentioning everything you hear on the album, other than Darren Lee’s drums, is played (and produced) by Mike Ross.
There are organ contributions from Stevie Watts & Rob Millis, along with Ricky Kinrade on bass, but such duties are shared with Mike Ross.
The moog-synth meets eerie fuzzed tones of 'Leviathan' produces a six-minute monster best described as
sci-fi swamp blues; it closes on a final verse that’s one of the album’s angriest and most forthright:
"So take aim all you dark hearted bastards, sitting in your ivory towers…
Well I hope that some day, you’ll be crushed and dismayed, by all the beauty that this truth allows."
The album closes out with the lyrically straight talking 'Don't Say a Word,' a southern funk 'n' slide guitar flavoured affair, and the nine-minute 'Shoot You if You Run.'
The heaviest number (in more ways than one) on the album, 'Shoot You if You Run' is a song of two parts.
The first half carries a dark and emphatically sung lyric over fuzzed guitars and a weighty, slow rhythm before a second, instrumental half delivers searing then lone, echoey guitar lines that all but drown out sequences from the Nazi propaganda radio broadcasts delivered during the Second World War by Lord Haw-Haw (aka William Joyce).
It’s an off-kilter yet curiously captivating end to an ever-shifting, intriguing and highly effective work from the stylistic fuzzed blues songbook of Mike Ross.
Ross Muir
FabricationsHQ
But where The Clovis Limit Pt 1 was a more laid back, rootsy, recorded in Nashville affair Pt 2 has a whole lot of rockin’ going on – the angrier Yin to the former’s more mellow Yang.
Opener 'Thanks a Lot,' steeped in lyrical sarcasm, musically recalls early 70s Doobie Brothers before hitting a spikier, fast-boogie mid-section; a bluesy shuffle then take the song home (tempo changes and shifts of musical gears are a feature throughout).
'None of Your Business' is an even angrier affair.
The song positively bristles with southern, Skynyrd-esque energy (and a whole does of attitude), set either side of a more contemplative instrumental section (another great example of that musical gear shifting).
Mike Ross gets fully fuzzed up and swamp-blues dirty for 'The Only Place You Take Me is Down' (now there’s a blues title) before the seven minute 'Hammer' (written by Durham musician Paul Dent) takes centre stage.
A melodically shaped, southern affected ballad, 'Hammer' features some seriously tasty solo remarks from Ross.
Further contrast is provided by Americana tinged, acoustic-led, whistle-a-long number 'The Loser' and two instrumentals, both of which come across as intentional (and pretty damn cool) homages.
'Tell Jerry,' driven by a funky bass line, is the musical grand-nephew of Joe Walsh’s James Gang number 'Ashton Park' while 'Unforgiven' shares DNA with Allman Brothers instrumentals 'Pegasus' and 'Jessica.'
(The 'Transitions' Deluxe CD edition of the album includes a moog affected, vocal mix of 'Unforgiven' as well as short instrumental transitions between each song).
It’s also worth mentioning everything you hear on the album, other than Darren Lee’s drums, is played (and produced) by Mike Ross.
There are organ contributions from Stevie Watts & Rob Millis, along with Ricky Kinrade on bass, but such duties are shared with Mike Ross.
The moog-synth meets eerie fuzzed tones of 'Leviathan' produces a six-minute monster best described as
sci-fi swamp blues; it closes on a final verse that’s one of the album’s angriest and most forthright:
"So take aim all you dark hearted bastards, sitting in your ivory towers…
Well I hope that some day, you’ll be crushed and dismayed, by all the beauty that this truth allows."
The album closes out with the lyrically straight talking 'Don't Say a Word,' a southern funk 'n' slide guitar flavoured affair, and the nine-minute 'Shoot You if You Run.'
The heaviest number (in more ways than one) on the album, 'Shoot You if You Run' is a song of two parts.
The first half carries a dark and emphatically sung lyric over fuzzed guitars and a weighty, slow rhythm before a second, instrumental half delivers searing then lone, echoey guitar lines that all but drown out sequences from the Nazi propaganda radio broadcasts delivered during the Second World War by Lord Haw-Haw (aka William Joyce).
It’s an off-kilter yet curiously captivating end to an ever-shifting, intriguing and highly effective work from the stylistic fuzzed blues songbook of Mike Ross.
Ross Muir
FabricationsHQ
Barbra Rubin – The Shadows Playground
That the new album from Italian singer songwriter multi-instrumentalist Barbara Rubin should arrive at FabricationsHQ central exactly ten years after debut solo album Under the Ice was offered up by the artist for review (and was, very positively; Barbara Rubin subsequently became one of the first artists to be interviewed for the then new music website) might seem like coincidence.
But here at Fabbers central however that’s just another example of musical satellites arriving to orbit each other at exactly the right time, for the right reason.
Either way The Shadows Playground is another very good, and gratefully received, offering from an artist who defies categorisation.
Barbara Rubin’s predominately piano led soundscapes, along with previous collaborations with the likes of Italian melodic prog metal band LoreWeaveR means the progressive label is never far away but the classically trained musician, through the use of strings (primarily violin & viola), coupled with cleverly arranged vocals, is as much a classical influenced artist as she is a progressive one.
The beautiful instrumental 'Sleeping Violin' (no prizes for guessing the featured instrument, accompanied by piano), which sweeps between the uplifting and the forlorn, is a perfect example of that classical form.
Similarly effective are classical piano & strings piece 'Sunrise Promenade' and the piano & violin led 'La Ballata Degli Angeli,' where the violin seems to be crying for the Angels of the title.
Prior to those instrumentals it's the voice of Barbara Rubin that takes lead, starting with 'Endless Hope.'
From a delicate beginning the piano & vocal number, after a half-beat pause, opens to a bigger sound courtesy of a string arrangement and additional vocals from Andrea Gioli.
The classically set 'Seven,' led by piano and a dash of accompanying synth, is an even more delicate piece that is all the stronger for its opening starkness.
It then, like 'Endless Hope,' adds another layer though Andrea Gioli’s vocal contribution and Barbara Rubin’s whispered backings that sit behind her dual lead with Gioli.
Even only a couple of songs in you realise this is a classically framed piano-works album of some musical note, but it could have been even better.
Andrea Gioli’s contributions on the slow build ballad 'La Maddalena' emphasise the weakness of The Shadows Playground – Signore Gioli himself.
Such criticism is no slight on Andrea Gioli’s vocal ability (he and Barbara Rubin have worked together before including on Under the Ice, where his contributions worked very well); it’s simply the addition of another voice on such an intimate, singular and classically arranged album – the perfect setting for Barbara Rubin’s plaintiff and, at times, truly heartfelt vocals – is unnecessary.
The title track and closing number 'Helen’s Word' are the most progressively themed songs on the album.
'The Shadows Playground' is a piano ballad that slowly adds layers through additional vocals, drums and short violin refrains.
In contrast, the string opening of 'Helen’s Word' hearkens in an almost ethereal vocal before a ‘grand choir’ section featuring Barbara Rubin, Veronica Fasanelli and Andrea Gioli (the additional singers work well here and benefit the song) makes its voice(s) heard between quieter piano and vocal passages.
Has it really been ten years since Barbara Rubin came out from Under the Ice to grace the pages of FabricationsHQ?
It doesn’t seem or sound like it when music is as classically timeless as this.
Ross Muir
FabricationsHQ
You can purchase The Shadows Playground at:
https://www.discoinvinile.it/barbara-rubin-the-shadows-playground.html
Or via the usual digital/ streaming platforms: https://barbararubin.hearnow.com/the-shadows-playground
But here at Fabbers central however that’s just another example of musical satellites arriving to orbit each other at exactly the right time, for the right reason.
Either way The Shadows Playground is another very good, and gratefully received, offering from an artist who defies categorisation.
Barbara Rubin’s predominately piano led soundscapes, along with previous collaborations with the likes of Italian melodic prog metal band LoreWeaveR means the progressive label is never far away but the classically trained musician, through the use of strings (primarily violin & viola), coupled with cleverly arranged vocals, is as much a classical influenced artist as she is a progressive one.
The beautiful instrumental 'Sleeping Violin' (no prizes for guessing the featured instrument, accompanied by piano), which sweeps between the uplifting and the forlorn, is a perfect example of that classical form.
Similarly effective are classical piano & strings piece 'Sunrise Promenade' and the piano & violin led 'La Ballata Degli Angeli,' where the violin seems to be crying for the Angels of the title.
Prior to those instrumentals it's the voice of Barbara Rubin that takes lead, starting with 'Endless Hope.'
From a delicate beginning the piano & vocal number, after a half-beat pause, opens to a bigger sound courtesy of a string arrangement and additional vocals from Andrea Gioli.
The classically set 'Seven,' led by piano and a dash of accompanying synth, is an even more delicate piece that is all the stronger for its opening starkness.
It then, like 'Endless Hope,' adds another layer though Andrea Gioli’s vocal contribution and Barbara Rubin’s whispered backings that sit behind her dual lead with Gioli.
Even only a couple of songs in you realise this is a classically framed piano-works album of some musical note, but it could have been even better.
Andrea Gioli’s contributions on the slow build ballad 'La Maddalena' emphasise the weakness of The Shadows Playground – Signore Gioli himself.
Such criticism is no slight on Andrea Gioli’s vocal ability (he and Barbara Rubin have worked together before including on Under the Ice, where his contributions worked very well); it’s simply the addition of another voice on such an intimate, singular and classically arranged album – the perfect setting for Barbara Rubin’s plaintiff and, at times, truly heartfelt vocals – is unnecessary.
The title track and closing number 'Helen’s Word' are the most progressively themed songs on the album.
'The Shadows Playground' is a piano ballad that slowly adds layers through additional vocals, drums and short violin refrains.
In contrast, the string opening of 'Helen’s Word' hearkens in an almost ethereal vocal before a ‘grand choir’ section featuring Barbara Rubin, Veronica Fasanelli and Andrea Gioli (the additional singers work well here and benefit the song) makes its voice(s) heard between quieter piano and vocal passages.
Has it really been ten years since Barbara Rubin came out from Under the Ice to grace the pages of FabricationsHQ?
It doesn’t seem or sound like it when music is as classically timeless as this.
Ross Muir
FabricationsHQ
You can purchase The Shadows Playground at:
https://www.discoinvinile.it/barbara-rubin-the-shadows-playground.html
Or via the usual digital/ streaming platforms: https://barbararubin.hearnow.com/the-shadows-playground
Joe Satriani – Shapeshifting
At some point, no matter the talent, you have to think that rock instrumental musicians such as guitar maestro Joe Satriani would be issuing albums that are variations on a theme.
But with seventeenth studio album Shapeshifting Satriani – one of the best and most inventive rock guitarists on the Crystal planet (one for the Satch fans) – displays his continual efforts to reinvent himself around his distinct guitar stylings, six-string tricks and trademark sounds (hence, one suspects, the album’s title).
Take the opening number/ title track for example.
As much rock fusion as rock guitar, 'Shapeshifting' is built upon drummer Kenny Aranoff’s rhythm (the album’s other featured players are bassist Chris Chaney and keyboardist Eric Caudieux) before the song kicks in to a higher gear with Joe Satriani’s pitch-bending whammy bar work and crystal clear melody lines up front and centre.
It’s distinctly and decidedly Joe Satriani, but never formulaic.
'Shapeshifter' is the first in a run of differently styled numbers that exemplify the shifting sonic shape of the album.
Given the big guitar sound of 'Big Distortion' the track comes close to matching its title but its surf rock and roll vibe keeps it on the straight and sonically narrow (it’s also, more simply, a really cool tune).
Joe Satriani’s more atmospheric and emotive expressions are then to the fore on 'All For Love,' with a lovely melody line and solos atop.
The wonderfully titled and synth enhanced 'Ali Farka, Dick Dale, an Alien and Me' comes across (much as the title suggests) as extra-terrestrials in the middle-east dancing to a skippy beat and Dick Dale’s surf guitar.
By contrast 'Teardrops' is a slow and tasty, groove-driven Satch blues.
'Perfect Dust' returns to the rock and roll vibe (but with a little Satch Boogie appeal to keep the fans happy) while the rockin' 'Nineteen Eighty,' which featured as the lead-off single for the album, is another perfectly titled tune.
Intentionally referencing Eddie Van Halen and that early 80s rock (guitar) sound, Joe Satriani employed the use of a vintage MXR EVH phaser to help capture that retro, 'Nineteen Eighty' sound.
That’s quite the opening septet but the following five tracks aren’t too shabby, from celebratory mid-tempo fun of 'All My Friends Are Here' and the pacier, wilder (west) of 'Spirits, Ghosts and Outlaws' to the moodier, keyboard sprinkled 'Falling Stars' and the reggae-led 'Here the Blue River.'
Pick of the quintet however is the short and reflectively sweet 'Waiting,' led by Eric Caudieux’s piano and Joe Satriani’s complementary guitar lines.
While a twelve song Joe Satriani album of the above calibre makes for another winner from the renowned guitarist there’s a final, thirteenth number that, while track listed, is more of an out of left field bonus track.
'Yesterday’s Yesterday' is a whistle-a-long electro-acoustic country-folk number that is dynamically opposed to what has come before, yet works as the perfect sign-off.
Indeed it might sum up the title of the album better than any other track.
Sonic shape shifted; job done.
Ross Muir
FabricationsHQ
But with seventeenth studio album Shapeshifting Satriani – one of the best and most inventive rock guitarists on the Crystal planet (one for the Satch fans) – displays his continual efforts to reinvent himself around his distinct guitar stylings, six-string tricks and trademark sounds (hence, one suspects, the album’s title).
Take the opening number/ title track for example.
As much rock fusion as rock guitar, 'Shapeshifting' is built upon drummer Kenny Aranoff’s rhythm (the album’s other featured players are bassist Chris Chaney and keyboardist Eric Caudieux) before the song kicks in to a higher gear with Joe Satriani’s pitch-bending whammy bar work and crystal clear melody lines up front and centre.
It’s distinctly and decidedly Joe Satriani, but never formulaic.
'Shapeshifter' is the first in a run of differently styled numbers that exemplify the shifting sonic shape of the album.
Given the big guitar sound of 'Big Distortion' the track comes close to matching its title but its surf rock and roll vibe keeps it on the straight and sonically narrow (it’s also, more simply, a really cool tune).
Joe Satriani’s more atmospheric and emotive expressions are then to the fore on 'All For Love,' with a lovely melody line and solos atop.
The wonderfully titled and synth enhanced 'Ali Farka, Dick Dale, an Alien and Me' comes across (much as the title suggests) as extra-terrestrials in the middle-east dancing to a skippy beat and Dick Dale’s surf guitar.
By contrast 'Teardrops' is a slow and tasty, groove-driven Satch blues.
'Perfect Dust' returns to the rock and roll vibe (but with a little Satch Boogie appeal to keep the fans happy) while the rockin' 'Nineteen Eighty,' which featured as the lead-off single for the album, is another perfectly titled tune.
Intentionally referencing Eddie Van Halen and that early 80s rock (guitar) sound, Joe Satriani employed the use of a vintage MXR EVH phaser to help capture that retro, 'Nineteen Eighty' sound.
That’s quite the opening septet but the following five tracks aren’t too shabby, from celebratory mid-tempo fun of 'All My Friends Are Here' and the pacier, wilder (west) of 'Spirits, Ghosts and Outlaws' to the moodier, keyboard sprinkled 'Falling Stars' and the reggae-led 'Here the Blue River.'
Pick of the quintet however is the short and reflectively sweet 'Waiting,' led by Eric Caudieux’s piano and Joe Satriani’s complementary guitar lines.
While a twelve song Joe Satriani album of the above calibre makes for another winner from the renowned guitarist there’s a final, thirteenth number that, while track listed, is more of an out of left field bonus track.
'Yesterday’s Yesterday' is a whistle-a-long electro-acoustic country-folk number that is dynamically opposed to what has come before, yet works as the perfect sign-off.
Indeed it might sum up the title of the album better than any other track.
Sonic shape shifted; job done.
Ross Muir
FabricationsHQ
Savoy Brown - Ain't Done Yet
If last year’s City Night was the high-energy, guitar riffin’ blues-rock sound of Savoy Brown (not that they can’t shuffle or melodically slow blues with the best of ‘em) then Ain’t Done Yet is the even thicker sounding, heavy blues pill for what ails ya in a 2020 we’d all rather forget.
And that’s not necessarily heavy in an "amps to 11" sense (although for most of studio album number forty-one ever present guitarist (and lead vocalist these last eight years) Kim Simmonds, bassist Pat DeSalvo and drummer Garnet Grimm have got the blues engine cranked up); it’s also to do with the lyrical and musical tone of the album and its weighty sound.
Opening number 'All Gone Wrong' is a case in thick to almost fully fuzzed guitar point.
Built around a simple beat and a seriously heh-vee riff, 'All Gone Wrong' has a southern fried blues feel about it, which complements Kim Simmonds blues-deep vocal perfectly.
Simmonds also manages to fire off some wicked little lead licks in sympathy to a lyric that tells us the past is very much that and the future might be down the toilet.
Now that’s heavy blues, baby.
The six-minute 'Devil's Highway' is built upon similar ground (Pat DeSalvo’s repeating bass line is reminiscent of a slightly slower 'Peter Gunn') but its more spacious feel gives the song a slightly Knopfler-esque vibe.
Kim Simmonds can also, on the slower numbers, sound a little like Mark Knopfler in the vocal department; more importantly however he has the same wonderful talent for sprinkling well-placed bursts of highly effective notes across a song for accentuation, as he does here.
While the first two songs, along with the slow and sweaty 'Borrowed Time' and the gritty, dirty and fully guitar fuzzed 'Soho Girl,' are the meat of the album, there’s a side portion of lighter fare on offer too.
'River on the Rise' and 'Rocking in Louisiana' are acoustically framed numbers that both work equally (the folk-blues fun of the former belies its more serious sandbags and floods lyric) while 'Feel Like a Gypsy' doesn’t so much have Kim Simmonds playing atop the rolling rhythm provided by Garnet Grimm and Pat DeSalvo as floating over it, with some breezy but impacting lead lines.
Elsewhere the call and answer boogie-shuffle of the title track (check the song/ video out by clicking here) is a lyrical nod to life on the road while the pacey, harmonica blowin’ 'Jaguar Car' has clearly picked up hitchhikers by the name of Billy Gibbons and John Lee Hooker.
The title of closing number, the instrumental 'Crying Guitar,' tells you all you need to know but suffice to say it also reinforces that, in terms of tone, touch and the age-old blues guitar adage of less being decidedly more, Kim Simmonds is a bit of a player.
One of the founding figures of the original British blues-rock movement, under the leadership of Kim Simmonds and with over a decade of service from Pat DeSalvo and Garnet Grimm (collectively now the most consistent line-up in the band’s fifty-five year history) Savoy Brown most assuredly Ain’t Done Yet.
Ross Muir
FabricationsHQ
And that’s not necessarily heavy in an "amps to 11" sense (although for most of studio album number forty-one ever present guitarist (and lead vocalist these last eight years) Kim Simmonds, bassist Pat DeSalvo and drummer Garnet Grimm have got the blues engine cranked up); it’s also to do with the lyrical and musical tone of the album and its weighty sound.
Opening number 'All Gone Wrong' is a case in thick to almost fully fuzzed guitar point.
Built around a simple beat and a seriously heh-vee riff, 'All Gone Wrong' has a southern fried blues feel about it, which complements Kim Simmonds blues-deep vocal perfectly.
Simmonds also manages to fire off some wicked little lead licks in sympathy to a lyric that tells us the past is very much that and the future might be down the toilet.
Now that’s heavy blues, baby.
The six-minute 'Devil's Highway' is built upon similar ground (Pat DeSalvo’s repeating bass line is reminiscent of a slightly slower 'Peter Gunn') but its more spacious feel gives the song a slightly Knopfler-esque vibe.
Kim Simmonds can also, on the slower numbers, sound a little like Mark Knopfler in the vocal department; more importantly however he has the same wonderful talent for sprinkling well-placed bursts of highly effective notes across a song for accentuation, as he does here.
While the first two songs, along with the slow and sweaty 'Borrowed Time' and the gritty, dirty and fully guitar fuzzed 'Soho Girl,' are the meat of the album, there’s a side portion of lighter fare on offer too.
'River on the Rise' and 'Rocking in Louisiana' are acoustically framed numbers that both work equally (the folk-blues fun of the former belies its more serious sandbags and floods lyric) while 'Feel Like a Gypsy' doesn’t so much have Kim Simmonds playing atop the rolling rhythm provided by Garnet Grimm and Pat DeSalvo as floating over it, with some breezy but impacting lead lines.
Elsewhere the call and answer boogie-shuffle of the title track (check the song/ video out by clicking here) is a lyrical nod to life on the road while the pacey, harmonica blowin’ 'Jaguar Car' has clearly picked up hitchhikers by the name of Billy Gibbons and John Lee Hooker.
The title of closing number, the instrumental 'Crying Guitar,' tells you all you need to know but suffice to say it also reinforces that, in terms of tone, touch and the age-old blues guitar adage of less being decidedly more, Kim Simmonds is a bit of a player.
One of the founding figures of the original British blues-rock movement, under the leadership of Kim Simmonds and with over a decade of service from Pat DeSalvo and Garnet Grimm (collectively now the most consistent line-up in the band’s fifty-five year history) Savoy Brown most assuredly Ain’t Done Yet.
Ross Muir
FabricationsHQ
Sari Schorr – Live in Europe
There might be a few raised eyebrows for a live album from New York blues rockin’ gal Sari Schorr after only two studio albums.
But we live in an age where a near inexhaustible source of live materials, from recordings and film clips to performance DVDs and the, ahem, unofficial (and immediately accessible) is readily available.
Such live offerings are also, more times than not, fan demanded.
Additionally, a collection of numbers culled from Sari Schorr’s 2019 tour of Europe (in this case a concise and well weighted 10 track 52 minute offering plus two unplugged live sessions recorded for the BBC in the UK) makes plenty of sense, given this is a singer who lives and embraces live life.
And it’s that live life – certainly as regards Sari Schorr’s on-stage persona – that makes the difference here and separates the studio from the stage.
Sari Schorr can deliberate over a recorded take or even just the phrasing of one word in the studio for a period of time that other singers would have used to complete a couple of tracks (the striving for perfection approach and one of the reasons both studio albums are so impacting).
Live, however, you have a very different Sari Schorr – to wit her Valentina alter-ego.
Vocally and at times emotionally unfettered, Valentina is the inhibition free Yin to Schorr’s softer spoken, real life Yang.
Example? The dual phrasing used second time around on the "you’re hot as hell" (sassiness) "won’t kiss and tell" (coyness) line of 'Demolition Man' tells you Valentina is in town.
Similarly the track 'Valentina' itself, an even feistier affair live, and 'Thank You,' where Sari Schorr let’s herself go vocally (perfectionism be damned).
Then there’s the band’s ten minute, high-tempo cover of 'I Just Want to Make Love To You,' all raunchy sass and extended jam class.
Nor does it hurt that Sari Schorr is backed by a bloody good band.
Bassist Mat Beable and drummer Roy Martin make for a tight, tidy and groove orientated pairing while guitarist Ash Wilson continues to showcase why he’s one of the best British blues players on the circuit (from the six-string sparks that fly on hard times blues rock number 'Ain’t Got No Money' to the melodic remarks that punctuate the AOR country-blues of 'Back to LA').
Add in the talents of Bob Fridzema or Stevie Watts as your go-to keyboardist of choice (Watts fills in when Fridzema is on duty elsewhere) and you’re guaranteed to be on to a Schorr thing.
This time around it's Stevie Watts that takes centre European stage, shining on songs such as the aforementioned 'Demolition Man' with a bluesy and bubbly organ solo.
There is however a major gripe (other than calling the album Live in Europe, which should have definitive album copyright ownership under the name Rory Gallagher).
The problem is the annoying between song cuts and quick-fade edits that kill any live show flow or play through continuity (isolating the tracks does however lend itself to digital play-listing, should that be your thing).
Complaint aside, and once you factor in the aforementioned unplugged sessions (a stripped back, piano led cover of Bad Company’s 'Ready for Love and 'The King of Rock and Roll' dressed in his acoustic clothing) you have the underlined exclamation mark on the first chapter of Sari Schorr’s solo career.
Ross Muir
FabricationsHQ
But we live in an age where a near inexhaustible source of live materials, from recordings and film clips to performance DVDs and the, ahem, unofficial (and immediately accessible) is readily available.
Such live offerings are also, more times than not, fan demanded.
Additionally, a collection of numbers culled from Sari Schorr’s 2019 tour of Europe (in this case a concise and well weighted 10 track 52 minute offering plus two unplugged live sessions recorded for the BBC in the UK) makes plenty of sense, given this is a singer who lives and embraces live life.
And it’s that live life – certainly as regards Sari Schorr’s on-stage persona – that makes the difference here and separates the studio from the stage.
Sari Schorr can deliberate over a recorded take or even just the phrasing of one word in the studio for a period of time that other singers would have used to complete a couple of tracks (the striving for perfection approach and one of the reasons both studio albums are so impacting).
Live, however, you have a very different Sari Schorr – to wit her Valentina alter-ego.
Vocally and at times emotionally unfettered, Valentina is the inhibition free Yin to Schorr’s softer spoken, real life Yang.
Example? The dual phrasing used second time around on the "you’re hot as hell" (sassiness) "won’t kiss and tell" (coyness) line of 'Demolition Man' tells you Valentina is in town.
Similarly the track 'Valentina' itself, an even feistier affair live, and 'Thank You,' where Sari Schorr let’s herself go vocally (perfectionism be damned).
Then there’s the band’s ten minute, high-tempo cover of 'I Just Want to Make Love To You,' all raunchy sass and extended jam class.
Nor does it hurt that Sari Schorr is backed by a bloody good band.
Bassist Mat Beable and drummer Roy Martin make for a tight, tidy and groove orientated pairing while guitarist Ash Wilson continues to showcase why he’s one of the best British blues players on the circuit (from the six-string sparks that fly on hard times blues rock number 'Ain’t Got No Money' to the melodic remarks that punctuate the AOR country-blues of 'Back to LA').
Add in the talents of Bob Fridzema or Stevie Watts as your go-to keyboardist of choice (Watts fills in when Fridzema is on duty elsewhere) and you’re guaranteed to be on to a Schorr thing.
This time around it's Stevie Watts that takes centre European stage, shining on songs such as the aforementioned 'Demolition Man' with a bluesy and bubbly organ solo.
There is however a major gripe (other than calling the album Live in Europe, which should have definitive album copyright ownership under the name Rory Gallagher).
The problem is the annoying between song cuts and quick-fade edits that kill any live show flow or play through continuity (isolating the tracks does however lend itself to digital play-listing, should that be your thing).
Complaint aside, and once you factor in the aforementioned unplugged sessions (a stripped back, piano led cover of Bad Company’s 'Ready for Love and 'The King of Rock and Roll' dressed in his acoustic clothing) you have the underlined exclamation mark on the first chapter of Sari Schorr’s solo career.
Ross Muir
FabricationsHQ
Silverthorne – Tear The Sky Wide Open EP
The press blurb for new power-trio Silverthorne describes the band as having a "bombastic yet deeply authentic sound that delivers exciting, soulful and earthy rock songs."
That’s the sort of hyperbole that’s become the promotional rock norm, but in this case they are actually selling the band promotionally and musically short – because said description should probably substitute the word "bombastic" with "epic."
For a three piece – guitarist-vocalist Pete Shoulder (formerly of Winterville and the (almost great) The Union), noted sticksman Brian Tichy (Whitesnake, Ozzy Osbourne, Slash, Billy Idol, Foreigner et al) and bassist Daniel Spree (Phil X) – they deliver a huge sound on debut EP Tear The Sky Wide Open.
The title track of the EP sets the Silverthorne template with big muscular riffs and a driving rhythm section.
Pete Shoulder’s soaring vocals are a perfect match for this type of material and makes his extremely competent six-string point without majoring on any solo work.
It’s a great opening remark that reminds of Hoobastank, but with better vocals.
Next up, 'Roll Me Back Again,' accentuates the heavy blues/ soulful edge of the band (complete with some tasty slide guitar) while 'Black River Rising' conjures up Free at their mournful peak.
The latter also, again, demonstrates what a good vocalist Pete Shoulder is when delivering heavy blues material (you can well imagine Paul Rodgers singing this number – and that’s quite the Black River compliment).
'Movin,' with three part harmonies, effected vocals and an insistent riff conjures up images of another three piece – King’s X.
It’s no surprise this catchy number was released as a single, the third to be pulled from the EP (no matter how good you are you have to push and promote hard in every musical avenue these days to make an impact).
Closing number 'Haunted by the Dawn' is the most musically adventurous track with nods to 'Achilles Last Stand,' Lights Out era UFO and that trademarked "Maiden gallop" (there’s also some Lizzy-esque harmony unison guitars in the mix).
The band also manage to once again conjure up a big, epic vibe helped in no small part by Pete Shoulder’s vocals and the ability to specialise in ominous-sounding riffs with some judicious use of dissonance, without overplaying their hand (you also get a helping of the Stone Temple Pilots with a side order of Alice in Chains).
How good is this EP from a very original sounding band?
That can be answered by another question – when’s the debut album due?
Nelson McFarlane
FabricationsHQ
That’s the sort of hyperbole that’s become the promotional rock norm, but in this case they are actually selling the band promotionally and musically short – because said description should probably substitute the word "bombastic" with "epic."
For a three piece – guitarist-vocalist Pete Shoulder (formerly of Winterville and the (almost great) The Union), noted sticksman Brian Tichy (Whitesnake, Ozzy Osbourne, Slash, Billy Idol, Foreigner et al) and bassist Daniel Spree (Phil X) – they deliver a huge sound on debut EP Tear The Sky Wide Open.
The title track of the EP sets the Silverthorne template with big muscular riffs and a driving rhythm section.
Pete Shoulder’s soaring vocals are a perfect match for this type of material and makes his extremely competent six-string point without majoring on any solo work.
It’s a great opening remark that reminds of Hoobastank, but with better vocals.
Next up, 'Roll Me Back Again,' accentuates the heavy blues/ soulful edge of the band (complete with some tasty slide guitar) while 'Black River Rising' conjures up Free at their mournful peak.
The latter also, again, demonstrates what a good vocalist Pete Shoulder is when delivering heavy blues material (you can well imagine Paul Rodgers singing this number – and that’s quite the Black River compliment).
'Movin,' with three part harmonies, effected vocals and an insistent riff conjures up images of another three piece – King’s X.
It’s no surprise this catchy number was released as a single, the third to be pulled from the EP (no matter how good you are you have to push and promote hard in every musical avenue these days to make an impact).
Closing number 'Haunted by the Dawn' is the most musically adventurous track with nods to 'Achilles Last Stand,' Lights Out era UFO and that trademarked "Maiden gallop" (there’s also some Lizzy-esque harmony unison guitars in the mix).
The band also manage to once again conjure up a big, epic vibe helped in no small part by Pete Shoulder’s vocals and the ability to specialise in ominous-sounding riffs with some judicious use of dissonance, without overplaying their hand (you also get a helping of the Stone Temple Pilots with a side order of Alice in Chains).
How good is this EP from a very original sounding band?
That can be answered by another question – when’s the debut album due?
Nelson McFarlane
FabricationsHQ
JD Simo – JD Simo
Chicago born, Nashville based singer-songwriter-guitarist JD Simo has been one to watch, listen and pay attention to since fronting psychedelic blues band SIMO and, in 2019, delivering his debut solo album Off At 11.
Both earned critical praise either side of the bluesy pond.
JD SIMO however brings everything up a notch (for which JD Simo cites co-producer Eddie Spear as playing a major part); it captures, not just in terms of the songwriting but in sound and arrangement, the musician’s love of psychedelic soul, blues, rock and R&B.
While JD SIMO is indeed a mix of all the above (and a little Motown for good measure) there’s also a modern twist employed.
Opening number 'The Movement' is an original styled case in point.
The song starts with a guitar chiming soul vibe and a JD Simo falsetto vocal (that floats over a rapid-fire rhythm and complementary, weaving bass line) before a full-on psychedelic guitar takes over for the outro (that, if any criticism needs be made, fades too early).
The weightier 'Love,' with JD Simo dropping back to his modal voice to lyrically express the importance of self-help and love to battle a divisive state of political affairs, is akin to a 60s/ 70s high-energy psychedelic rock-soul trip (man).
Drums again provide the pacey, percussive energy behind some incendiary guitar licks.
'Out of Sight' pays homage to the James Brown original (but with big squelches of JD Simo guitar in place of the horns) while 'Higher Plane' is psychedelic blues, JD Simo style – thick, muscly and syrupy, with feisty guitar work on the change-up instrumental closing section.
Similarly blues rock impacting is the mid-tempo guitar howl and backing voiced cry of JD Simo's arrangement of the wonderfully titled Isaac Hayes number 'Hyperbolicsyllabicsesquedalamistic.'
And before you ask let me state that 1) yes, that is fitted in to the lyric and 2) no, me neither.
The airy, Motown influenced 'One of These Days' returns to the falsetto highs, here delivered with a Mayfield/ Gaye vibe.
If anything, the album’s lead-off single makes an even bigger impact as part of musical melting pot that is JD SIMO; the Motown inspired Yin to the psychedelia soaked Yang of a song such as 'Higher Plane.'
The short instrumental 'Take That' (a fast paced, finger-picking country styled workout) works as a nice little interlude before the final trio of tracks close out the album as strongly as it opened.
'Soul of the Man' is a psychedelic chain gang blues (with a mid-song departure of guitars flitting from speaker to speaker) while the vocal and chorus cry for 'Help,' along with equally pleading howls of guitar wash, could be 2020 summed up in a five minute distorted slow blues nutshell (although it should be noted the album was recorded in January before we all knew what 2020 would bring to the global virus table).
'Anna Lee' is a fitting closer, given Earl Hooker’s traditional blues number (here featuring guitars through an old Casio Boombox) is quite unlike anything else on the album.
It’s also the perfect sign off to an album that is, thus far, the defining statement of one of the most original artists out there in rock land.
Ross Muir
FabricationsHQ
Both earned critical praise either side of the bluesy pond.
JD SIMO however brings everything up a notch (for which JD Simo cites co-producer Eddie Spear as playing a major part); it captures, not just in terms of the songwriting but in sound and arrangement, the musician’s love of psychedelic soul, blues, rock and R&B.
While JD SIMO is indeed a mix of all the above (and a little Motown for good measure) there’s also a modern twist employed.
Opening number 'The Movement' is an original styled case in point.
The song starts with a guitar chiming soul vibe and a JD Simo falsetto vocal (that floats over a rapid-fire rhythm and complementary, weaving bass line) before a full-on psychedelic guitar takes over for the outro (that, if any criticism needs be made, fades too early).
The weightier 'Love,' with JD Simo dropping back to his modal voice to lyrically express the importance of self-help and love to battle a divisive state of political affairs, is akin to a 60s/ 70s high-energy psychedelic rock-soul trip (man).
Drums again provide the pacey, percussive energy behind some incendiary guitar licks.
'Out of Sight' pays homage to the James Brown original (but with big squelches of JD Simo guitar in place of the horns) while 'Higher Plane' is psychedelic blues, JD Simo style – thick, muscly and syrupy, with feisty guitar work on the change-up instrumental closing section.
Similarly blues rock impacting is the mid-tempo guitar howl and backing voiced cry of JD Simo's arrangement of the wonderfully titled Isaac Hayes number 'Hyperbolicsyllabicsesquedalamistic.'
And before you ask let me state that 1) yes, that is fitted in to the lyric and 2) no, me neither.
The airy, Motown influenced 'One of These Days' returns to the falsetto highs, here delivered with a Mayfield/ Gaye vibe.
If anything, the album’s lead-off single makes an even bigger impact as part of musical melting pot that is JD SIMO; the Motown inspired Yin to the psychedelia soaked Yang of a song such as 'Higher Plane.'
The short instrumental 'Take That' (a fast paced, finger-picking country styled workout) works as a nice little interlude before the final trio of tracks close out the album as strongly as it opened.
'Soul of the Man' is a psychedelic chain gang blues (with a mid-song departure of guitars flitting from speaker to speaker) while the vocal and chorus cry for 'Help,' along with equally pleading howls of guitar wash, could be 2020 summed up in a five minute distorted slow blues nutshell (although it should be noted the album was recorded in January before we all knew what 2020 would bring to the global virus table).
'Anna Lee' is a fitting closer, given Earl Hooker’s traditional blues number (here featuring guitars through an old Casio Boombox) is quite unlike anything else on the album.
It’s also the perfect sign off to an album that is, thus far, the defining statement of one of the most original artists out there in rock land.
Ross Muir
FabricationsHQ
Snake Oil & Harmony – Hurricane Riders
"There’s a web of information but no knowledge to be found, and the grass will get no greener with these boots upon the ground; there’s a loss of bright eyed wonder in the wake of the dumbing down."
Unusual perhaps to open a review with a line from a song but if ever a lyric summed up the overarching sentiment of both the artists and those of us saddened by the state of current global affairs (and lack of empathy), it’s that stanza from 'The Lines are Open.'
The song also sets the singer-songwriter storytelling tone of Hurricane Riders, the debut album from Snake Oil & Harmony, aka the two Dans, Messrs. Vaughn and Reed.
The song itself is melodically graceful in its simplicity.
An acoustic based, Danny Vaughn vocal led number (with Dan Reed on the vocal bridges), 'The Lines Are Open' touches on country / classic Poco territory; nor is it dissimilar to Crosby & Nash in blended vocality.
In short, quite the opening statement.
And the reason there is such snake oiled and harmonious statements to enjoy on album is down to the like minded musicality and simpatico relationship of Danny Vaughn and Dan Reed, who struck up an immediate chemistry when they hooked up five years ago for an extremely well received acoustic storytelling tour.
So successful was that tour that another soon followed, making it almost inevitable that, as soon as Tyketto, Dan Reed Network and respective solo tour schedules permitted, there would be an album.
And we should all be thankful recording space was found for Hurricane Riders because it’s a lovely and at times lyrically thought provoking piece of singer-songwriter work.
Additionally, given the global and meteorological storms we have seen and those yet to come (and at time of writing the Covid-19 pandemic, which is bringing out both the best and worst of humanity) Hurricane Riders is the perfect title.
Second number, 'Last Man Standing,' carries an air of Glen Campbell-Jimmy Webb about it but in more contemporary acoustic-pop clothing, especially in its outro.
Indeed, if ridiculously catchy country-pop with intelligent storytelling lyricism is your thing then songs such as 'Last Man Standing' and 'Cannonball' (a pedal steel and western-styled affair that might just be the best song early era Eagles never wrote) are so far up your street as to be knocking at your front door.
Given the overall sound and feel of the album it’s probably fair to say Hurricane Riders is a little more in Danny Vaughn solo country, at least when compared against Dan Reed’s more recent but equally worthy of attention solo outings (the electro-percussive Confessions, the meditative Alchemy).
But by the same token this album is a true, fifty-fifty blend of musical brothers in complete vocal and musical harmony, through thoughtfully crafted numbers such as the questioning Dan Reed led acoustic rock track 'Save the Day' ("Oh, America the beautiful, America the lost…") and the contemplative, turn-about vocal leads of 'Where the Water Goes,' a gentle ballad that considers whether it's better to fight the current or go with the flow.
There's another five songs of equally emotive, questioning or harmonising quality including the heartfelt 'Aberfan' (the Welsh town where 116 children and 28 adults died in 1966 when a mining landslide engulfed the primary school and adjacent buildings), Danny Vaughn’s story telling skills as delivered on the countrified 'Damned if You Do' and the quintessential Dan Reed charm of light and airy love song 'Another Reason.'
Produced by Dan Reed, co-produced by Danny Vaughn and featuring the Swedish pairing of Bengt Jonasson (bass) and Robert Mehmet Sinan Ikiz (drums), Hurricane Riders is a wonderfully conceived and beautifully delivered singer-songwriter album for the uncertain, storytelling times.
Ross Muir
FabricationsHQ
Unusual perhaps to open a review with a line from a song but if ever a lyric summed up the overarching sentiment of both the artists and those of us saddened by the state of current global affairs (and lack of empathy), it’s that stanza from 'The Lines are Open.'
The song also sets the singer-songwriter storytelling tone of Hurricane Riders, the debut album from Snake Oil & Harmony, aka the two Dans, Messrs. Vaughn and Reed.
The song itself is melodically graceful in its simplicity.
An acoustic based, Danny Vaughn vocal led number (with Dan Reed on the vocal bridges), 'The Lines Are Open' touches on country / classic Poco territory; nor is it dissimilar to Crosby & Nash in blended vocality.
In short, quite the opening statement.
And the reason there is such snake oiled and harmonious statements to enjoy on album is down to the like minded musicality and simpatico relationship of Danny Vaughn and Dan Reed, who struck up an immediate chemistry when they hooked up five years ago for an extremely well received acoustic storytelling tour.
So successful was that tour that another soon followed, making it almost inevitable that, as soon as Tyketto, Dan Reed Network and respective solo tour schedules permitted, there would be an album.
And we should all be thankful recording space was found for Hurricane Riders because it’s a lovely and at times lyrically thought provoking piece of singer-songwriter work.
Additionally, given the global and meteorological storms we have seen and those yet to come (and at time of writing the Covid-19 pandemic, which is bringing out both the best and worst of humanity) Hurricane Riders is the perfect title.
Second number, 'Last Man Standing,' carries an air of Glen Campbell-Jimmy Webb about it but in more contemporary acoustic-pop clothing, especially in its outro.
Indeed, if ridiculously catchy country-pop with intelligent storytelling lyricism is your thing then songs such as 'Last Man Standing' and 'Cannonball' (a pedal steel and western-styled affair that might just be the best song early era Eagles never wrote) are so far up your street as to be knocking at your front door.
Given the overall sound and feel of the album it’s probably fair to say Hurricane Riders is a little more in Danny Vaughn solo country, at least when compared against Dan Reed’s more recent but equally worthy of attention solo outings (the electro-percussive Confessions, the meditative Alchemy).
But by the same token this album is a true, fifty-fifty blend of musical brothers in complete vocal and musical harmony, through thoughtfully crafted numbers such as the questioning Dan Reed led acoustic rock track 'Save the Day' ("Oh, America the beautiful, America the lost…") and the contemplative, turn-about vocal leads of 'Where the Water Goes,' a gentle ballad that considers whether it's better to fight the current or go with the flow.
There's another five songs of equally emotive, questioning or harmonising quality including the heartfelt 'Aberfan' (the Welsh town where 116 children and 28 adults died in 1966 when a mining landslide engulfed the primary school and adjacent buildings), Danny Vaughn’s story telling skills as delivered on the countrified 'Damned if You Do' and the quintessential Dan Reed charm of light and airy love song 'Another Reason.'
Produced by Dan Reed, co-produced by Danny Vaughn and featuring the Swedish pairing of Bengt Jonasson (bass) and Robert Mehmet Sinan Ikiz (drums), Hurricane Riders is a wonderfully conceived and beautifully delivered singer-songwriter album for the uncertain, storytelling times.
Ross Muir
FabricationsHQ
Sons of Apollo - MMXX
From the Dio Rainbow-esque 'God of the Sun' and highly impacting 'Coming Home' to the deeply purple tones of 'Divine Addiction' and the modestly titled instrumental showcase 'Opus Maximus,' Psychotic Symphony from super group Sons of Apollo was a bit of a progressive metal-rock belter.
But then an outfit featuring the skills of renowned drummer Mike Portnoy, keyboardist Derek Sherinian, fast and fluid shredder and riffer Ron "Bumblefoot" Thal, virtuoso bassist Billy Sheehan and the big voiced Jeff Scott Soto was always in with a chance of being much more than the sum of its talented parts.
Other than a few rough or experimental edges, all five pieces fitted to create a Psychotic Symphony of rock, prog and metal.
Expectation was high then for follow-up MMXX and the hope it wouldn’t simply be a case of Psychotic Symphony Part 2 or an album that didn’t quite match the metallic fire and progressively tinged passion of the debut.
Thankfully, MMXX is neither. What it is, more than anything else, is an extension and honing of the Sons of Apollo sound; less experimental and more about the now fully cohesive chemistry.
It’s also a more adventurous offering with (as was the case with the debut) splashes of early Dream Theatre, when Messrs Portnoy and Sherinian were part of the band (no bad thing).
Indeed those that favour the metal-weight Dream Theatre (take a sonically intense bow, Train of Thought) are going to be immediately drawn to huge chunks of this album – the grunge-metal rock and roll attack of 'Wither to Black,' the fittingly suffocating intensity of 'Asphyxiation,' the powerfully rhythmic and pile-driving force of 'Fall to Ascend.'
The album also opens in attention grabbing fashion with Derek Sherinian’s atmospheric signature intro (dovetailing with rising notes from Ron Thal) setting up monstrous melodic metal opener, 'Goodbye Divinity.'
It’s a song that’s as much about Jeff Scott Soto’s powerful vocal as it is the equally purposeful weight of the instruments behind him (Mike Portnoy and Billy Sheehan’s wall of rhythmic sound; a wicked call and answer section form Sherinian and Thal).
Other equally impacting songs among the eight on offer include rock-metal requiem 'Desolate July' and the near nine minute 'King of Delusion.'
The former, at times haunting and at other points metal-riffed in its anger of loss, was written in memory of musician David Z (David Zablidowsky) who tragically lost his life in a roadside accident in 2017.
The latter rises from Derek Sherinian's darker soundtrack piano introduction to become a mid-tempo, riff-faced monster clothed in calling-you-out lyricism and a mid-song return to Sherinian's opening remark.
Album closer, 'New World Today,' is a sixteen minute epic that takes the instrumental virtuosity of 'Opus Maximus' and shapes it in to a progressive tour de metal force of state of the world lyricism that taps into classic Dream Theatre, ELP at their most frantic and more time changes than you’ll find across the world’s time zones. More simply, it’s the Sons of Apollo fully unfettered.
Which brings us to the man himself.
Olympian deity Apollo sired numerous children, many of whom became notable or revered musicians including Orpheus, Ialemus, Hymenaios, Philammon and Eleuther.
And, as it turns out, Mike, Derek, Billy, Ron and Jeff.
Ross Muir
FabricationsHQ
But then an outfit featuring the skills of renowned drummer Mike Portnoy, keyboardist Derek Sherinian, fast and fluid shredder and riffer Ron "Bumblefoot" Thal, virtuoso bassist Billy Sheehan and the big voiced Jeff Scott Soto was always in with a chance of being much more than the sum of its talented parts.
Other than a few rough or experimental edges, all five pieces fitted to create a Psychotic Symphony of rock, prog and metal.
Expectation was high then for follow-up MMXX and the hope it wouldn’t simply be a case of Psychotic Symphony Part 2 or an album that didn’t quite match the metallic fire and progressively tinged passion of the debut.
Thankfully, MMXX is neither. What it is, more than anything else, is an extension and honing of the Sons of Apollo sound; less experimental and more about the now fully cohesive chemistry.
It’s also a more adventurous offering with (as was the case with the debut) splashes of early Dream Theatre, when Messrs Portnoy and Sherinian were part of the band (no bad thing).
Indeed those that favour the metal-weight Dream Theatre (take a sonically intense bow, Train of Thought) are going to be immediately drawn to huge chunks of this album – the grunge-metal rock and roll attack of 'Wither to Black,' the fittingly suffocating intensity of 'Asphyxiation,' the powerfully rhythmic and pile-driving force of 'Fall to Ascend.'
The album also opens in attention grabbing fashion with Derek Sherinian’s atmospheric signature intro (dovetailing with rising notes from Ron Thal) setting up monstrous melodic metal opener, 'Goodbye Divinity.'
It’s a song that’s as much about Jeff Scott Soto’s powerful vocal as it is the equally purposeful weight of the instruments behind him (Mike Portnoy and Billy Sheehan’s wall of rhythmic sound; a wicked call and answer section form Sherinian and Thal).
Other equally impacting songs among the eight on offer include rock-metal requiem 'Desolate July' and the near nine minute 'King of Delusion.'
The former, at times haunting and at other points metal-riffed in its anger of loss, was written in memory of musician David Z (David Zablidowsky) who tragically lost his life in a roadside accident in 2017.
The latter rises from Derek Sherinian's darker soundtrack piano introduction to become a mid-tempo, riff-faced monster clothed in calling-you-out lyricism and a mid-song return to Sherinian's opening remark.
Album closer, 'New World Today,' is a sixteen minute epic that takes the instrumental virtuosity of 'Opus Maximus' and shapes it in to a progressive tour de metal force of state of the world lyricism that taps into classic Dream Theatre, ELP at their most frantic and more time changes than you’ll find across the world’s time zones. More simply, it’s the Sons of Apollo fully unfettered.
Which brings us to the man himself.
Olympian deity Apollo sired numerous children, many of whom became notable or revered musicians including Orpheus, Ialemus, Hymenaios, Philammon and Eleuther.
And, as it turns out, Mike, Derek, Billy, Ron and Jeff.
Ross Muir
FabricationsHQ
Jeff Scott Soto – Wide Awake (In My Dreamland)
Wide Awake (In My Dreamland) returns to sound and style most Jeff Scott Soto fans want to hear from the highly respected singer, solo artist and versatile front man (Yngwie Malmsteen’s Rising Force, Talisman, Soul SirkUS, Journey, Trans-Siberian Orchestra, W.E.T, Sons Of Apollo).
In short, a hybrid of his commercial sounding AOR and heavier classic rock/ metal (the former has been a true strength of Jeff Scott Soto through the years; the more metal orientated latter to the fore with the two albums recorded under the SOTO band moniker, including 2019’s Origami).
Wide Awake (In My Dreamland) also comes with a second disc of ten live cuts from JSS’s set at the 2019 Frontiers Festival in Milan, which was made available digitally earlier in the year.
The triple salvo opening of 'Someone to Love,' 'Mystified' and 'Love’s Blind' are perfect examples of that hybrid mix, offering Jovi-isms and latter-day Whitesnake styled riffs and choruses in equal measure.
It is, more simply, Jeff Scott Soto in his musical element; big (as in BIG) choruses, fiery guitar solos and riffs aplenty (here from Fabrizio Sgattoni) and very strong vocals over the top.
There’s nothing new about such melodic meets heavy/classic rock of course but it’s all delivered very well indeed by JSS and his band mates (nod here to the rhythm section of drummer Edu Cominato and multi-instrumentalist Alessandro Del Vecchio (bass, keyboards, guitars, backing vocals) who are razor sharp and on the money throughout).
Theatrically styled rock ballad 'Without You' shows a very strong Queen influence, but that’s no surprise given JSS is a self-avowed Queen fan and has been involved in productions and tours featuring that band’s material.
'Lesson of Love' and 'Paper Wings' (which includes a killer riff) then increase the hooky, heavy AOR/ classic rock quotient; great playing, vocals and production from all concerned here.
'Love Will Find a Way,' a commercial funk/rock number with a positive message, is one of the best songs on the album, bolstered by some tasty Eddie Van Halen type guitar (R.I.P. Ed).
In complete best to worst contrast, following number 'Between the Lines' is a mid-paced AOR number that clearly slipped past quality control (the good news however is it’s the only weak song on offer).
'Living in a Dream' redeems matters however, and in pretty impressive style – a balls out riff, more Van Halen-esque solos and a trademark (i.e. powerful) JSS vocal performance.
It’s easy to hear why 'Wide Awake (In My Dreamland)' was chosen as the title track.
Not only is it the weightiest song on the album, Fabrizio Sgattoni absolutely rips it up on this track.
If there’s a comparison to be made it’s that 'Wide Awake' wouldn’t be out of place on a Dio album (indeed there are vocal similarities between the late Ronnie James and JSS at times, which is no bad thing).
Similarly impressive and Dio-esque (on the verses; the choruses are typically anthemic Soto) is closing number 'Desperate;' it continues on the mid-tempo theme of its predecessor with great riffs and another strong vocal performance.
It's a great way to finish off another great solo album from Jeff Scott Soto.
Nelson McFarlane
FabricationsHQ
In short, a hybrid of his commercial sounding AOR and heavier classic rock/ metal (the former has been a true strength of Jeff Scott Soto through the years; the more metal orientated latter to the fore with the two albums recorded under the SOTO band moniker, including 2019’s Origami).
Wide Awake (In My Dreamland) also comes with a second disc of ten live cuts from JSS’s set at the 2019 Frontiers Festival in Milan, which was made available digitally earlier in the year.
The triple salvo opening of 'Someone to Love,' 'Mystified' and 'Love’s Blind' are perfect examples of that hybrid mix, offering Jovi-isms and latter-day Whitesnake styled riffs and choruses in equal measure.
It is, more simply, Jeff Scott Soto in his musical element; big (as in BIG) choruses, fiery guitar solos and riffs aplenty (here from Fabrizio Sgattoni) and very strong vocals over the top.
There’s nothing new about such melodic meets heavy/classic rock of course but it’s all delivered very well indeed by JSS and his band mates (nod here to the rhythm section of drummer Edu Cominato and multi-instrumentalist Alessandro Del Vecchio (bass, keyboards, guitars, backing vocals) who are razor sharp and on the money throughout).
Theatrically styled rock ballad 'Without You' shows a very strong Queen influence, but that’s no surprise given JSS is a self-avowed Queen fan and has been involved in productions and tours featuring that band’s material.
'Lesson of Love' and 'Paper Wings' (which includes a killer riff) then increase the hooky, heavy AOR/ classic rock quotient; great playing, vocals and production from all concerned here.
'Love Will Find a Way,' a commercial funk/rock number with a positive message, is one of the best songs on the album, bolstered by some tasty Eddie Van Halen type guitar (R.I.P. Ed).
In complete best to worst contrast, following number 'Between the Lines' is a mid-paced AOR number that clearly slipped past quality control (the good news however is it’s the only weak song on offer).
'Living in a Dream' redeems matters however, and in pretty impressive style – a balls out riff, more Van Halen-esque solos and a trademark (i.e. powerful) JSS vocal performance.
It’s easy to hear why 'Wide Awake (In My Dreamland)' was chosen as the title track.
Not only is it the weightiest song on the album, Fabrizio Sgattoni absolutely rips it up on this track.
If there’s a comparison to be made it’s that 'Wide Awake' wouldn’t be out of place on a Dio album (indeed there are vocal similarities between the late Ronnie James and JSS at times, which is no bad thing).
Similarly impressive and Dio-esque (on the verses; the choruses are typically anthemic Soto) is closing number 'Desperate;' it continues on the mid-tempo theme of its predecessor with great riffs and another strong vocal performance.
It's a great way to finish off another great solo album from Jeff Scott Soto.
Nelson McFarlane
FabricationsHQ
Bruce Springsteen – Letter to You
Two years have passed since Western Stars, Bruce Springsteen’s brilliant stylised tribute to the sweeping Midwest Major seventh sound of Burt Bacharach and Glen Campbell.
It was a timely reminder to those of us who felt The Boss had settled into a cycle of making moderately pleasing albums, that on his day he is still a major and relevant player in a way many others songwriters of his generation are not.
Of course, since the triumph of Western Stars the world has changed, possibly forever.
The coronavirus pandemic has forced many musicians to retreat into their home studios, finding both comfort and occupation writing, recording and 'virtually' gigging as much as possible to maintain not only their muse and their chops, but also their bank balance.
Contrary to popular belief however Letter To You is not Bruce Springsteen’s lockdown album – it was recorded in November 2019 after a rare period of songwriter’s block finally ended.
Recorded in only four days with his old pals the E Street Band, Letter To You is a collection of old songs Springsteen had knocking about, and some new songs he wrote on an acoustic guitar (gifted to him by an anonymous fan) that he played out loud to the band before they built up their parts to make the songs sound typically E Street.
Opener 'One Minute You’re Here' is a gorgeous, simple acoustic number that Bruce Springsteen ‘sing-speaks’ as he did on albums such as Devils & Dust and The Ghost Of Tom Joad.
Most other tracks however are more traditional E Street-style fare – solid, older songs 'If I Was the Priest,' 'Janey Needs a Shooter' and 'Song For Orphans' are all given E Street steroids but the reunion (Bruce Springsteen’s first with the band since 2014’s patchy High Hopes) really takes flight on tracks such as 'House of a Thousand Guitars' and 'Rainmaker.'
Sadly however the rest of the album is mid-range Bruce Springsteen (granted, that still equates to better than most others have to offer).
For every exhilarating Max Weinberg drum break there is also a sluggish dirge; for every inspired Roy Bittan piano line there is another tired lick we have heard before ('Ghosts' sounds like a computer simulation of every E Street song you ever heard).
Similarly, the aforementioned 'If I Was the Priest' would, arguably, be more affecting as a quiet, acoustic number (much like the original demo/ session versions) without the band building a shed around one of Springsteen’s rarer and intriguing fictional lyrics (setting himself and Biblical characters in a wild west movie setting).
As regard Springsteen's real life/ every man lyricism, Letter To You draws upon the theme of ageing, regret, death and mortality.
One of the best tracks, album closer 'I’ll See You In My Dreams,' explicitly deals with such themes:
"I'll see you in my dreams" sings The Boss, "when all our summers are at an end… we’ll meet and be in love again… for death is not the end."
One can only hope Mr Springsteen has some inside information.
Letter To You is in no way, shape or form a bad album, but it isn’t a great one.
That said it is a Bruce Springsteen album, and in a time when music legends are leaving us by the month, we should cherish any new music the old guard can give us.
Letter To You is not a particularly special delivery from Bruce Springsteen, but the fact that the post is still working at all at the moment is a small miracle.
Adam Norsworthy
FabricationsHQ
It was a timely reminder to those of us who felt The Boss had settled into a cycle of making moderately pleasing albums, that on his day he is still a major and relevant player in a way many others songwriters of his generation are not.
Of course, since the triumph of Western Stars the world has changed, possibly forever.
The coronavirus pandemic has forced many musicians to retreat into their home studios, finding both comfort and occupation writing, recording and 'virtually' gigging as much as possible to maintain not only their muse and their chops, but also their bank balance.
Contrary to popular belief however Letter To You is not Bruce Springsteen’s lockdown album – it was recorded in November 2019 after a rare period of songwriter’s block finally ended.
Recorded in only four days with his old pals the E Street Band, Letter To You is a collection of old songs Springsteen had knocking about, and some new songs he wrote on an acoustic guitar (gifted to him by an anonymous fan) that he played out loud to the band before they built up their parts to make the songs sound typically E Street.
Opener 'One Minute You’re Here' is a gorgeous, simple acoustic number that Bruce Springsteen ‘sing-speaks’ as he did on albums such as Devils & Dust and The Ghost Of Tom Joad.
Most other tracks however are more traditional E Street-style fare – solid, older songs 'If I Was the Priest,' 'Janey Needs a Shooter' and 'Song For Orphans' are all given E Street steroids but the reunion (Bruce Springsteen’s first with the band since 2014’s patchy High Hopes) really takes flight on tracks such as 'House of a Thousand Guitars' and 'Rainmaker.'
Sadly however the rest of the album is mid-range Bruce Springsteen (granted, that still equates to better than most others have to offer).
For every exhilarating Max Weinberg drum break there is also a sluggish dirge; for every inspired Roy Bittan piano line there is another tired lick we have heard before ('Ghosts' sounds like a computer simulation of every E Street song you ever heard).
Similarly, the aforementioned 'If I Was the Priest' would, arguably, be more affecting as a quiet, acoustic number (much like the original demo/ session versions) without the band building a shed around one of Springsteen’s rarer and intriguing fictional lyrics (setting himself and Biblical characters in a wild west movie setting).
As regard Springsteen's real life/ every man lyricism, Letter To You draws upon the theme of ageing, regret, death and mortality.
One of the best tracks, album closer 'I’ll See You In My Dreams,' explicitly deals with such themes:
"I'll see you in my dreams" sings The Boss, "when all our summers are at an end… we’ll meet and be in love again… for death is not the end."
One can only hope Mr Springsteen has some inside information.
Letter To You is in no way, shape or form a bad album, but it isn’t a great one.
That said it is a Bruce Springsteen album, and in a time when music legends are leaving us by the month, we should cherish any new music the old guard can give us.
Letter To You is not a particularly special delivery from Bruce Springsteen, but the fact that the post is still working at all at the moment is a small miracle.
Adam Norsworthy
FabricationsHQ
The Steepwater Band - Turn of the Wheel
For Turn of the Wheel Chicago four-piece The Steepwater Band worked once again with producer & engineer Jim Winters, who recorded fan-favourite album Revelation Sunday (2006).
Having Jim Winters (brother of band drummer Joe Winters) at the recording helm, along with a collection of great songs and notable guest contributions (including Freddy Gonzales on percussion) has turned out to be a case of lucky seven(th studio release) for co-founders Jeff Massey (lead vocals, guitar) and Winters, new bassist Joe Bishop (who joined in 2019) and guitarist/ vocalist Eric Saylors.
The band hit a groove immediately with the tempo shifting title tack.
An inviting and sturdy opening slice of chunky, riff-driven southern affected blues-rock (with some tasty slide work) the song lyrically turns that wheel onto the road ahead (a statement on the band’s intent and the album itself, one suspects).
The Rolling Stones styled 'Trance' rocks the rhythm and roll before the even more Stonesy 'Running From the Storm' introduces itself as a distant cousin of 'Let’s Spend the Night Together' (whether intentional or an unconscious nod It works well for the vibe and simple (but highly effective) beat of the number.
'In the Dust Behind' is the rootsier Steepwater Band, mixing electric folk & Americana into a charming little song that is quintessentially a part of the band (similarly 'Abandon Ship').
The slower and lazy drift of 'That’s Not the Way' is another that could only be The Steepwater Band.
It’s also the most interestingly arranged song on the album, courtesy of a psychedelic middle section that features Terry "Sonny Lee" Tritt on saxophone and organ backing from Chris Grove (who makes notable piano and keyboard contributions to a number of the songs).
There’s more than a touch of Neil Young in full electric mode (to the point of almost being a homage) on the six minute, guitars way up front 'Big Pictures' with equally Young-esque and perfectly fitting solos.
The similarly guitar-led 'Please the Believer' is a cool little slice of mid-tempo American rock and roll.
Other highlights include the southern, bluesy and slightly swampy 'Lost on You' and closing number 'The Peace You’re Looking For.'
The latter has some late-era Beatles moments that help give it a late 60s vibe but at its heart beats a rugged and infectious guitar pop number with a fittingly Lennon-esque message ("the peace you’re looking for, has gotta have some love behind it").
The band have come a long way since the raw electric Chicago blues sound of 2001 debut album Brother to the Snake.
The aforementioned Revelation Sunday and previous album Shake Your Faith were solid offerings but Turn of the Wheel, which retains some of that early rawness (a core TSB trait both live and in the studio), is an eclectic yet cohesive work that’s also, more importantly, their best album to date.
Ross Muir
FabricationsHQ
Having Jim Winters (brother of band drummer Joe Winters) at the recording helm, along with a collection of great songs and notable guest contributions (including Freddy Gonzales on percussion) has turned out to be a case of lucky seven(th studio release) for co-founders Jeff Massey (lead vocals, guitar) and Winters, new bassist Joe Bishop (who joined in 2019) and guitarist/ vocalist Eric Saylors.
The band hit a groove immediately with the tempo shifting title tack.
An inviting and sturdy opening slice of chunky, riff-driven southern affected blues-rock (with some tasty slide work) the song lyrically turns that wheel onto the road ahead (a statement on the band’s intent and the album itself, one suspects).
The Rolling Stones styled 'Trance' rocks the rhythm and roll before the even more Stonesy 'Running From the Storm' introduces itself as a distant cousin of 'Let’s Spend the Night Together' (whether intentional or an unconscious nod It works well for the vibe and simple (but highly effective) beat of the number.
'In the Dust Behind' is the rootsier Steepwater Band, mixing electric folk & Americana into a charming little song that is quintessentially a part of the band (similarly 'Abandon Ship').
The slower and lazy drift of 'That’s Not the Way' is another that could only be The Steepwater Band.
It’s also the most interestingly arranged song on the album, courtesy of a psychedelic middle section that features Terry "Sonny Lee" Tritt on saxophone and organ backing from Chris Grove (who makes notable piano and keyboard contributions to a number of the songs).
There’s more than a touch of Neil Young in full electric mode (to the point of almost being a homage) on the six minute, guitars way up front 'Big Pictures' with equally Young-esque and perfectly fitting solos.
The similarly guitar-led 'Please the Believer' is a cool little slice of mid-tempo American rock and roll.
Other highlights include the southern, bluesy and slightly swampy 'Lost on You' and closing number 'The Peace You’re Looking For.'
The latter has some late-era Beatles moments that help give it a late 60s vibe but at its heart beats a rugged and infectious guitar pop number with a fittingly Lennon-esque message ("the peace you’re looking for, has gotta have some love behind it").
The band have come a long way since the raw electric Chicago blues sound of 2001 debut album Brother to the Snake.
The aforementioned Revelation Sunday and previous album Shake Your Faith were solid offerings but Turn of the Wheel, which retains some of that early rawness (a core TSB trait both live and in the studio), is an eclectic yet cohesive work that’s also, more importantly, their best album to date.
Ross Muir
FabricationsHQ
Stray – Roll Up! Roll Up!
Stray, the UK’s greatest little rock and roll band to never make it big, should get an award for longevity and perseverance through more ups and downs than a roller coaster.
The band, formed back in 1966 and featuring co-founder, guitarist/ vocalist and all round cheeky chappie Del Bromham, seemed to be the perennial support act during the 1970s.
However while never promoted to the Rock League’s top division they would later be recognised for what they were – an excellent, multi-styled rock band capable of delivering both on record and on stage.
Roll Up! Roll Up! reaffirms the latter through nearly eighty minutes of Stray as recorded at the famous 100 Club in London in November 2019.
The album itself is, much like the highs and lows of Stray, a story in itself…
A fan recording of the show was later identified as being commercially sold in Canada as a CD bootleg. Tracing the source and securing what turned out to be good audio quality recordings, the band handed said recordings over to Andy Pearce & Matt Wrotham at Wired Masters in London.
Cleaned up and mastered, those tracks have become Roll Up! Roll Up! a live showcase for the current line-up of Del Bromham, Stray veteran Pete Dyer (guitar/vocals), Colin "Curvy" Kempster (bass), Karl Randall (drums) and Pearl Handled Revolver keyboardist Simon Rinaldo (whose skills helps fill out and accentuate many a number; some of which have been rearranged for keyboards).
An introduction from the always affable/ quick with a quip Del Bromham opens proceedings before, rather appropriately, 'Let’s Get This Show Started' (from Bromham’s excellent 2018 solo album White Feather) kicks things off.
The mid-paced, groove driven rocker (with univibe and wah drenched guitar lines that recall Robin Trower) also includes an early chance for audience participation through its "na na na" interjections.
The melodically framed 'Genevieve' then gets an airing (another from White Feather but resurrected from a Del Bromham songwriting period that predates Stray’s first album) before the first classic 70s Stray number of the set, 'Come On Over,' is delivered (and with some gusto).
The song comes complete with its little psychedelia-Beatles moment and rock and rolling Stonesy finale.
(Anti) war songs 'Jericho' and '1600 Pennsylvania Avenue' (from Stray’s 2010 album Valhalla) make for a powerful and complementary brace.
While the fan favourite former takes care of itself (lifted from the band’s classic 1971 album Suicide) the inclusion of the blues-rock styled latter has turned out to be prophetic, given what was happening across the pond at the time of this album’s release ("at 1600, and number ten, you think you are above all other men").
The short, riff and twin-guitar driven rocker 'Double Six' makes a rare but welcome appearance while a nine minute outing for the anthemic positivity of 'I Believe It,' replete with big guitar solos, guarantees an audience sing-a-long winner.
The muscly 'Houdini' from the album of that name is another standout as are the extended versions of forceful Stray classics 'After the Storm' and the band’s psychedelic prog-rock anthem, 'All in Your Mind.'
Roll Up! Roll Up! is not without its audio glitches (but then consider the original recording source) or performance flaws (what gig isn’t) but it’s a captured moment in 21st century time of a band still delivering fifty years on.
For that alone Stray deserve credit – and the applause of not just the sold-out 100 Club crowd but that of all British rock fans.
Nelson McFarlane & Ross Muir
FabricationsHQ
Purchase the album here: www.monstrouschild.com/shop-page/
The band, formed back in 1966 and featuring co-founder, guitarist/ vocalist and all round cheeky chappie Del Bromham, seemed to be the perennial support act during the 1970s.
However while never promoted to the Rock League’s top division they would later be recognised for what they were – an excellent, multi-styled rock band capable of delivering both on record and on stage.
Roll Up! Roll Up! reaffirms the latter through nearly eighty minutes of Stray as recorded at the famous 100 Club in London in November 2019.
The album itself is, much like the highs and lows of Stray, a story in itself…
A fan recording of the show was later identified as being commercially sold in Canada as a CD bootleg. Tracing the source and securing what turned out to be good audio quality recordings, the band handed said recordings over to Andy Pearce & Matt Wrotham at Wired Masters in London.
Cleaned up and mastered, those tracks have become Roll Up! Roll Up! a live showcase for the current line-up of Del Bromham, Stray veteran Pete Dyer (guitar/vocals), Colin "Curvy" Kempster (bass), Karl Randall (drums) and Pearl Handled Revolver keyboardist Simon Rinaldo (whose skills helps fill out and accentuate many a number; some of which have been rearranged for keyboards).
An introduction from the always affable/ quick with a quip Del Bromham opens proceedings before, rather appropriately, 'Let’s Get This Show Started' (from Bromham’s excellent 2018 solo album White Feather) kicks things off.
The mid-paced, groove driven rocker (with univibe and wah drenched guitar lines that recall Robin Trower) also includes an early chance for audience participation through its "na na na" interjections.
The melodically framed 'Genevieve' then gets an airing (another from White Feather but resurrected from a Del Bromham songwriting period that predates Stray’s first album) before the first classic 70s Stray number of the set, 'Come On Over,' is delivered (and with some gusto).
The song comes complete with its little psychedelia-Beatles moment and rock and rolling Stonesy finale.
(Anti) war songs 'Jericho' and '1600 Pennsylvania Avenue' (from Stray’s 2010 album Valhalla) make for a powerful and complementary brace.
While the fan favourite former takes care of itself (lifted from the band’s classic 1971 album Suicide) the inclusion of the blues-rock styled latter has turned out to be prophetic, given what was happening across the pond at the time of this album’s release ("at 1600, and number ten, you think you are above all other men").
The short, riff and twin-guitar driven rocker 'Double Six' makes a rare but welcome appearance while a nine minute outing for the anthemic positivity of 'I Believe It,' replete with big guitar solos, guarantees an audience sing-a-long winner.
The muscly 'Houdini' from the album of that name is another standout as are the extended versions of forceful Stray classics 'After the Storm' and the band’s psychedelic prog-rock anthem, 'All in Your Mind.'
Roll Up! Roll Up! is not without its audio glitches (but then consider the original recording source) or performance flaws (what gig isn’t) but it’s a captured moment in 21st century time of a band still delivering fifty years on.
For that alone Stray deserve credit – and the applause of not just the sold-out 100 Club crowd but that of all British rock fans.
Nelson McFarlane & Ross Muir
FabricationsHQ
Purchase the album here: www.monstrouschild.com/shop-page/
The Superphone – That Was Then And This Is Now
British band The Superphone carry very clear influences, worn proudly on their (record) sleeve.
Establishing themselves on the British music scene in 2012 the quartet of Steve Coffey (lead vocals, rhythm guitar), Ged Marciniak (drums, vocals), Dale Farrow (bass) and Steve Millington (lead guitars) have certainly done their homework on the rootsier side of 90s Brit pop.
For evidence look and listen no further than That Was Then And This Is Now, which runs the full gamut from the softer side of Oasis (heard to great effect on 'All You Need to Know') to, well, the even softer side of Oasis (and a retro-pop slice of bands such as The Kinks, another cited influence).
Other inspirations to their muse include Irish folk/ rock band Bagatelle and US artists such as The Eagles, but they are less easy to hear on what is an album of well performed, vocal & harmony led Indie/ acoustic rock.
Further, the band has nailed the melodic, mid-tempo acoustic based swing to such a degree that almost every track on the album breezes by most enjoyably.
The tone is set perfectly with melodic opener 'Weekend Millionaire' and the acoustic based charm of following number, 'Fly So High.'
Singer Steve Coffey, though perhaps not having the most original voice, knows exactly what his voice is capable of and it sits beautifully in the sonic pocket the rest of the band create for him.
Indeed this is a band in every way; Steve Coffey is the primary songwriter/ song creator but it’s a team effort.
Consider the rockier 'Guardian Angel' (which features some great bass lines from Dale Farrow); that particular song came from a riff and music written by Steve Millington ten years ago, now fully formed around Coffey’s lyrics and song structure.
The Superphone also add an extra dimension to their tunes with some excellent layered harmonies (led by Ged Marciniak), as heard on 'Take It All The Way.'
Such arrangements occasionally echo Laurel Canyon, yet the simplicity of the tunes evoke some of the best stuff by The La’s and that particular band’s well-crafted pop with harmonies style.
If there’s a criticism, it’s that the mid-pace tempo of almost all the tracks (the aforementioned 'Guardian Angel' and chirpy, up-tempo title track being the exceptions) starts to drag halfway through; the lovely vocal harmonies and piano ballad 'Love Will Find a Way' is therefore a timely inclusion.
The Superphone are undeniably and unashamedly retro, but that’s not another criticism – in fact quite the opposite.
In an age when you can turn on BBC Radio 6 and hear tedious new artists trying to sound different just for the sake of sounding different, it is refreshing to hear a band who place so much stock in well-written songs that are equally well-performed and presented.
The Superphone have produced an excellent album, but it also allows for plenty of headroom to plug in and turn up the electric guitars for one or two tracks next time around.
But that’s for then – This is Now.
Adam Norsworthy
FabricationsHQ
Establishing themselves on the British music scene in 2012 the quartet of Steve Coffey (lead vocals, rhythm guitar), Ged Marciniak (drums, vocals), Dale Farrow (bass) and Steve Millington (lead guitars) have certainly done their homework on the rootsier side of 90s Brit pop.
For evidence look and listen no further than That Was Then And This Is Now, which runs the full gamut from the softer side of Oasis (heard to great effect on 'All You Need to Know') to, well, the even softer side of Oasis (and a retro-pop slice of bands such as The Kinks, another cited influence).
Other inspirations to their muse include Irish folk/ rock band Bagatelle and US artists such as The Eagles, but they are less easy to hear on what is an album of well performed, vocal & harmony led Indie/ acoustic rock.
Further, the band has nailed the melodic, mid-tempo acoustic based swing to such a degree that almost every track on the album breezes by most enjoyably.
The tone is set perfectly with melodic opener 'Weekend Millionaire' and the acoustic based charm of following number, 'Fly So High.'
Singer Steve Coffey, though perhaps not having the most original voice, knows exactly what his voice is capable of and it sits beautifully in the sonic pocket the rest of the band create for him.
Indeed this is a band in every way; Steve Coffey is the primary songwriter/ song creator but it’s a team effort.
Consider the rockier 'Guardian Angel' (which features some great bass lines from Dale Farrow); that particular song came from a riff and music written by Steve Millington ten years ago, now fully formed around Coffey’s lyrics and song structure.
The Superphone also add an extra dimension to their tunes with some excellent layered harmonies (led by Ged Marciniak), as heard on 'Take It All The Way.'
Such arrangements occasionally echo Laurel Canyon, yet the simplicity of the tunes evoke some of the best stuff by The La’s and that particular band’s well-crafted pop with harmonies style.
If there’s a criticism, it’s that the mid-pace tempo of almost all the tracks (the aforementioned 'Guardian Angel' and chirpy, up-tempo title track being the exceptions) starts to drag halfway through; the lovely vocal harmonies and piano ballad 'Love Will Find a Way' is therefore a timely inclusion.
The Superphone are undeniably and unashamedly retro, but that’s not another criticism – in fact quite the opposite.
In an age when you can turn on BBC Radio 6 and hear tedious new artists trying to sound different just for the sake of sounding different, it is refreshing to hear a band who place so much stock in well-written songs that are equally well-performed and presented.
The Superphone have produced an excellent album, but it also allows for plenty of headroom to plug in and turn up the electric guitars for one or two tracks next time around.
But that’s for then – This is Now.
Adam Norsworthy
FabricationsHQ
Syteria – Reflection
Power pop, fuzz punk hard rockin’ quartet Syteria, featuring Girlschool’s lead guitarist Jackie "Jax" Chambers got a bit of a frustrated rage on a couple of years back with the appropriately titled debut album Rant-o-Bot.
Lyrically focused on the state of the planetary affairs (song titles such as 'Revolution,' 'Sheeple' and 'New World Order' helping to make their things-need-to-change point) but musically hard-edged and hooky, Rant-o-Bot was a strong offering that turned out to be one of the best independently released albums of 2017.
Three years later such rants have been exchanged for a title fittingly reflective stance and an album that’s more upbeat in more than just Pablo Calvo’s drum work (here in rhythmic tandem with new bassist Steph Dawson, who joined in 2019).
But the band, fronted by the strong-voiced Julia Vocal, have retained the power-punchy and punky musical template that served them so well on Rant-o-Bot, right down to the same number of tracks (12), album length (35 minutes) and a short and sharp approach that is high on hooks and four part harmonies,
Syteria set their stall out early on Reflection with lead-off single and perfectly titled opening number 'Let’s Make Some Noise,' a rallying cry to arms as well as a call to crank the music up with "Yeah!" shouts and "nah-nah-nah" backings.
Following number, 'Goodbye World,' would lyrically seem to lend itself more to Rant-o-Bot but its upbeat "let’s find ways to save this world" chorus line and feisty little six-string burst from Jax Chambers put it firmly in the more positive Reflection camp.
Similarly the brash and bristling title track’s "Looking for the light? Then look in the mirror!" tag line that reflects on where change has to start.
Tracks such as the punky and spunky 'Asylum,' 'As If' and 'I Want it All' keep the sharper sonic edge of Syteria to the fore but the rhythmic and gritty 'Moving Forward (Angels and Demons)' and heavy, power poppin’ fun of 'Plastic Fantastic,' with its angular little guitar lines, are more than their equal.
There’s a return to the angrier side of Syteria, lyrically and musically, on closing number 'Guilty,' but that just seems to reinforce the band’s sonic identity as well as 'reflect' back (album title wordplay intended) to the previous album.
Indeed it’s fair to say that Rant-o-Bot is the finger-pointing Yin to Reflection's more considered Yang, where one really needs the other to be completed. A double album three years apart if you will.
Which, from Syteria’s point of view, is a lyrically ranting and musically reflective win-win.
Ross Muir
FabricationsHQ
Lyrically focused on the state of the planetary affairs (song titles such as 'Revolution,' 'Sheeple' and 'New World Order' helping to make their things-need-to-change point) but musically hard-edged and hooky, Rant-o-Bot was a strong offering that turned out to be one of the best independently released albums of 2017.
Three years later such rants have been exchanged for a title fittingly reflective stance and an album that’s more upbeat in more than just Pablo Calvo’s drum work (here in rhythmic tandem with new bassist Steph Dawson, who joined in 2019).
But the band, fronted by the strong-voiced Julia Vocal, have retained the power-punchy and punky musical template that served them so well on Rant-o-Bot, right down to the same number of tracks (12), album length (35 minutes) and a short and sharp approach that is high on hooks and four part harmonies,
Syteria set their stall out early on Reflection with lead-off single and perfectly titled opening number 'Let’s Make Some Noise,' a rallying cry to arms as well as a call to crank the music up with "Yeah!" shouts and "nah-nah-nah" backings.
Following number, 'Goodbye World,' would lyrically seem to lend itself more to Rant-o-Bot but its upbeat "let’s find ways to save this world" chorus line and feisty little six-string burst from Jax Chambers put it firmly in the more positive Reflection camp.
Similarly the brash and bristling title track’s "Looking for the light? Then look in the mirror!" tag line that reflects on where change has to start.
Tracks such as the punky and spunky 'Asylum,' 'As If' and 'I Want it All' keep the sharper sonic edge of Syteria to the fore but the rhythmic and gritty 'Moving Forward (Angels and Demons)' and heavy, power poppin’ fun of 'Plastic Fantastic,' with its angular little guitar lines, are more than their equal.
There’s a return to the angrier side of Syteria, lyrically and musically, on closing number 'Guilty,' but that just seems to reinforce the band’s sonic identity as well as 'reflect' back (album title wordplay intended) to the previous album.
Indeed it’s fair to say that Rant-o-Bot is the finger-pointing Yin to Reflection's more considered Yang, where one really needs the other to be completed. A double album three years apart if you will.
Which, from Syteria’s point of view, is a lyrically ranting and musically reflective win-win.
Ross Muir
FabricationsHQ
Tatu & Tutkimusmatkailijat - Matka Kaikkine Vaiheineen
(Tatu & The Explorers - Journey With All Stages)
(Tatu & The Explorers - Journey With All Stages)
Unless you are a fan of, or have seen, Finnish slide guitar maestro and melodic rock-blues songstress Erja Lyytinen, you’re probably unfamiliar with the name Tatu Back.
The bassist has however released a debut solo album of some distinction, albeit one that is not easy-listening and won’t be troubling any mainstream/ rock radio playlists.
But if you have a predilection for instrumental jazz-fusion, a bit of prog-rock and some musical exploration (this is "Tatu & The Explorers" after all) then please step aboard.
Matka Kaikkine Vaiheineen (roughly translated as Journey With All Stages) is a collection of eight high quality, atmospheric numbers featuring Tatu Back, Markus Venehsalo (guitars) and Jaako Poyhonen (drums), all of which include reference points to the likes of Zappa, Brand X and John McLaughlin.
The nine-and-a-half minute title track delivers an atmospheric opening section with an Indian feel before progressing to repeating bass & guitar figures played in unison.
Overlaid on this is a melody with an Eastern feel on double tracked guitars, which is not a million miles away from the Mahavishnu Orchestra.
The track also includes some meaty, rocky sections and a tasty outside-the-box guitar solo from Markus Venehsalo (incorporating lightning fast arpeggios) before the number returns to its opening theme.
(Special mention here too for percussionist Mark Salmela, who is used sparingly but effectively).
The shorter 'Kevään Viimeinen Pimeä Yö' ('The Last Dark Night of Spring'), which follows, is a down-tempo, sparse and doom-laden affair.
The clean (but reverb-laden) guitars provide a nice contrast to the intensity of the album’s opening number while the overall thematic feel conjures images of a Spaghetti Western.
'Lonkat' ('Hips') is a quirky and funky instrumental which wouldn’t be out of place in the Frank Zappa canon. Some tasty background Hammond from guest keyboardist Harri Taittonen supports Tatu Back as he indulges in the first of his interesting bass solos, while cleverly not overstaying his welcome.
'Muutosta' ('Change') is a slow, emotional number that sits somewhere between Larry Carlton and Nashville. Tastefully played, the track features some great slide guitar from guest player Jarkka Rissanen.
'Sylvi' progresses from handclaps and accompanying drum beat to a short acoustic guitar/ folk part before veering off into jazz fusion, driven by Jaako Poyhonen’s drum work and interesting rhythms (this track also features some interesting stereo mixing).
By contrast the short vignette piece 'Välitilassa' ('In Between') is all delay and effects before it segues to the dub-reggae of 'Syvissä' ('Deep Down'), which includes another Mahavishnu-esque section.
Closing track 'Punainen Keltainen' ('Red Yellow') features an introduction reminiscent of Jaco Pastorius via Tatu Back’s inventive use of harmonics and reverb.
The number then progresses to a bass led, rhythmic exercise with a distinctly African feel.
There is a slight case of self-indulgence on the final number but Tatu Back can be forgiven such excursions given his talents – and the fact he and his band have produced a varied and interesting album of some quality.
Nelson McFarlane
FabricationsHQ
The bassist has however released a debut solo album of some distinction, albeit one that is not easy-listening and won’t be troubling any mainstream/ rock radio playlists.
But if you have a predilection for instrumental jazz-fusion, a bit of prog-rock and some musical exploration (this is "Tatu & The Explorers" after all) then please step aboard.
Matka Kaikkine Vaiheineen (roughly translated as Journey With All Stages) is a collection of eight high quality, atmospheric numbers featuring Tatu Back, Markus Venehsalo (guitars) and Jaako Poyhonen (drums), all of which include reference points to the likes of Zappa, Brand X and John McLaughlin.
The nine-and-a-half minute title track delivers an atmospheric opening section with an Indian feel before progressing to repeating bass & guitar figures played in unison.
Overlaid on this is a melody with an Eastern feel on double tracked guitars, which is not a million miles away from the Mahavishnu Orchestra.
The track also includes some meaty, rocky sections and a tasty outside-the-box guitar solo from Markus Venehsalo (incorporating lightning fast arpeggios) before the number returns to its opening theme.
(Special mention here too for percussionist Mark Salmela, who is used sparingly but effectively).
The shorter 'Kevään Viimeinen Pimeä Yö' ('The Last Dark Night of Spring'), which follows, is a down-tempo, sparse and doom-laden affair.
The clean (but reverb-laden) guitars provide a nice contrast to the intensity of the album’s opening number while the overall thematic feel conjures images of a Spaghetti Western.
'Lonkat' ('Hips') is a quirky and funky instrumental which wouldn’t be out of place in the Frank Zappa canon. Some tasty background Hammond from guest keyboardist Harri Taittonen supports Tatu Back as he indulges in the first of his interesting bass solos, while cleverly not overstaying his welcome.
'Muutosta' ('Change') is a slow, emotional number that sits somewhere between Larry Carlton and Nashville. Tastefully played, the track features some great slide guitar from guest player Jarkka Rissanen.
'Sylvi' progresses from handclaps and accompanying drum beat to a short acoustic guitar/ folk part before veering off into jazz fusion, driven by Jaako Poyhonen’s drum work and interesting rhythms (this track also features some interesting stereo mixing).
By contrast the short vignette piece 'Välitilassa' ('In Between') is all delay and effects before it segues to the dub-reggae of 'Syvissä' ('Deep Down'), which includes another Mahavishnu-esque section.
Closing track 'Punainen Keltainen' ('Red Yellow') features an introduction reminiscent of Jaco Pastorius via Tatu Back’s inventive use of harmonics and reverb.
The number then progresses to a bass led, rhythmic exercise with a distinctly African feel.
There is a slight case of self-indulgence on the final number but Tatu Back can be forgiven such excursions given his talents – and the fact he and his band have produced a varied and interesting album of some quality.
Nelson McFarlane
FabricationsHQ
Simon Thacker’s Ritmata – Tàradh
Classical based guitarist Simon Thacker is a pioneering composer who doesn’t so much re-imagine as fully deconstruct a music form before reshaping it to his own musical vision (whether that be the western meets Indian classical soundworlds created with his Svari-Kanti ensemble or restructuring the traditional forms, particularly trad. Scots/ Gaelic and Romany).
Such compositions are also premonitionary, in the (sixth) sense that Simon Thacker sees and hears in his mind’s eye and ear where he wants to go, or will be heading, in his next musical adventure before he’s even written it. Musical transcendence in action.
It also explains why his latest work, with jazz-flavoured world music ensemble Ritmata, is entitled Tàradh, a Gaelic word associated with witchcraft and generally taken to mean sounds heard as a portent of where someone may be headed, or wishes they already were.
On the face of it Simon Thacker would appear to be the featured player (not just an extraordinary composer, Thacker is also an exceptional guitarist) on opening track 'Asuramaya,' an Indian flavoured piece written in 2014 and an early development of Thacker’s self-titled "supra-raga" approach (a pitched or emphasised step or three beyond the raga system of Indian classical music).
But the other Ritmata players – Paul Harrison (piano), Andrew Robb (bass) and Stu Brown (drums), brilliant improvisers all, shine strongly throughout 'Asuramaya,' rhythmically, collectively and individually.
Ritmata’s jazz-club vibe then forms the foundation for 'Honour The Treaties,' a piece written in homage to the Native American spirit. Pow wow beat jazz? Believe it.
Even more jazz orientated is 'Aurora Consurgens.'
Titled after an alchemical treatise of the 15th century, Ritmata’s musical interpretation (with an improvised middle section) is as multi-layered in meaning and texture as the watercolour illuminations of said treatise.
For the full Ritmata jazz treatment however you want closing track 'Quadriga in 5,' an eleven minute time cycle in five that channels chariot racing of the Greek and Roman Gods to deliver its expressive and at times exhilarating musical ride.
How strong a piece is 'Quadriga in 5'? No sooner had it been heard than it was nominated for the prestigious Ivors Composer Awards in the Jazz Composition for Small Ensemble category,
Other Tàradh highlights of time (and space) changing note include 'Des Oge Mais' (attributed to Alfonso X of Castile) and an early 20th century Sephardic song entitled 'Muero Yo De Amor.'
The former has been fully re-imagined from its seven centuries past origins to become a vibrant piece of cantiga-jazz whilst retaining its Spanish and Moorish influences; the latter is a more dramatic rendition of the original featuring cantaora / flamenco singer Ángeles Toledano from Cordoba.
With his Ritmata ensemble Simon Thacker continues to underline his forward thinking vision for music and its as yet untapped potential (not for Thacker the mind-set of everything that can be written has been written).
Something witchcraft-ery this way comes and it sounds very much like the Tàradh of Simon Thacker.
Disposable playlist product for the muggles this ain’t.
Ross Muir
FabricationsHQ
Such compositions are also premonitionary, in the (sixth) sense that Simon Thacker sees and hears in his mind’s eye and ear where he wants to go, or will be heading, in his next musical adventure before he’s even written it. Musical transcendence in action.
It also explains why his latest work, with jazz-flavoured world music ensemble Ritmata, is entitled Tàradh, a Gaelic word associated with witchcraft and generally taken to mean sounds heard as a portent of where someone may be headed, or wishes they already were.
On the face of it Simon Thacker would appear to be the featured player (not just an extraordinary composer, Thacker is also an exceptional guitarist) on opening track 'Asuramaya,' an Indian flavoured piece written in 2014 and an early development of Thacker’s self-titled "supra-raga" approach (a pitched or emphasised step or three beyond the raga system of Indian classical music).
But the other Ritmata players – Paul Harrison (piano), Andrew Robb (bass) and Stu Brown (drums), brilliant improvisers all, shine strongly throughout 'Asuramaya,' rhythmically, collectively and individually.
Ritmata’s jazz-club vibe then forms the foundation for 'Honour The Treaties,' a piece written in homage to the Native American spirit. Pow wow beat jazz? Believe it.
Even more jazz orientated is 'Aurora Consurgens.'
Titled after an alchemical treatise of the 15th century, Ritmata’s musical interpretation (with an improvised middle section) is as multi-layered in meaning and texture as the watercolour illuminations of said treatise.
For the full Ritmata jazz treatment however you want closing track 'Quadriga in 5,' an eleven minute time cycle in five that channels chariot racing of the Greek and Roman Gods to deliver its expressive and at times exhilarating musical ride.
How strong a piece is 'Quadriga in 5'? No sooner had it been heard than it was nominated for the prestigious Ivors Composer Awards in the Jazz Composition for Small Ensemble category,
Other Tàradh highlights of time (and space) changing note include 'Des Oge Mais' (attributed to Alfonso X of Castile) and an early 20th century Sephardic song entitled 'Muero Yo De Amor.'
The former has been fully re-imagined from its seven centuries past origins to become a vibrant piece of cantiga-jazz whilst retaining its Spanish and Moorish influences; the latter is a more dramatic rendition of the original featuring cantaora / flamenco singer Ángeles Toledano from Cordoba.
With his Ritmata ensemble Simon Thacker continues to underline his forward thinking vision for music and its as yet untapped potential (not for Thacker the mind-set of everything that can be written has been written).
Something witchcraft-ery this way comes and it sounds very much like the Tàradh of Simon Thacker.
Disposable playlist product for the muggles this ain’t.
Ross Muir
FabricationsHQ
Ray Thomas - Words & Music (CD&DVD)
From the Moody Blues 1965 cover of 'It Ain’t Necessarily So' (which slides into an almost gospel crescendo from its piano and Ray Thomas vocal beginnings) to the previously unreleased 'Dada’s Song' (the last song Ray Thomas recorded), Words & Music is a carefully considered tribute to the late lamented musician, who passed in 2018.
The album also includes a number of warm anecdotes and remembrances of Ray Thomas (including contributions from Denny Laine, Mike Pinder and record producer Pip Williams) within the accompanying 20-page booklet.
Interestingly, and clearly intentionally, no Ray Thomas sung/penned songs from the Moody Blues late 60s to early 70s classic era, or later decades, feature – but then the Moodies celebrated and acclaimed catalogue takes care of itself via the original albums and countless compilations.
Such intentional omissions also allow more scope for the Words & Music of Ray Thomas the solo artist, along with with a nod to Thomas’ lead vocal performances with the original, Denny Laine led Moody Blues – the aforementioned 'It Ain’t Necessarily So,' their cover of 'How Can We Hang On To a Dream' and 'From the Bottom of My Heart (I Love You),' which features rising vocal wails on the finale.
That final vocal stanza shows Ray Thomas could hit those high notes as comfortably as he could deliver in his normal rich baritone, which became as much of a Thomas trademark as the evocative flute work that graced many a classic Moody Blues number.
But it’s the solo moments that deservedly dominate Words & Music.
Five songs are lifted from each of Ray Thomas’ two solo albums, From Mighty Oaks and Hopes, Wishes & Dreams; both were recorded during the Moody Blues hiatus that sat between their "Magnificent Seven" releases of 1967-1972 and 1978’s reunion/ return to business album, Octave.
From the orchestrated, Moody-esque and fittingly soaring 'I Wish We Could Fly' and brass rock ‘n’ harmonica roll of 'High Above My Head,' through to the classically scored 'Migration' and poignant ballad 'The Last Dream,' each selected album cut proves, time(less song) and again, that Ray Thomas could turn his songwriting hand, voice, flute and harmonica to a well-crafted tune outside of classic Moodies Music.
The retrospective concludes with the Celtic arranged charm of 2010 recording 'The Trouble with Memories' and the previously mentioned 'Dada’s Song,' a touching ballad performed in the company of the song’s
co-writer, Ryland Teifi.
The accompanying DVD features a 5.1 surround sound mix of From Mighty Oaks, which is particularly impressive and sonically impacting on the orchestrated title track, which acts as an instrumental prologue.
The DVD also includes the original 1975 video for 'High Above My Head' and a promotional video for 'Dada’s Song,' featuring Ryland Teifi playing in accompaniment to footage of Ray Thomas.
All of which is a reminder of just how good a singer, songwriter, lyricist, flautist and harmonica player the Veteran Cosmic Rocker was – through his own Words & Music.
Ross Muir
FabricationsHQ
The album also includes a number of warm anecdotes and remembrances of Ray Thomas (including contributions from Denny Laine, Mike Pinder and record producer Pip Williams) within the accompanying 20-page booklet.
Interestingly, and clearly intentionally, no Ray Thomas sung/penned songs from the Moody Blues late 60s to early 70s classic era, or later decades, feature – but then the Moodies celebrated and acclaimed catalogue takes care of itself via the original albums and countless compilations.
Such intentional omissions also allow more scope for the Words & Music of Ray Thomas the solo artist, along with with a nod to Thomas’ lead vocal performances with the original, Denny Laine led Moody Blues – the aforementioned 'It Ain’t Necessarily So,' their cover of 'How Can We Hang On To a Dream' and 'From the Bottom of My Heart (I Love You),' which features rising vocal wails on the finale.
That final vocal stanza shows Ray Thomas could hit those high notes as comfortably as he could deliver in his normal rich baritone, which became as much of a Thomas trademark as the evocative flute work that graced many a classic Moody Blues number.
But it’s the solo moments that deservedly dominate Words & Music.
Five songs are lifted from each of Ray Thomas’ two solo albums, From Mighty Oaks and Hopes, Wishes & Dreams; both were recorded during the Moody Blues hiatus that sat between their "Magnificent Seven" releases of 1967-1972 and 1978’s reunion/ return to business album, Octave.
From the orchestrated, Moody-esque and fittingly soaring 'I Wish We Could Fly' and brass rock ‘n’ harmonica roll of 'High Above My Head,' through to the classically scored 'Migration' and poignant ballad 'The Last Dream,' each selected album cut proves, time(less song) and again, that Ray Thomas could turn his songwriting hand, voice, flute and harmonica to a well-crafted tune outside of classic Moodies Music.
The retrospective concludes with the Celtic arranged charm of 2010 recording 'The Trouble with Memories' and the previously mentioned 'Dada’s Song,' a touching ballad performed in the company of the song’s
co-writer, Ryland Teifi.
The accompanying DVD features a 5.1 surround sound mix of From Mighty Oaks, which is particularly impressive and sonically impacting on the orchestrated title track, which acts as an instrumental prologue.
The DVD also includes the original 1975 video for 'High Above My Head' and a promotional video for 'Dada’s Song,' featuring Ryland Teifi playing in accompaniment to footage of Ray Thomas.
All of which is a reminder of just how good a singer, songwriter, lyricist, flautist and harmonica player the Veteran Cosmic Rocker was – through his own Words & Music.
Ross Muir
FabricationsHQ
Those Damn Crows – Point Of No Return
As mentioned before on FabricationsHQ, there’s clearly something in the Welsh water that flows down the welcoming hillsides and through the valleys of old Cymru these days, certainly in respect of the country’s contemporary rockin’ brethren.
There’s the three sisters fronted Kane’d, who have elevated themselves from melodic alt-rock beginnings to multi-voiced melodic rock-metal exponents.
Scarlet Rebels knocked it out the contemporary & melodically rocking park last year with debut album Show Your Colours.
Everyday Heroes have become ones to watch with their musically earthy, lyrically story-telling brand of heavy rock blues.
And now Those Damn Crows, a guitar-led quintet who have taken the sonic template of ear-catching debut Murder and the Motive (and it’s restructured and shorter 2018 re-release; a perfect example of less is more) to deliver a second album that expands on the Crows’ metallically shod, contemporary rock sound.
The results are an even stronger and musically broader offering from Shane Greenhall (vocals), Ronnie Huxford (drums), Lloyd Wood (bass) and Ian "Shiner" Thomas & David Winchurch (guitars).
Rather than hit full speed immediately (much as they did on the debut with sit up and take notice opener 'Don’t Give a Damn') the band have chosen to kick things off with a gritty, mid-tempo slice of contemporary rock (with obligatory hook-chorus) entitled 'Who Did it?'
It’s a clever opening gambit that immediately brings a different weight and extra depth to proceedings.
The sonic shape of the opener also helps showcase the broader sound this time around, albeit the faster paced riff-o-ramas with hook and / or harmony choruses still feature strongly, as they did on the debut - 'Set in Stone,' 'Sin on Skin' and 'Kingdom of Dust' being the highly impacting pick of the big hitting bunch.
That broader sound however is exemplified by 'Never Win,' a nothing seems to make any difference song (we’ve all been there) that starts in typical piano & vocal ballad fashion before building on a simple beat and a subtle, orchestration-styled backing.
It’s a departure for both band and front man Shane Greenhall but it’s a song destined to become one of the Crows’ most popular songs.
'Never Win' is also something of an interlude or brief respite from the sonic attack, given following number 'Send the Reaper' (built on a big beat, rattling bass, wailing lead guitar and another hook chorus) is one of the punchiest and powerful numbers on display ('King of Second Chances' and contemporary heavyweight contender 'Go Get It' are two of the more intense amps to 11 moments however).
Rapid-fire brace 'Hey Man (Take a Look at Me Now)' and 'Devil in my Pocket' close out the 13 songs in 44 minutes Point of No Return (short and sonically sharp is the calling card of these particular Crows) in powerful, punky metal fashion.
Given their contemporary style, thick riffing guitars and driving bass lines comparisons to the likes of Alter Bridge, Shinedown and, to a lesser degree, Blackstone Cherry, are still valid but on Point of No Return Those Damn Crows are starting to fly on the wings of their own sonic waves.
Ross Muir
FabricationsHQ
There’s the three sisters fronted Kane’d, who have elevated themselves from melodic alt-rock beginnings to multi-voiced melodic rock-metal exponents.
Scarlet Rebels knocked it out the contemporary & melodically rocking park last year with debut album Show Your Colours.
Everyday Heroes have become ones to watch with their musically earthy, lyrically story-telling brand of heavy rock blues.
And now Those Damn Crows, a guitar-led quintet who have taken the sonic template of ear-catching debut Murder and the Motive (and it’s restructured and shorter 2018 re-release; a perfect example of less is more) to deliver a second album that expands on the Crows’ metallically shod, contemporary rock sound.
The results are an even stronger and musically broader offering from Shane Greenhall (vocals), Ronnie Huxford (drums), Lloyd Wood (bass) and Ian "Shiner" Thomas & David Winchurch (guitars).
Rather than hit full speed immediately (much as they did on the debut with sit up and take notice opener 'Don’t Give a Damn') the band have chosen to kick things off with a gritty, mid-tempo slice of contemporary rock (with obligatory hook-chorus) entitled 'Who Did it?'
It’s a clever opening gambit that immediately brings a different weight and extra depth to proceedings.
The sonic shape of the opener also helps showcase the broader sound this time around, albeit the faster paced riff-o-ramas with hook and / or harmony choruses still feature strongly, as they did on the debut - 'Set in Stone,' 'Sin on Skin' and 'Kingdom of Dust' being the highly impacting pick of the big hitting bunch.
That broader sound however is exemplified by 'Never Win,' a nothing seems to make any difference song (we’ve all been there) that starts in typical piano & vocal ballad fashion before building on a simple beat and a subtle, orchestration-styled backing.
It’s a departure for both band and front man Shane Greenhall but it’s a song destined to become one of the Crows’ most popular songs.
'Never Win' is also something of an interlude or brief respite from the sonic attack, given following number 'Send the Reaper' (built on a big beat, rattling bass, wailing lead guitar and another hook chorus) is one of the punchiest and powerful numbers on display ('King of Second Chances' and contemporary heavyweight contender 'Go Get It' are two of the more intense amps to 11 moments however).
Rapid-fire brace 'Hey Man (Take a Look at Me Now)' and 'Devil in my Pocket' close out the 13 songs in 44 minutes Point of No Return (short and sonically sharp is the calling card of these particular Crows) in powerful, punky metal fashion.
Given their contemporary style, thick riffing guitars and driving bass lines comparisons to the likes of Alter Bridge, Shinedown and, to a lesser degree, Blackstone Cherry, are still valid but on Point of No Return Those Damn Crows are starting to fly on the wings of their own sonic waves.
Ross Muir
FabricationsHQ
Toto - Old Is New
Since reformation around the quartet of Steve Lukather, David Paich, Steve Porcaro and Joseph Williams Toto have, through albums such as 2015’s Toto XIV, celebration of the band’s 40th Anniversary with Best Of release 40 Trips Around the Sun and further world touring, more than re-established the band’s rock status and past pedigree.
That pedigree and forty years of success was showcased within the comprehensive, limited edition (2000 copies only) 2019 box set All In, a newly remastered 13 album (across 17 LPs and 13 CDs) collection that included an 80 page book, live Blu-ray, live EP and 5.1 Surround Sound mix of Toto IV.
All In also contained a CD album entitled Old Is New.
A ten track collection of previously unreleased old and newer material, Old Is New has now deservedly seen separate stand-a-lone release as a Toto studio album in its own right.
'Alone,' one of three Old Is New tracks that appeared on 40 Trips Around the Sun, is a classic Toto start to proceedings – pacey, melodically punchy, vibrant Steve Lukather solo and obligatory whoa-oh-oh vocals.
Newly written, 'Alone' would have sat comfortably on any Toto studio album you care to mention.
The other 40 Trips tunes are previously unreleased 'Lightning Strikes' (a bristling piece of weighty, big-beat rock) and the rhythmic and airy 'Spanish Sea,' which goes back to 1984 and the Isolation album sessions.
Re-written with a new chorus but featuring much of the original music, including the original performances from the late and great Jeff and Mike Porcaro, 'Spanish Sea' becomes as poignant as it is melodically purposeful.
'Devil’s Tower' is another highlight and one of the best rock songs Toto never did – until now.
Originally laid down and recorded in 1981 during the sessions for Toto IV but without any vocal or lyric, the song has been given new life through Joseph Williams’ contributions and the Lukather-Williams shared lead vocals.
As expected, the classic Toto sound permeates throughout the newly discovered nuggets on Old Is New.
'Fearful Heart' is hard rock meets heavy pop Toto at the band's piano, synths and power chord best;
'In a Little While,' featuring a Steve Lukather vocal, is beautiful and timeless, semi-acoustic Toto balladeering; the David Paich penned and sung 'Oh Why' is Toto and mid-era Beatles-pop in perfect harmony.
Coming out of left field however is closing number 'We’ll Keep On Running,' performed with What So Not (the electronic music project by Australian record producer Emoh Instead, aka Chris Emerson) and featuring Skrillex (aka producer, DJ and singer-songwriter Sonny John Moore).
'We’ll Keep On Running' is Toto being hip to the electro-beat, but whether the rock meets electro number even works is going to be as much of a debate as the argument that most, if not all, the older/ previously unreleased tracks on Old Is New deserved, and should have been given, a place on the albums they were originally recorded for.
Ross Muir
FabricationsHQ
That pedigree and forty years of success was showcased within the comprehensive, limited edition (2000 copies only) 2019 box set All In, a newly remastered 13 album (across 17 LPs and 13 CDs) collection that included an 80 page book, live Blu-ray, live EP and 5.1 Surround Sound mix of Toto IV.
All In also contained a CD album entitled Old Is New.
A ten track collection of previously unreleased old and newer material, Old Is New has now deservedly seen separate stand-a-lone release as a Toto studio album in its own right.
'Alone,' one of three Old Is New tracks that appeared on 40 Trips Around the Sun, is a classic Toto start to proceedings – pacey, melodically punchy, vibrant Steve Lukather solo and obligatory whoa-oh-oh vocals.
Newly written, 'Alone' would have sat comfortably on any Toto studio album you care to mention.
The other 40 Trips tunes are previously unreleased 'Lightning Strikes' (a bristling piece of weighty, big-beat rock) and the rhythmic and airy 'Spanish Sea,' which goes back to 1984 and the Isolation album sessions.
Re-written with a new chorus but featuring much of the original music, including the original performances from the late and great Jeff and Mike Porcaro, 'Spanish Sea' becomes as poignant as it is melodically purposeful.
'Devil’s Tower' is another highlight and one of the best rock songs Toto never did – until now.
Originally laid down and recorded in 1981 during the sessions for Toto IV but without any vocal or lyric, the song has been given new life through Joseph Williams’ contributions and the Lukather-Williams shared lead vocals.
As expected, the classic Toto sound permeates throughout the newly discovered nuggets on Old Is New.
'Fearful Heart' is hard rock meets heavy pop Toto at the band's piano, synths and power chord best;
'In a Little While,' featuring a Steve Lukather vocal, is beautiful and timeless, semi-acoustic Toto balladeering; the David Paich penned and sung 'Oh Why' is Toto and mid-era Beatles-pop in perfect harmony.
Coming out of left field however is closing number 'We’ll Keep On Running,' performed with What So Not (the electronic music project by Australian record producer Emoh Instead, aka Chris Emerson) and featuring Skrillex (aka producer, DJ and singer-songwriter Sonny John Moore).
'We’ll Keep On Running' is Toto being hip to the electro-beat, but whether the rock meets electro number even works is going to be as much of a debate as the argument that most, if not all, the older/ previously unreleased tracks on Old Is New deserved, and should have been given, a place on the albums they were originally recorded for.
Ross Muir
FabricationsHQ
Trapeze – Trapeze; Medusa; You Are The Music · We’re Just The Band
(remastered & expanded editions)
(remastered & expanded editions)
For most rock fans Trapeze are remembered as the band that launched Glenn Hughes to bigger, initially Purple shaded, things.
Similar post Trapeze success was found by drummer Dave Holland with Judas Priest while guitarist/ singer Mel Galley, having continued the band to the early eighties, had a short stint with Whitesnake before co-forming the concept album rock band, Phenomena.
But, as showcased through Cherry Red/ Purple Records remastered and expanded editions of the first three Trapeze albums (collectively a weighty 8CDs worth), all of which were originally released on the Moody Blues Threshold Records label, they were a genuinely impacting and, in their earliest incarnation, musically diverse band – to wit, much more than their talented, individual parts.
The 1970 self-titled debut isn’t the funk and soul infused hard rock the trimmed to a trio Trapeze would go on to deliver, and become best known for, on their second and third albums; instead it’s an interesting mix of psychedelic rock and progressive pop (hence the Moody Blues snapping them up for their Threshold Records label).
Featuring not just Messrs Hughes, Galley & Holland but John Jones (vocals, trumpet) and Terry Rowley (keyboards, guitar, flute), the original Trapeze line-up and sound is heard to best effect on the single 'Send Me No More Letters' (a fine slice of 60s ballad-pop), 'Over' and 'Suicide' (solid examples of psychedelic-tinged vocal pop and psychedelic rock, respectively).
This newly remastered & expanded edition of Trapeze includes a bonus disc of twelve tracks including the UK and US single versions of 'Send Me No More Letters,' four unreleased demos including an early version of 'Seafull' (which would appear on following album Medusa) and a three song BBC session.
The real gems on the bonus disc however are three previously unreleased live covers recorded at Wolverhampton’s LaFayette Club in 1969 – Steppenwolf’s 'Magic Carpet Ride,' Fairport Convention’s 'Meet On The Ledge' and 'Open My Eyes' by The Nazz, who featured a then emerging Todd Rundgren.
The band’s debut is not a bad offering, especially in context of the psychedelic pop of the time, but it hasn’t aged well in terms of the (now dated) production sound.
There is also an over reliance on folk-styled backing vocals and strummed acoustic guitars, while the title of the longest song on the album, 'Fairytale; Verily,Verily; Fairytale' speaks volumes (as well as conjuring images of The Seekers dropping some acid).
However the ballad 'It’s My Life,' the rockier 'Wings' and the vocal-pop of 'Another Day,' three of the strongest numbers on the debut, hint at the nascent song-writing abilities of the band.
Similar post Trapeze success was found by drummer Dave Holland with Judas Priest while guitarist/ singer Mel Galley, having continued the band to the early eighties, had a short stint with Whitesnake before co-forming the concept album rock band, Phenomena.
But, as showcased through Cherry Red/ Purple Records remastered and expanded editions of the first three Trapeze albums (collectively a weighty 8CDs worth), all of which were originally released on the Moody Blues Threshold Records label, they were a genuinely impacting and, in their earliest incarnation, musically diverse band – to wit, much more than their talented, individual parts.
The 1970 self-titled debut isn’t the funk and soul infused hard rock the trimmed to a trio Trapeze would go on to deliver, and become best known for, on their second and third albums; instead it’s an interesting mix of psychedelic rock and progressive pop (hence the Moody Blues snapping them up for their Threshold Records label).
Featuring not just Messrs Hughes, Galley & Holland but John Jones (vocals, trumpet) and Terry Rowley (keyboards, guitar, flute), the original Trapeze line-up and sound is heard to best effect on the single 'Send Me No More Letters' (a fine slice of 60s ballad-pop), 'Over' and 'Suicide' (solid examples of psychedelic-tinged vocal pop and psychedelic rock, respectively).
This newly remastered & expanded edition of Trapeze includes a bonus disc of twelve tracks including the UK and US single versions of 'Send Me No More Letters,' four unreleased demos including an early version of 'Seafull' (which would appear on following album Medusa) and a three song BBC session.
The real gems on the bonus disc however are three previously unreleased live covers recorded at Wolverhampton’s LaFayette Club in 1969 – Steppenwolf’s 'Magic Carpet Ride,' Fairport Convention’s 'Meet On The Ledge' and 'Open My Eyes' by The Nazz, who featured a then emerging Todd Rundgren.
The band’s debut is not a bad offering, especially in context of the psychedelic pop of the time, but it hasn’t aged well in terms of the (now dated) production sound.
There is also an over reliance on folk-styled backing vocals and strummed acoustic guitars, while the title of the longest song on the album, 'Fairytale; Verily,Verily; Fairytale' speaks volumes (as well as conjuring images of The Seekers dropping some acid).
However the ballad 'It’s My Life,' the rockier 'Wings' and the vocal-pop of 'Another Day,' three of the strongest numbers on the debut, hint at the nascent song-writing abilities of the band.
'Black Cloud,' the opening number on the band’s second album, Medusa, originally released in late 1970, is representative of what would follow.
A strong song, it carries more than a hint of Free with Glenn Hughes even providing a bluesy, Paul Rodgers style vocal.
By contrast the eight minute 'Jury' ambles along like a lot of progressively shaped excursions by rock bands in the early 70s (framed around quieter passages and heavier sections), but elsewhere funkier elements developed by the trio (John Jones & Terry Rowley departed after the debut to return to their other band, The Montanas) helped create the more individualistic Trapeze sound.
'Your Love is Alright' is a great example of Trapeze finding their new voice (muscular riffs and funk elements to the fore) while 'Touch My Life' has Glenn Hughes finding his voice as the singer started to express the vocal mannerisms that would become such a trademark.
'Makes You Wanna Cry' is a strong song in its own right but Deep Purple enthusiasts will immediately notice it’s also the prototype for what became 'Sail Away' on Purple’s Burn album.
'Medusa' thoroughly deserves its title track billing as it is easily the strongest number on the album.
Glenn Hughes' vocal performance is a tour-de-force while the song itself builds from an acoustic guitar introduction to a heavy, funk riff reminiscent of Zeppelin / Free.
There are also two live versions of 'Medusa' (and most of the Medusa tracks) on the bonus discs, which give serious value for your expanded Medusa money.
Beyond a mono and stereo edit of 'Black Cloud' and a couple of radio session tracks, each bonus disc includes a live concert from the USA in 1971 (it’s also worth mentioning the sound quality of these particular live recordings, given their age, is very good indeed).
The second live set includes an outing for the funk-rockin' 'Way Back to the Bone,' which would appear on the third and final Trapeze album to feature the Hughes-Galley-Holland line-up...
A strong song, it carries more than a hint of Free with Glenn Hughes even providing a bluesy, Paul Rodgers style vocal.
By contrast the eight minute 'Jury' ambles along like a lot of progressively shaped excursions by rock bands in the early 70s (framed around quieter passages and heavier sections), but elsewhere funkier elements developed by the trio (John Jones & Terry Rowley departed after the debut to return to their other band, The Montanas) helped create the more individualistic Trapeze sound.
'Your Love is Alright' is a great example of Trapeze finding their new voice (muscular riffs and funk elements to the fore) while 'Touch My Life' has Glenn Hughes finding his voice as the singer started to express the vocal mannerisms that would become such a trademark.
'Makes You Wanna Cry' is a strong song in its own right but Deep Purple enthusiasts will immediately notice it’s also the prototype for what became 'Sail Away' on Purple’s Burn album.
'Medusa' thoroughly deserves its title track billing as it is easily the strongest number on the album.
Glenn Hughes' vocal performance is a tour-de-force while the song itself builds from an acoustic guitar introduction to a heavy, funk riff reminiscent of Zeppelin / Free.
There are also two live versions of 'Medusa' (and most of the Medusa tracks) on the bonus discs, which give serious value for your expanded Medusa money.
Beyond a mono and stereo edit of 'Black Cloud' and a couple of radio session tracks, each bonus disc includes a live concert from the USA in 1971 (it’s also worth mentioning the sound quality of these particular live recordings, given their age, is very good indeed).
The second live set includes an outing for the funk-rockin' 'Way Back to the Bone,' which would appear on the third and final Trapeze album to feature the Hughes-Galley-Holland line-up...
Trapeze were really hitting their stride by the time of You Are The Music · We’re Just The Band in 1972.
The production values were much improved and the successful melding of rock and funk, along with those now famous and renowned Glenn Hughes vocals, were very much to the fore.
Opening number 'Keeping Time' is a great introduction to Trapeze in their prime – muscular riffs juxtaposed with funk sections and a tight rhythm throughout with Glenn Hughes’ accomplished vocals above.
Contrast is then provided by 'Coast to Coast' (revisited ten years later on the excellent Hughes/Thrall album).
A gorgeous song emotively sung by Glenn Hughes (with steel guitar from B. J. Cole, one of a number of guest players on the album), it is no overstatement to say 'Coast to Coast' is one of the vocal & song highlights of Hughes’ career, then and now.
Soul-rock number 'What is a Woman’s Role' lyrically contains some early 70’s cod philosophy, but musically is another song with a great funk riff and chord sequence (by this stage Mel Galley was developing into a very tasteful guitarist through some notably good riffage and great solos).
The rocking 'Feelin' So much Better Now' is another strong song but suffers from Glenn Hughes’ occasional inability to rein in his falsetto and vocal gymnastics (a flaw retained to this day, predominately in the live environment).
Glenn Hughes is justifiably cited as one the greatest ever voices in rock but sometime less really is more, as evidenced on the sax and vibraphone accompanied ballad 'Will Our Love End,' which features a lovely solo from Mel Galley and a more restrained vocal from Hughes.
Penultimate number 'Loser' must rank as one of the best and feistiest songs Trapeze ever wrote (great riffs, strong melody, good vocals and, again, the inclusion of some funk); the title track, which follows, reminds of a heavier and funkier Doobie Brothers. A strong one-two end to the band’s best album.
Like Medusa, You Are The Music · We’re Just The Band comes with not one but two bonus discs.
The mono version of the 'Coast to Coast' single makes for an interesting curio and there are two non-album tracks (drifting soul ballad 'Good Love' and funky instrumental 'Dat’s It') plus four songs from a Radio One in Concert "off-air" recording, but the meat of the bonus goodies are live performances in 1972 from Dallas (one song) and Houston (full show of nine songs).
Trapeze could have gone on to greater things but in 1973 Deep Purple came calling for the services of Glenn Hughes.
Mel Galley and Dave Holland (then latterly Galley) kept Trapeze going for another nine years and four studio albums (there were also a number of classic trio reunion shows in the 1990s) but the later 70s and early 80s variants never rediscovered the rock meets funk magic of Medusa or You Are The Music · We’re Just The Band.
Luckily, thanks to Cherry Red Records, the Hughes-Galley-Holland Trapeze can now be rediscovered and revisited in all their original (and more) early 70s glory.
Nelson McFarlane
FabricationsHQ
The production values were much improved and the successful melding of rock and funk, along with those now famous and renowned Glenn Hughes vocals, were very much to the fore.
Opening number 'Keeping Time' is a great introduction to Trapeze in their prime – muscular riffs juxtaposed with funk sections and a tight rhythm throughout with Glenn Hughes’ accomplished vocals above.
Contrast is then provided by 'Coast to Coast' (revisited ten years later on the excellent Hughes/Thrall album).
A gorgeous song emotively sung by Glenn Hughes (with steel guitar from B. J. Cole, one of a number of guest players on the album), it is no overstatement to say 'Coast to Coast' is one of the vocal & song highlights of Hughes’ career, then and now.
Soul-rock number 'What is a Woman’s Role' lyrically contains some early 70’s cod philosophy, but musically is another song with a great funk riff and chord sequence (by this stage Mel Galley was developing into a very tasteful guitarist through some notably good riffage and great solos).
The rocking 'Feelin' So much Better Now' is another strong song but suffers from Glenn Hughes’ occasional inability to rein in his falsetto and vocal gymnastics (a flaw retained to this day, predominately in the live environment).
Glenn Hughes is justifiably cited as one the greatest ever voices in rock but sometime less really is more, as evidenced on the sax and vibraphone accompanied ballad 'Will Our Love End,' which features a lovely solo from Mel Galley and a more restrained vocal from Hughes.
Penultimate number 'Loser' must rank as one of the best and feistiest songs Trapeze ever wrote (great riffs, strong melody, good vocals and, again, the inclusion of some funk); the title track, which follows, reminds of a heavier and funkier Doobie Brothers. A strong one-two end to the band’s best album.
Like Medusa, You Are The Music · We’re Just The Band comes with not one but two bonus discs.
The mono version of the 'Coast to Coast' single makes for an interesting curio and there are two non-album tracks (drifting soul ballad 'Good Love' and funky instrumental 'Dat’s It') plus four songs from a Radio One in Concert "off-air" recording, but the meat of the bonus goodies are live performances in 1972 from Dallas (one song) and Houston (full show of nine songs).
Trapeze could have gone on to greater things but in 1973 Deep Purple came calling for the services of Glenn Hughes.
Mel Galley and Dave Holland (then latterly Galley) kept Trapeze going for another nine years and four studio albums (there were also a number of classic trio reunion shows in the 1990s) but the later 70s and early 80s variants never rediscovered the rock meets funk magic of Medusa or You Are The Music · We’re Just The Band.
Luckily, thanks to Cherry Red Records, the Hughes-Galley-Holland Trapeze can now be rediscovered and revisited in all their original (and more) early 70s glory.
Nelson McFarlane
FabricationsHQ
Robin Trower • Maxi Priest • Livingstone Brown - United State of Mind
On the musical face of it Robin Trower, Maxi Priest and Livingstone Brown might seem a musically disparate trio.
But although Maxi Priest and Robin Trower are from backgrounds of reggae and rock/ blues, they share influences of soul and gospel music.
Livingstone Brown, a multi-genre musician, producer, mix engineer and songwriter, has worked with Trower in the past, all of which helps explain why this get-together isn’t so surprising as may first be thought.
As the title of their collaborative album suggests, the trio’s United State of Mind has produced a unified album that sits four (make that three) square in mid-tempo R&B soul territory with a commercial pop sensibility.
There’s also a clearly intentional late night/ early hours,
retro 70s soul feel throughout, enhanced by lush strings or orchestration.
Lead-off single 'United State of Mind' is an understated but assured slice of soul-funk featuring Maxi Priest’s classy vocals and some tasteful guitar licks (and song-suitable restrained solo) from the Godfather of Tone.
Following number 'Are We Just People,' with echoes of the Isley Brothers, has a mellifluous feel to it; Robin Trower’s trademark use of wah-wah (and another tastefully bluesy solo) suit it perfectly.
'A Fire Like Zsa Zsa,' one of the few up-tempo numbers, is reminiscent of Jamiroquai in funk quotient.
The song also features another great solo from Robin Trower, stirring orchestration and a top notch vocal from Maxi Priest.
'Walking Wounded' then slows the tempo right down, slipping soulfully into orchestrated blues territory to showcase another masterful, restrained solo from Robin Trower (while channelling his inner Jeff Beck).
'Sunrise Revolution,' with its Univibe guitar intro, hints at reggae but reshapes into a rock-soul protest song that benefits from another good vocal performance and restrained but emotional guitar solo
(A word at this stage too for the rhythm section who are unobtrusive but on the money throughout).
'Hands to the Sky' offers up a horns 'n' groove slice of feel-good funk before 'Bring it All Back to You' returns to the blues.
Maxi Priest delivers another fine vocal performance on the latter and Robin Trower is, again, the model of restraint (while such restraint fits the slow and soulful profile of the album, you’re also hoping Trower might cut loose a bit more than he does).
'It’s a Good Day,' another groove driven funk number with a feel-good vibe, could easily be a single while 'Where Our Love Came From' makes for a tasteful blues-soul closer.
The latter is another fine example of less is more, courtesy of the understated but highly effective vocal and guitar deliveries from Messrs Priest and Trower.
United State of Mind is just that from three seasoned pros.
However while their pedigree and polished performances are not in question, who the audience is for this album might well be.
Seasoned 70s soul fans will have heard this before (in the 70s, natch), the rock fraternity will probably want more Trower guitar and the reggae audience may bemoan the lack of Maxi Priest’s R&B/ pop sounds.
But if you are looking for a seriously well performed album with cool, coastal drive appeal and a bucketful of smooth ‘n’ silky, soul-funk-blues, you may well have found the answer.
Nelson McFarlane
FabricationsHQ
But although Maxi Priest and Robin Trower are from backgrounds of reggae and rock/ blues, they share influences of soul and gospel music.
Livingstone Brown, a multi-genre musician, producer, mix engineer and songwriter, has worked with Trower in the past, all of which helps explain why this get-together isn’t so surprising as may first be thought.
As the title of their collaborative album suggests, the trio’s United State of Mind has produced a unified album that sits four (make that three) square in mid-tempo R&B soul territory with a commercial pop sensibility.
There’s also a clearly intentional late night/ early hours,
retro 70s soul feel throughout, enhanced by lush strings or orchestration.
Lead-off single 'United State of Mind' is an understated but assured slice of soul-funk featuring Maxi Priest’s classy vocals and some tasteful guitar licks (and song-suitable restrained solo) from the Godfather of Tone.
Following number 'Are We Just People,' with echoes of the Isley Brothers, has a mellifluous feel to it; Robin Trower’s trademark use of wah-wah (and another tastefully bluesy solo) suit it perfectly.
'A Fire Like Zsa Zsa,' one of the few up-tempo numbers, is reminiscent of Jamiroquai in funk quotient.
The song also features another great solo from Robin Trower, stirring orchestration and a top notch vocal from Maxi Priest.
'Walking Wounded' then slows the tempo right down, slipping soulfully into orchestrated blues territory to showcase another masterful, restrained solo from Robin Trower (while channelling his inner Jeff Beck).
'Sunrise Revolution,' with its Univibe guitar intro, hints at reggae but reshapes into a rock-soul protest song that benefits from another good vocal performance and restrained but emotional guitar solo
(A word at this stage too for the rhythm section who are unobtrusive but on the money throughout).
'Hands to the Sky' offers up a horns 'n' groove slice of feel-good funk before 'Bring it All Back to You' returns to the blues.
Maxi Priest delivers another fine vocal performance on the latter and Robin Trower is, again, the model of restraint (while such restraint fits the slow and soulful profile of the album, you’re also hoping Trower might cut loose a bit more than he does).
'It’s a Good Day,' another groove driven funk number with a feel-good vibe, could easily be a single while 'Where Our Love Came From' makes for a tasteful blues-soul closer.
The latter is another fine example of less is more, courtesy of the understated but highly effective vocal and guitar deliveries from Messrs Priest and Trower.
United State of Mind is just that from three seasoned pros.
However while their pedigree and polished performances are not in question, who the audience is for this album might well be.
Seasoned 70s soul fans will have heard this before (in the 70s, natch), the rock fraternity will probably want more Trower guitar and the reggae audience may bemoan the lack of Maxi Priest’s R&B/ pop sounds.
But if you are looking for a seriously well performed album with cool, coastal drive appeal and a bucketful of smooth ‘n’ silky, soul-funk-blues, you may well have found the answer.
Nelson McFarlane
FabricationsHQ
Twister – Cursed & Corrected
Twister front man Stevie Stoker says of the band’s debut album Cursed & Corrected "Every single track is a little piece of us… this album epitomises what we are as a band and sets the precedent of what we want to achieve."
They certainly announce themselves in highly impacting fashion on 'Save Us Yourself,' which segues from the short, introductory instrumental 'We Are the Cursed & Corrected.'
An uplifting, melodically rocking fist-pumper of a song with a great guitar hook and strong chorus, 'Save Us Yourself' declares in emphatic, heavy power-pop terms what Twister – Stevie Stokes (vocals, guitars), Jake Grimes (guitars/ back. vox), Ryan Lee (bass, back. vox), Jack Corbett (drums, back. vox) – are all about.
Following number 'Young & Affected' inhabits punky power-pop territory reminiscent of Green Day via the Only Ones; another strong hook validates the credentials of the band with an eye on the commercial pop-rock market.
After an atmospheric start 'Natural Survivor' continues on a similar theme and tempo along with a further demonstration of the band’s ability to deliver a strong chorus (the vocals are delivered in an uncompromising but melodic manner in the opening salvo of songs).
The rhythm section also turn in a tight and clever supporting role in this number.
'Trees' sounds like a strange hybrid of (sadly under-rated) Hoobastank and Brit-Pop, but it’s the strong showing on guitar and hook-chorus that truly carries this song.
The opening quartet are fairly unrelenting examples of in your face power pop/rock but a welcome change of gear, and use of dynamics, then appears in the shape of 'Wild & Lonely (Fingers Crossed).'
Another song with a strong chorus, 'Wild & Lonely' is further evidence that this is a very tight band.
'Trading Hearts' is another fine example of the band’s ability to include dynamics within the Twister guitar & vocal hooks template, while 'Call to Arms' is just that, a melodically power-punky "What Are You Waiting For!" declaration of intent.
'Mystery' then drops the pace to create its own rhythmic, piano accompanied contemporary pop atmosphere. As such it acts as not just lighter relief from the breakneck speed of what has gone before, but stands tall as one of the best songs on the album.
The melodic power-pop of 'Feeding Frenzy,' complete with obligatory (or cringe worthy, depending on point of sing-a-longa view) "Oh-oh! Oh-oh!" interjections, soon settles back in to default Twister Tempo but far better, and another album standout, is 'Monroe,' with its intro of chorused guitars and strong melody line.
(There’s also more than a bit of a Kings of Leon influence on the latter).
'Fist Fight By the Waterside' opens with the promise of a variation before settling into the now familiar tempo.
However it’s not a bad song and one that benefits from another good chorus and some strong riffing,
Punchy closer '64 White Lies' does offer variation (in terms of the rhythm parts in the verse sections) and isn’t delivered in straight 4/4 until the chorus. As such it’s another winner.
The band clearly wanted to make an impression with their first album – and on many of the tracks they most certainly do – but there are also instances where unbridled enthusiasm tips over into uncontrolled bombast.
Such criticisms aside Cursed & Corrected, to paraphrase from Stevie Stokes’ comments, does indeed set the precedent of what Twister want to achieve.
And given what has been delivered on the debut album there’s every chance the band will go on to reach their goals.
Nelson McFarlane
FabricationsHQ
They certainly announce themselves in highly impacting fashion on 'Save Us Yourself,' which segues from the short, introductory instrumental 'We Are the Cursed & Corrected.'
An uplifting, melodically rocking fist-pumper of a song with a great guitar hook and strong chorus, 'Save Us Yourself' declares in emphatic, heavy power-pop terms what Twister – Stevie Stokes (vocals, guitars), Jake Grimes (guitars/ back. vox), Ryan Lee (bass, back. vox), Jack Corbett (drums, back. vox) – are all about.
Following number 'Young & Affected' inhabits punky power-pop territory reminiscent of Green Day via the Only Ones; another strong hook validates the credentials of the band with an eye on the commercial pop-rock market.
After an atmospheric start 'Natural Survivor' continues on a similar theme and tempo along with a further demonstration of the band’s ability to deliver a strong chorus (the vocals are delivered in an uncompromising but melodic manner in the opening salvo of songs).
The rhythm section also turn in a tight and clever supporting role in this number.
'Trees' sounds like a strange hybrid of (sadly under-rated) Hoobastank and Brit-Pop, but it’s the strong showing on guitar and hook-chorus that truly carries this song.
The opening quartet are fairly unrelenting examples of in your face power pop/rock but a welcome change of gear, and use of dynamics, then appears in the shape of 'Wild & Lonely (Fingers Crossed).'
Another song with a strong chorus, 'Wild & Lonely' is further evidence that this is a very tight band.
'Trading Hearts' is another fine example of the band’s ability to include dynamics within the Twister guitar & vocal hooks template, while 'Call to Arms' is just that, a melodically power-punky "What Are You Waiting For!" declaration of intent.
'Mystery' then drops the pace to create its own rhythmic, piano accompanied contemporary pop atmosphere. As such it acts as not just lighter relief from the breakneck speed of what has gone before, but stands tall as one of the best songs on the album.
The melodic power-pop of 'Feeding Frenzy,' complete with obligatory (or cringe worthy, depending on point of sing-a-longa view) "Oh-oh! Oh-oh!" interjections, soon settles back in to default Twister Tempo but far better, and another album standout, is 'Monroe,' with its intro of chorused guitars and strong melody line.
(There’s also more than a bit of a Kings of Leon influence on the latter).
'Fist Fight By the Waterside' opens with the promise of a variation before settling into the now familiar tempo.
However it’s not a bad song and one that benefits from another good chorus and some strong riffing,
Punchy closer '64 White Lies' does offer variation (in terms of the rhythm parts in the verse sections) and isn’t delivered in straight 4/4 until the chorus. As such it’s another winner.
The band clearly wanted to make an impression with their first album – and on many of the tracks they most certainly do – but there are also instances where unbridled enthusiasm tips over into uncontrolled bombast.
Such criticisms aside Cursed & Corrected, to paraphrase from Stevie Stokes’ comments, does indeed set the precedent of what Twister want to achieve.
And given what has been delivered on the debut album there’s every chance the band will go on to reach their goals.
Nelson McFarlane
FabricationsHQ
Geoff Tyson – Drinks With Infinity
Even with an impressive musical CV these last 25 years acclaimed guitarist Geoff Tyson is not (yet) a household name in the notable ranks of rock guitarists.
But then Geoff Tyson’s last quarter of a century has been an ever-shifting and highly interesting set of travels that include recording and touring with T-Ride (songs from the band’s album featured in various movies and television shows) and appearing on Snake River Conspiracy’s debut album (subsequently touring with Monster Magnet and Queens of the Stone Age).
In 2003 Tyson formed Stimulator with vocalist Susan Hyatt.
The band later toured world-wide with Duran Duran and The Go-Go's (they also featured on the large-scale travelling US musical festival Vans Warped Tour).
But at the heart of the musician Geoff Tyson lies some seriously impressive instrumental six-string prowess and equally impressive song arrangements, all of which make themselves heard on Drinks With Infinity.
On first listen any similarities with, or "that really sounds like" references to Joe Satriani wouldn’t just be forgiven, they would, on a few of the tracks, be right on the stylistic money.
But there’s good musical company reason for that – at the age of 13 Geoff Tyson studied guitar with Joe Satriani and continued to do so of two and half years.
Further proof of Geoff Tyson’s ability to impress beyond a high technical proficiency is that Tyson is one of two guitarists Joe Satriani says have "graduated" from his lessons – the other is a gentleman by the name of Steve Vai.
Given Joe Satriani was both a "mentor and inspiration" to Geoff Tyson, it’s no surprise there are tracks that clearly echo Satriani – the exuberant 'Six Weeks of Tina,' which opens the album, is a second cousin to 'Satch Boogie;' similarly Satriani-esque are the sonic soundscapes that flit across the rhythmic groove of 'Shag.'
But as you delve deeper (Drinks With Infinity is an album that requires multiple plays to catch all the tonal nuances and subtle sonic variations) you start to hear not the Satriani influences but the player that is Geoff Tyson, prevalent on tracks such as the vibrant and melodically charged 'Monkey Love' and the sound-shifting rock-jazz freneticism of 'Freckle.'
Part of that Geoff Tyson sound comes from the fact the musician experimented with a number of different guitar brands and a variety of pickups, necks, and wood types before deciding on a hybrid that is less of a sleek, go faster shredding vehicle as a custom job that allows travel on a number of different musical roads.
Prime examples are the slower and contemplative 'Like Life is Set in Stone,' the bass rumbling guitar call and answer of 'Bark' and the dreamier grooves of 'Are You With Me?' (think Hank Marvin in rock-fusion land).
However even with a wide and impacting selection of styles from rock and electro-pop to the more ambient and synth-sheened, tied together through excellent percussive work from Czech drummer Eduard Štěpánek and Mackenzie Hine (all other instruments are played by Geoff Tyson) the self-produced Drinks With Infinity is not perfect (Tyson admits to difficulty in playing his hybrid six-string weapon of choice in places; such challenges however led to some interesting sounds and techniques).
But as a starting point to what might follow, should Geoff Tyson decide to continue on this musical path, it’s an accomplished musical aperitif in the company of an infinity of possibilities.
Ross Muir
FabricationsHQ
But then Geoff Tyson’s last quarter of a century has been an ever-shifting and highly interesting set of travels that include recording and touring with T-Ride (songs from the band’s album featured in various movies and television shows) and appearing on Snake River Conspiracy’s debut album (subsequently touring with Monster Magnet and Queens of the Stone Age).
In 2003 Tyson formed Stimulator with vocalist Susan Hyatt.
The band later toured world-wide with Duran Duran and The Go-Go's (they also featured on the large-scale travelling US musical festival Vans Warped Tour).
But at the heart of the musician Geoff Tyson lies some seriously impressive instrumental six-string prowess and equally impressive song arrangements, all of which make themselves heard on Drinks With Infinity.
On first listen any similarities with, or "that really sounds like" references to Joe Satriani wouldn’t just be forgiven, they would, on a few of the tracks, be right on the stylistic money.
But there’s good musical company reason for that – at the age of 13 Geoff Tyson studied guitar with Joe Satriani and continued to do so of two and half years.
Further proof of Geoff Tyson’s ability to impress beyond a high technical proficiency is that Tyson is one of two guitarists Joe Satriani says have "graduated" from his lessons – the other is a gentleman by the name of Steve Vai.
Given Joe Satriani was both a "mentor and inspiration" to Geoff Tyson, it’s no surprise there are tracks that clearly echo Satriani – the exuberant 'Six Weeks of Tina,' which opens the album, is a second cousin to 'Satch Boogie;' similarly Satriani-esque are the sonic soundscapes that flit across the rhythmic groove of 'Shag.'
But as you delve deeper (Drinks With Infinity is an album that requires multiple plays to catch all the tonal nuances and subtle sonic variations) you start to hear not the Satriani influences but the player that is Geoff Tyson, prevalent on tracks such as the vibrant and melodically charged 'Monkey Love' and the sound-shifting rock-jazz freneticism of 'Freckle.'
Part of that Geoff Tyson sound comes from the fact the musician experimented with a number of different guitar brands and a variety of pickups, necks, and wood types before deciding on a hybrid that is less of a sleek, go faster shredding vehicle as a custom job that allows travel on a number of different musical roads.
Prime examples are the slower and contemplative 'Like Life is Set in Stone,' the bass rumbling guitar call and answer of 'Bark' and the dreamier grooves of 'Are You With Me?' (think Hank Marvin in rock-fusion land).
However even with a wide and impacting selection of styles from rock and electro-pop to the more ambient and synth-sheened, tied together through excellent percussive work from Czech drummer Eduard Štěpánek and Mackenzie Hine (all other instruments are played by Geoff Tyson) the self-produced Drinks With Infinity is not perfect (Tyson admits to difficulty in playing his hybrid six-string weapon of choice in places; such challenges however led to some interesting sounds and techniques).
But as a starting point to what might follow, should Geoff Tyson decide to continue on this musical path, it’s an accomplished musical aperitif in the company of an infinity of possibilities.
Ross Muir
FabricationsHQ
Vambo – Vambo Deluxe
For a certain generation, if you said "a band called Vambo" the automatic assumption would be a Sensational Alex Harvey Band tribute act.
However, although this London based rock quartet certainly take some inspiration from 70s rock their moniker is where any SAHB associations ends.
Their more immediate and attention grabbing impact comes from guitarist Pete Lance and vocalist Jack Stiles, leading a band who merge classic, harmony led rock with great riffage.
Opening numbers 'Now You See Me' and 'Why, Why, Why' are classic rock influenced cases in point, with intricate vocal harmonies and clever riffing reminiscent of Extreme, The Sweet and Queen all in one package ('Why, Why, Why' may well be the best song the Andy Scott fronted Sweet never did).
'Cry Woman,' a 70s inflected rock / funk number with a catchy chorus, features some nice retro production (including some phasing on the pre chorus) while 'We’re Not the Same' is a menacing stomper that features a great vocal performance and riffs aplenty.
The contrasting 'Dancing With the Devil' incorporates a piano motif that, along with the soulful vocal and squalling guitar, manages to remind of both Free and 70s era Alice Cooper (a neat trick in itself).
The band also turn in a very good acoustic version of the song as one of five bonus tracks to feature on this Deluxe debut album release.
'World of Misery' thankfully doesn’t live up to the title (strong chorus, solid structure and good riffery) while 'Down Little Mama' is a mid-tempo rocker (with more stellar guitar work) that seems to be a forte of the band.
It’s worth adding here that whilst Messrs Lance and Stiles are the undoubted features of the band, the rhythm section of James Scott and Steve Price provide a very solid backbone.
'Running in Circles' unfortunately does live up to its title by, unfortunately, going nowhere.
However considering the quality of the preceding numbers and the fact you get sixteen tracks across an hour of music on Vambo Deluxe it’s a forgivable aberration, particularly as redemption soon arrives in the shape of 'Camouflage.'
Further evidence that Pete Lance has heard of Nuno Bettencourt, the Vambo guitarist delivers a bravura performance on 'Camouflage' as well as a very impressive double-tracked solo.
Having dismissed any SAHB associations the band then put on a cheeky Alex Harvey grin by including a number entitled 'Vambo Roolz.'
Whether a calling card of sorts or nod to SAHB (or both) the down-tempo, sleazy-blues number doesn’t quite come off whereas 'Fast Car,' which motors along (sorry) on every rock and roll driving cliché in the book, works because it is just that – a fun, accessible and none-too-serious rock and roll driving cliché.
'Paradise,' which is highly reminiscent of Rainbow at their riffiest, holds the fast-paced attention but following number, 'Mistaken Identity,' doesn’t, being too much of a rock re-tread.
'Total Jeopardy' however, with its strong chorus (and yet another great guitar solo), is a rockin’ improvement, only to be bettered at album’s end by the inclusion of a storming live version of Deep Purple’s 'Burn.'
This is a promising debut from a promising band that wear their influences on their collective sleeve while looking to expand the genre.
They do need to drop the rock pastiche and work on their lyrics to avoid wandering down Unintentional Comedy Street (take a bow, The Darkness) but there is absolutely no question that Vambo could yet rool, OK?
Nelson McFarlane
FabricationsHQ
However, although this London based rock quartet certainly take some inspiration from 70s rock their moniker is where any SAHB associations ends.
Their more immediate and attention grabbing impact comes from guitarist Pete Lance and vocalist Jack Stiles, leading a band who merge classic, harmony led rock with great riffage.
Opening numbers 'Now You See Me' and 'Why, Why, Why' are classic rock influenced cases in point, with intricate vocal harmonies and clever riffing reminiscent of Extreme, The Sweet and Queen all in one package ('Why, Why, Why' may well be the best song the Andy Scott fronted Sweet never did).
'Cry Woman,' a 70s inflected rock / funk number with a catchy chorus, features some nice retro production (including some phasing on the pre chorus) while 'We’re Not the Same' is a menacing stomper that features a great vocal performance and riffs aplenty.
The contrasting 'Dancing With the Devil' incorporates a piano motif that, along with the soulful vocal and squalling guitar, manages to remind of both Free and 70s era Alice Cooper (a neat trick in itself).
The band also turn in a very good acoustic version of the song as one of five bonus tracks to feature on this Deluxe debut album release.
'World of Misery' thankfully doesn’t live up to the title (strong chorus, solid structure and good riffery) while 'Down Little Mama' is a mid-tempo rocker (with more stellar guitar work) that seems to be a forte of the band.
It’s worth adding here that whilst Messrs Lance and Stiles are the undoubted features of the band, the rhythm section of James Scott and Steve Price provide a very solid backbone.
'Running in Circles' unfortunately does live up to its title by, unfortunately, going nowhere.
However considering the quality of the preceding numbers and the fact you get sixteen tracks across an hour of music on Vambo Deluxe it’s a forgivable aberration, particularly as redemption soon arrives in the shape of 'Camouflage.'
Further evidence that Pete Lance has heard of Nuno Bettencourt, the Vambo guitarist delivers a bravura performance on 'Camouflage' as well as a very impressive double-tracked solo.
Having dismissed any SAHB associations the band then put on a cheeky Alex Harvey grin by including a number entitled 'Vambo Roolz.'
Whether a calling card of sorts or nod to SAHB (or both) the down-tempo, sleazy-blues number doesn’t quite come off whereas 'Fast Car,' which motors along (sorry) on every rock and roll driving cliché in the book, works because it is just that – a fun, accessible and none-too-serious rock and roll driving cliché.
'Paradise,' which is highly reminiscent of Rainbow at their riffiest, holds the fast-paced attention but following number, 'Mistaken Identity,' doesn’t, being too much of a rock re-tread.
'Total Jeopardy' however, with its strong chorus (and yet another great guitar solo), is a rockin’ improvement, only to be bettered at album’s end by the inclusion of a storming live version of Deep Purple’s 'Burn.'
This is a promising debut from a promising band that wear their influences on their collective sleeve while looking to expand the genre.
They do need to drop the rock pastiche and work on their lyrics to avoid wandering down Unintentional Comedy Street (take a bow, The Darkness) but there is absolutely no question that Vambo could yet rool, OK?
Nelson McFarlane
FabricationsHQ
Vanishing Point – Dead Elysium
There was heightened anticipation within the ranks of Vanishing Point fans and those familiar with the Melbourne based, melodic prog metal quintet – front man Silvio Massaro, guitarists Chris Porcianko & James Maier, new rhythm section Gaston Chin (bass) and Damien Hall (drums) – for the release of Dead Elysium.
And with good reason – it’s been six years since last studio offering, the critically acclaimed and best Vanishing Point album to to date, Distant is the Sun.
Disappointing then to have to report that Dead Elysium, the band's sixth studio album, doesn’t match that anticipation.
It’s not a bad album, far from it, but it’s a tale of two halves of the same genre (the outstanding and the derivative), coupled with that lengthy intervening period, the line-up changes (of which there have been a fair few across their career) and, as confirmed by Chris Porcianko in pre-release press, some obstacles to face.
There’s also the issue of the genre itself and the fact that fantasy/ conceptual lyricism, heavy guitar riffage, double-time thunder drums, sub-operatic vocals and symphonic keyboards can be viewed, by those who deride the genre, as nothing more than Andrew Lloyd Weber with a Marshall stack.
Vanishing Point certainly avoid the first hurdle – the lyrics here are themed around the state of world affairs and striving for positive change, which is to be applauded, but for every excellent number there’s another that struggles to lift itself above the prog/ power metal pack.
The album starts strongly via the seven minute title track, where thick guitar riffs sit over an atmospheric piano and keyboard backing before the song kicks in to life, led by Silvio Massaro’s powerful but not over-bearing vocal and the occasional use of the Maiden gallop.
Following number 'Count Your Days' features a killer riff with expert palm-muted sections and a memorable and melodic, Euro-rock chorus.
Guitarists Chris Porcianko and James Maier are to the fore on this number, contributing tasteful soloing that is not, thankfully, driven by pure technique.
'To the Wolves' opens with Silvio Massaro sounding a little Coverdale-esque before the song returns to the driving rhythm of the first two numbers; the melodic change-ups do however give the number an epic feel.
The mid-tempo and atmospheric 'Salvus' doesn’t just provide a welcome diversion from the galloping rhythms; it’s soaring, melodic sing-a-long chorus also makes for one of the best songs on the album.
The first half Dead Elysium undoubtedly benefits from this variety of approach but the weaknesses start to show soon thereafter.
'The Fall' and 'Recreate the Impossible' come across more as symphonic metal template re-treads and while the album's other seven minute number, 'Free,' is a return to better song form (a weighty, progressive metal offering with some well executed changes of pace) it suffers from over-use of the rapid-fire, double bass drum.
A similar percussive fate afflicts the fast-paced 'Shadow World' and when the same speed drumming technique gets employed on following number, the overly intense 'The Healing,' it’s become not predictable but, frankly, wearing.
The band redeem themselves on album closer 'The Ocean,' another heavyweight number featuring a killer riff in tandem with symphonic keys and a big voiced chorus.
Dead Elysium would have made an excellent 6 track mini album or extended EP (with an average song length of six minutes you would still have got your money's worth); however six years on from Distant is the Sun the pressure was no doubt on Vanishing Point to deliver a full album’s worth of material.
But, given the trials, tribulations and length of time to get back in the studio saddle, Dead Elysium is hopefully the stepping-stone for a band on the musical road to a full recovery.
Nelson McFarlane
FabricationsHQ
And with good reason – it’s been six years since last studio offering, the critically acclaimed and best Vanishing Point album to to date, Distant is the Sun.
Disappointing then to have to report that Dead Elysium, the band's sixth studio album, doesn’t match that anticipation.
It’s not a bad album, far from it, but it’s a tale of two halves of the same genre (the outstanding and the derivative), coupled with that lengthy intervening period, the line-up changes (of which there have been a fair few across their career) and, as confirmed by Chris Porcianko in pre-release press, some obstacles to face.
There’s also the issue of the genre itself and the fact that fantasy/ conceptual lyricism, heavy guitar riffage, double-time thunder drums, sub-operatic vocals and symphonic keyboards can be viewed, by those who deride the genre, as nothing more than Andrew Lloyd Weber with a Marshall stack.
Vanishing Point certainly avoid the first hurdle – the lyrics here are themed around the state of world affairs and striving for positive change, which is to be applauded, but for every excellent number there’s another that struggles to lift itself above the prog/ power metal pack.
The album starts strongly via the seven minute title track, where thick guitar riffs sit over an atmospheric piano and keyboard backing before the song kicks in to life, led by Silvio Massaro’s powerful but not over-bearing vocal and the occasional use of the Maiden gallop.
Following number 'Count Your Days' features a killer riff with expert palm-muted sections and a memorable and melodic, Euro-rock chorus.
Guitarists Chris Porcianko and James Maier are to the fore on this number, contributing tasteful soloing that is not, thankfully, driven by pure technique.
'To the Wolves' opens with Silvio Massaro sounding a little Coverdale-esque before the song returns to the driving rhythm of the first two numbers; the melodic change-ups do however give the number an epic feel.
The mid-tempo and atmospheric 'Salvus' doesn’t just provide a welcome diversion from the galloping rhythms; it’s soaring, melodic sing-a-long chorus also makes for one of the best songs on the album.
The first half Dead Elysium undoubtedly benefits from this variety of approach but the weaknesses start to show soon thereafter.
'The Fall' and 'Recreate the Impossible' come across more as symphonic metal template re-treads and while the album's other seven minute number, 'Free,' is a return to better song form (a weighty, progressive metal offering with some well executed changes of pace) it suffers from over-use of the rapid-fire, double bass drum.
A similar percussive fate afflicts the fast-paced 'Shadow World' and when the same speed drumming technique gets employed on following number, the overly intense 'The Healing,' it’s become not predictable but, frankly, wearing.
The band redeem themselves on album closer 'The Ocean,' another heavyweight number featuring a killer riff in tandem with symphonic keys and a big voiced chorus.
Dead Elysium would have made an excellent 6 track mini album or extended EP (with an average song length of six minutes you would still have got your money's worth); however six years on from Distant is the Sun the pressure was no doubt on Vanishing Point to deliver a full album’s worth of material.
But, given the trials, tribulations and length of time to get back in the studio saddle, Dead Elysium is hopefully the stepping-stone for a band on the musical road to a full recovery.
Nelson McFarlane
FabricationsHQ
Various Artists - Songs Of Isolation Volumes 1 & 2
Songs Of Isolation (Volume 1) is, as the album title and indeed the cover, suggests, a 17 track compilation of various artists writing, recording and delivering tunes during the Covid-19 pandemic lockdown.
The catalyst for the compilation came from a fairly innocuous little ditty dreamt up by musician Adam Norsworthy (The Mustangs, Milk Men, solo).
With not much more than an acoustic backing track and the nub of an idea, Norsworthy sent said track out to a number of musician friends to see what they could add.
The results were 'Isolation Blues,' a fun little song (with lyrics and lead vocal from Jimi Anderson) that caught the attention of the social media/ blues music community.
From such a little acorn (via a call to the UK blues and roots community from Crawdaddy Club promoter Mike Rivers, Adam Norsworthy and Mark Ede of BiGiAM) grew the well-formed and enjoyable compilation with a good cause (all proceeds from sales go to the NHS Charity +Heroes).
The ZZ Top meets lockdown train rattling down the tracks rhythm of '2020' by The Della Grants makes for a pacey and punchy opening before Ash Wilson brings atmospheric contrast via the Indie-pop shaped 'Covered Hands' (a song he should seriously consider revisiting when he gets around to following up his excellent but criminally under-valued 2017 solo debut, Broken Machine).
Georgia Van Etten then brings some finger clicking soul-pop (and a lovely lilting vocal) to proceedings via 'Lockdown With Love' before Adam Norsworthy steps up to the mic with the singer-songwriter pop-rock charm of 'Quiet Town.'
That opening quartet highlight the lockdown lyricism commonality in fine style but the strength of the album, and what keeps it interesting beyond its recorded in isolation theme, is the diversity of musical styles.
Indeed songs that would be classified as more traditional sounding blues are in the minority, with the genre better represented by bluesy hued numbers such as Peter Harris’s acoustic offering 'Self Isolatin’,' the harmonica and acoustic stomp of Grange McKenna’s 'Paranoia Blues' and the darker, rumba styled 'Gonna Need Some Water' by Marcus Lazarus (which also features on his new album How Low Can You Go?).
Other highlights include the airy and lyrically positive 'When This is Over' from Rick Cassman and Sonja Allen’s near eight-minute electric euro-folk blues 'What’s Right Or What’s Wrong' (with a bigger lyrical message than just the Covid-19 pandemic).
Closing with the song that started it all, 'Isolation Blues' (attributed to The Surreal Lockdown Experience), Songs Of Isolation is a nice little album in its own beyond lockdown right – to the degree that a second volume, with artists queuing up to contribute, was in the works almost immediately after what has since become 'Volume 1' was picking up recognition and well-deserved sales...
The catalyst for the compilation came from a fairly innocuous little ditty dreamt up by musician Adam Norsworthy (The Mustangs, Milk Men, solo).
With not much more than an acoustic backing track and the nub of an idea, Norsworthy sent said track out to a number of musician friends to see what they could add.
The results were 'Isolation Blues,' a fun little song (with lyrics and lead vocal from Jimi Anderson) that caught the attention of the social media/ blues music community.
From such a little acorn (via a call to the UK blues and roots community from Crawdaddy Club promoter Mike Rivers, Adam Norsworthy and Mark Ede of BiGiAM) grew the well-formed and enjoyable compilation with a good cause (all proceeds from sales go to the NHS Charity +Heroes).
The ZZ Top meets lockdown train rattling down the tracks rhythm of '2020' by The Della Grants makes for a pacey and punchy opening before Ash Wilson brings atmospheric contrast via the Indie-pop shaped 'Covered Hands' (a song he should seriously consider revisiting when he gets around to following up his excellent but criminally under-valued 2017 solo debut, Broken Machine).
Georgia Van Etten then brings some finger clicking soul-pop (and a lovely lilting vocal) to proceedings via 'Lockdown With Love' before Adam Norsworthy steps up to the mic with the singer-songwriter pop-rock charm of 'Quiet Town.'
That opening quartet highlight the lockdown lyricism commonality in fine style but the strength of the album, and what keeps it interesting beyond its recorded in isolation theme, is the diversity of musical styles.
Indeed songs that would be classified as more traditional sounding blues are in the minority, with the genre better represented by bluesy hued numbers such as Peter Harris’s acoustic offering 'Self Isolatin’,' the harmonica and acoustic stomp of Grange McKenna’s 'Paranoia Blues' and the darker, rumba styled 'Gonna Need Some Water' by Marcus Lazarus (which also features on his new album How Low Can You Go?).
Other highlights include the airy and lyrically positive 'When This is Over' from Rick Cassman and Sonja Allen’s near eight-minute electric euro-folk blues 'What’s Right Or What’s Wrong' (with a bigger lyrical message than just the Covid-19 pandemic).
Closing with the song that started it all, 'Isolation Blues' (attributed to The Surreal Lockdown Experience), Songs Of Isolation is a nice little album in its own beyond lockdown right – to the degree that a second volume, with artists queuing up to contribute, was in the works almost immediately after what has since become 'Volume 1' was picking up recognition and well-deserved sales...
The second Songs of Isolation instalment opens, fittingly, with 'Better Days Ahead' by James Sayer (in the company of singer Michelle John); the piano and finger-clicking number (capturing the gospel tinged vibe and better times coming positivity of ‘People Get Ready') leads off a 16 song collection of tracks that predominately feature the singer-songwriter or gentler, softer side of a given artist.
While that makes for a more stripped back album than its predecessor it does capture the reflective and, yes, isolated, mood of 2020 while carrying an uplifting, at times upbeat and even defiant/ celebratory nod to better times coming as typified by following number, a piano, vocal and saxophone arrangement of Sam Cooke’s classic 'A Change is Gonna Come' from Carter, Vigdor & Aries.
As with the first album Adam Norsworthy makes an appearance (given he was the man who sowed the seeds of these Isolation collections it’s a deserved call-back), this time with acoustic guitar in hands for a stripped back version of the delicate 'Quiet Town' (again, lyrically fitting for the 2020 Lockdown/s).
Complementing and following 'Quiet Town' is the acoustic love-song charm of 'Missing You' from Mark Butcher.
That the first album made such an impact as to guarantee a fair few name artists would be queuing up to charitably contribute a song to this sequel is evident through the inclusion of the likes of Rumer (her gorgeous take of Kathy Mattea’s 'Where’ve You Been?'), Medicine Head (the bluesy picking and harmonica wails of 'Who’s Having Fun?'), Bill Wyman’s Rhythm Kings (a cover of 'Got Love If You Want It') and Kiki Dee in the acoustic guitar company of Carmelo Luggeri for their own composition, the bluesy 'Sweeter Rain.'
Given the softer nature of Volume 2 it’s also fitting that two of the most impressive and attractive voices in British soul/ roots blues, Elles Bailey and Jo Harman, are present.
Here the former’s smoky voice features on a stripped back version of the Rival Son’s 'Jordan' while the latter’s gospel-soul voice graces a piano-and-vocal arrangement of James Maddock’s 'Too Many Boxes.' (Maddock himself appears on the album with another of his originals, 'Better On My Own').
The final word however doesn’t go to any of the contributing artists but one of the team who helped put the Songs of Isolation project together…
Around the time Volume 2 was being completed and prepared for issue, Music Promoter and Crawdaddy Club custodian Mike Rivers took quite unwell (not through Covid-19 but equally concerning hospitalisation).
At one point Mike was very seriously ill but through the tremendous care of the NHS he is now recovering.
That, alone, should be reason enough to help our NHS heroes and Healthcare Workers while in the musical company of a lovely laid back, well-crafted, best of charitable intentions album.
That's a win-win every isolated day of the week.
Ross Muir
FabricationsHQ
Limited numbers of Songs of Isolation Volumes 1 and 2 are still available.
You can order & purchase here: https://www.songsofisolation.com/shop
The Healthcare Workers' Foundation (formerly + Heroes) charity: https://healthcareworkersfoundation.org/
While that makes for a more stripped back album than its predecessor it does capture the reflective and, yes, isolated, mood of 2020 while carrying an uplifting, at times upbeat and even defiant/ celebratory nod to better times coming as typified by following number, a piano, vocal and saxophone arrangement of Sam Cooke’s classic 'A Change is Gonna Come' from Carter, Vigdor & Aries.
As with the first album Adam Norsworthy makes an appearance (given he was the man who sowed the seeds of these Isolation collections it’s a deserved call-back), this time with acoustic guitar in hands for a stripped back version of the delicate 'Quiet Town' (again, lyrically fitting for the 2020 Lockdown/s).
Complementing and following 'Quiet Town' is the acoustic love-song charm of 'Missing You' from Mark Butcher.
That the first album made such an impact as to guarantee a fair few name artists would be queuing up to charitably contribute a song to this sequel is evident through the inclusion of the likes of Rumer (her gorgeous take of Kathy Mattea’s 'Where’ve You Been?'), Medicine Head (the bluesy picking and harmonica wails of 'Who’s Having Fun?'), Bill Wyman’s Rhythm Kings (a cover of 'Got Love If You Want It') and Kiki Dee in the acoustic guitar company of Carmelo Luggeri for their own composition, the bluesy 'Sweeter Rain.'
Given the softer nature of Volume 2 it’s also fitting that two of the most impressive and attractive voices in British soul/ roots blues, Elles Bailey and Jo Harman, are present.
Here the former’s smoky voice features on a stripped back version of the Rival Son’s 'Jordan' while the latter’s gospel-soul voice graces a piano-and-vocal arrangement of James Maddock’s 'Too Many Boxes.' (Maddock himself appears on the album with another of his originals, 'Better On My Own').
The final word however doesn’t go to any of the contributing artists but one of the team who helped put the Songs of Isolation project together…
Around the time Volume 2 was being completed and prepared for issue, Music Promoter and Crawdaddy Club custodian Mike Rivers took quite unwell (not through Covid-19 but equally concerning hospitalisation).
At one point Mike was very seriously ill but through the tremendous care of the NHS he is now recovering.
That, alone, should be reason enough to help our NHS heroes and Healthcare Workers while in the musical company of a lovely laid back, well-crafted, best of charitable intentions album.
That's a win-win every isolated day of the week.
Ross Muir
FabricationsHQ
Limited numbers of Songs of Isolation Volumes 1 and 2 are still available.
You can order & purchase here: https://www.songsofisolation.com/shop
The Healthcare Workers' Foundation (formerly + Heroes) charity: https://healthcareworkersfoundation.org/
VEGA – Grit Your Teeth
UK melodic rockers VEGA made mention in pre-release press for Grit Your Teeth that they, perhaps selfishly, took some risks on studio album number six.
For "risks" read Nick Workman (lead vocals), Marcus Thurston & Mikey Kew (guitars), Tom Martin (bass), James Martin (keyboards) and Martin Hutchison (drums) coming up with something a little different and much edgier, yet managing to remain upbeat in the face of personal or darker lyricism.
In short, Grit Your Teeth is an album you can’t simply label as hard AOR because those risks, along with a more modern sound (courtesy of a metal-edged sonic underbelly from brothers Joe and Sam Graves, who produced the album with VEGA) have led to a band firing pretty lofty salvos of highly charged, guitar sharp, keyboard textured modern rock.
Those salvos are fired in quick and purposeful one-two fashion with opening brace 'Blind' and '(I Don’t Need) Perfection.'
The former is a riffin' guitars and big beats up front opener with emphatic "blind leading the blind!" (ain’t that the social media truth) chorus and a feisty little guitar solo.
The latter is a similarly weighty, ‘taking control’ affair but with a bass line backed atmosphere in the verses, "yeah-e-yeah!" interjections and a serious statement of "I don’t need perfection baby, I just need a direction!" intent from Nick Workman.
The melodically charged swagger of the rousing title track is another winner.
'Grit Your Teeth' might carry the usual, fist pumping panache of VEGA but the grittier edge applied to the guitars and the song’s fired up lyricism adds a whole new string to the VEGA bow, as does 'Man on a Mission,' which brings a surprising but welcome blues shaded boogie to VEGA-rock proceedings.
'Don’t Fool Yourself' and 'How We Live' are further top-notch rockin’ affairs.
Both songs carry a melodic euro-rock sound (nor are they far removed from the sort of tracks that would grace a W.E.T. album) with riffing guitars, keyboard textures and those distinct, big voiced and catchy Vega choruses.
As suggested by the latter pairing Grit Your Teeth is not a complete departure for the band – 'Save Me From Myself' (lyrically an observation on the issues of mental health), is quintessential VEGA.
There are also well-crafted songs where the band explore and expand their sound while holding true to those core VEGA moments – the repeated drum motif and atmospheres that set up 'Consequences of Having a Heart' and the band’s slower-paced ‘don’t sweat the small stuff’ song, 'Battles Ain’t a War,' are fine core sound meets creative arrangement cases in point.
Elsewhere 'This One’s For You' rocks like the proverbial (its keyboard splashes and "ah-ah" vocal moments are unmistakably VEGA but the little piano solo is a nice, unexpected touch) while short and sharp album closer 'Done With Me' is another up-tempo, sonically vibrant affair (anyone looking for those almost mandatory "hey! hey! hey!" shouts look, and listen, no further).
No need to Grit Your Teeth here VEGA fans, as you’re far more likely to have grinning faces.
Because by taking those risks and stretching their sonic palette, VEGA have just delivered their best album to date.
Ross Muir
FabricationsHQ
For "risks" read Nick Workman (lead vocals), Marcus Thurston & Mikey Kew (guitars), Tom Martin (bass), James Martin (keyboards) and Martin Hutchison (drums) coming up with something a little different and much edgier, yet managing to remain upbeat in the face of personal or darker lyricism.
In short, Grit Your Teeth is an album you can’t simply label as hard AOR because those risks, along with a more modern sound (courtesy of a metal-edged sonic underbelly from brothers Joe and Sam Graves, who produced the album with VEGA) have led to a band firing pretty lofty salvos of highly charged, guitar sharp, keyboard textured modern rock.
Those salvos are fired in quick and purposeful one-two fashion with opening brace 'Blind' and '(I Don’t Need) Perfection.'
The former is a riffin' guitars and big beats up front opener with emphatic "blind leading the blind!" (ain’t that the social media truth) chorus and a feisty little guitar solo.
The latter is a similarly weighty, ‘taking control’ affair but with a bass line backed atmosphere in the verses, "yeah-e-yeah!" interjections and a serious statement of "I don’t need perfection baby, I just need a direction!" intent from Nick Workman.
The melodically charged swagger of the rousing title track is another winner.
'Grit Your Teeth' might carry the usual, fist pumping panache of VEGA but the grittier edge applied to the guitars and the song’s fired up lyricism adds a whole new string to the VEGA bow, as does 'Man on a Mission,' which brings a surprising but welcome blues shaded boogie to VEGA-rock proceedings.
'Don’t Fool Yourself' and 'How We Live' are further top-notch rockin’ affairs.
Both songs carry a melodic euro-rock sound (nor are they far removed from the sort of tracks that would grace a W.E.T. album) with riffing guitars, keyboard textures and those distinct, big voiced and catchy Vega choruses.
As suggested by the latter pairing Grit Your Teeth is not a complete departure for the band – 'Save Me From Myself' (lyrically an observation on the issues of mental health), is quintessential VEGA.
There are also well-crafted songs where the band explore and expand their sound while holding true to those core VEGA moments – the repeated drum motif and atmospheres that set up 'Consequences of Having a Heart' and the band’s slower-paced ‘don’t sweat the small stuff’ song, 'Battles Ain’t a War,' are fine core sound meets creative arrangement cases in point.
Elsewhere 'This One’s For You' rocks like the proverbial (its keyboard splashes and "ah-ah" vocal moments are unmistakably VEGA but the little piano solo is a nice, unexpected touch) while short and sharp album closer 'Done With Me' is another up-tempo, sonically vibrant affair (anyone looking for those almost mandatory "hey! hey! hey!" shouts look, and listen, no further).
No need to Grit Your Teeth here VEGA fans, as you’re far more likely to have grinning faces.
Because by taking those risks and stretching their sonic palette, VEGA have just delivered their best album to date.
Ross Muir
FabricationsHQ
John Verity – Passion
Passion doesn’t just mark the fiftieth recording and performing year of John Verity as a solo artist (plus a productive 70s period that saw time in Argent, co-founding Phoenix with ex Argent colleagues Jim Rodford & Bob Henrit and an early 80s stint with hard pop rockers Charlie).
The album is also a collective celebration of some of John Verity’s biggest influences across that lengthy career, helping to make Passion his most musically diverse album to date and one of his best ever offerings.
Such diversity however is tempered by John Verity keeping a careful songwriter’s eye and musical ear on ensuring there’s a cohesive feel to this particular Passion work.
Indeed it’s that diverse yet cohesive approach that has helped shape the musical quality and influential width of Passion, an album that eschews any covers this time around (a John Verity trait) for eight, all-new self-penned numbers.
It’s also worth noting the contributions of Liam James Gray (a young drummer with an old-school approach to his craft), keyboardist Jamie Pipe (The Mentulls) and bassists Bob Skeat (Wishbone Ash) & Roger Innis (Blues Caravan). Innis and Skeat both play or tour with the JV Band, depending on musical schedules.
‘Higher’ (telling the tale of a young boy dreaming of success) is a top-notch, melodically rockin’ opening statement and a song that mirrors the musicality of John Verity’s 80s solo career (it also showcases his still strong and impacting upper vocal register to fine effect).
Following number, the pacey rocker ‘Wise Up’ (bolstered by some full bodied keyboard backing from Jamie Pipe), lyrically vents frustration at the apathy shown by so many in regard to what’s going on globally.
Similarly world-framed is six-minute blues ballad ‘Broken Heart,’ which features some beautifully phrased six-string work from a true Tone Hound of the instrument (the subtle nuances of the notes helps shape a lovely and thought-provoking number that could, and perhaps should, have been sub-titled Blues for Mother Earth).
Adding groove to the John Verity blues is ‘Sand in My Pocket,’ a song written about a European trek that offered little in financial reward (the plight of the gigging musician) but plenty of beautiful Adriatic scenery.
The amps are turned back up for some ‘Big Stick’ boogie (keyboardist Jamie Pipe again on call to blues it up) before John Verity’s tribute to Ginger Baker is given the Cream on top treatment via the fittingly titled ‘Red Devil.’
Another music icon, Chuck Berry, is the paid homage to on the Johnny B. Goode inspired rock and roll of ‘Bad Boy.’
Reflective guitar instrumental ‘The Open Road’ (including a lovely little nod to Hank Marvin) rounds out fifty years of musical travels condensed into eight wonderful tracks from an accomplished and respected musician who most certainly still has the Passion.
Ross Muir
FabricationsHQ
The album is also a collective celebration of some of John Verity’s biggest influences across that lengthy career, helping to make Passion his most musically diverse album to date and one of his best ever offerings.
Such diversity however is tempered by John Verity keeping a careful songwriter’s eye and musical ear on ensuring there’s a cohesive feel to this particular Passion work.
Indeed it’s that diverse yet cohesive approach that has helped shape the musical quality and influential width of Passion, an album that eschews any covers this time around (a John Verity trait) for eight, all-new self-penned numbers.
It’s also worth noting the contributions of Liam James Gray (a young drummer with an old-school approach to his craft), keyboardist Jamie Pipe (The Mentulls) and bassists Bob Skeat (Wishbone Ash) & Roger Innis (Blues Caravan). Innis and Skeat both play or tour with the JV Band, depending on musical schedules.
‘Higher’ (telling the tale of a young boy dreaming of success) is a top-notch, melodically rockin’ opening statement and a song that mirrors the musicality of John Verity’s 80s solo career (it also showcases his still strong and impacting upper vocal register to fine effect).
Following number, the pacey rocker ‘Wise Up’ (bolstered by some full bodied keyboard backing from Jamie Pipe), lyrically vents frustration at the apathy shown by so many in regard to what’s going on globally.
Similarly world-framed is six-minute blues ballad ‘Broken Heart,’ which features some beautifully phrased six-string work from a true Tone Hound of the instrument (the subtle nuances of the notes helps shape a lovely and thought-provoking number that could, and perhaps should, have been sub-titled Blues for Mother Earth).
Adding groove to the John Verity blues is ‘Sand in My Pocket,’ a song written about a European trek that offered little in financial reward (the plight of the gigging musician) but plenty of beautiful Adriatic scenery.
The amps are turned back up for some ‘Big Stick’ boogie (keyboardist Jamie Pipe again on call to blues it up) before John Verity’s tribute to Ginger Baker is given the Cream on top treatment via the fittingly titled ‘Red Devil.’
Another music icon, Chuck Berry, is the paid homage to on the Johnny B. Goode inspired rock and roll of ‘Bad Boy.’
Reflective guitar instrumental ‘The Open Road’ (including a lovely little nod to Hank Marvin) rounds out fifty years of musical travels condensed into eight wonderful tracks from an accomplished and respected musician who most certainly still has the Passion.
Ross Muir
FabricationsHQ
The Stevie Watts Organ Trio feat. Alice Armstrong – Mission to the Moon
Stevie Watts doesn’t need any introduction to those that frequent and support the UK & European blues rock circuit, having plied his organ and piano playing trade with a veritable who’s who of that scene, from Ben Poole and Stevie Nimmo to Jo Harman and, more lately, Sari Schorr, to name but four.
He’s also currently an integral part of Danny Bryant’s excellent band.
In short, Stevie Watts knows his way around a bluesy, funky, soulful or rockin’ set of keys as the mood, song style or scene setting solo requires.
All those traits are featured on Mission to the Moon, the debut album from The Stevie Watts Trio (Watts, guitarist Nat Martin, drummer Vinnie Lammi) and guest / featured vocalist Alice Armstrong (if it’s a mission to the moon you have to bring along an Armstrong, right?).
There's another trait worth mentioning, the one that makes Mission to the Moon so band and song solid.
While Stevie Watts may have his name on the cover it’s all about the featured quartet; there’s no showboating or over extended or overblown solos. The groove and 'story' of the songs take lead here, along with Alice Armstrong’s jazz club styled vocal (and some blues cool, intelligent phrasing).
That singer and trio are a perfect fit for each other is highlighted from the get-go on the cool, snappy vibe of opening number 'Camden Starling,' which has a little call and answer from Stevie Watts, Alice Armstrong and Nat Martin toward song end for some additional, jazzified fun.
As delightful an addition to proceedings as Alice Armstrong is The Stevie Watts Trio are featured as just that across three instrumentals.
'Tronjevity' is a funky little affair that could have been born out of the 60s blues clubs while 'Memphis Sky' is a slower, organ led gospel blues with some lovely little melodic remarks from Nat Martin.
The keyboard-stab passages on 'Dave,' along with the controlled freneticism of Vinnie Lammi’s drum work, make for a jazz-tinged piece quite unlike anything else on the album.
The blues credentials of the quartet are on fine show on the lengthiest tracks on the album, 'Just Go' and 'No Good.'
The seven minute 'Just Go' features an initially understated vocal from Alice Armstrong and a short, complementary solo from Nat Martin (less is more is a recurring and welcome theme on Mission to the Moon); all four performers then raise each other’s game and the ever swelling volume.
'No Good' is a spacious, eleven minute organ backed blues ballad featuring another great vocal from Alice Armstrong (and a lovely, blues crying solo from Nat Martin) with a self-critical lyric about failed relationships and the search for that lasting one.
'No Good' is unquestionably the centrepiece of the album but there are plenty of other attractions on offer, including the soul funky 'Honey Baby,' the bubbly, up-tempo groove of 'In My Stride' and the title track, which snaps, jazz crackles and soul-pops the album to a swinging "See ya!" conclusion.
The hope for this particular Mission to the Moon was that The Stevie Watts Trio and Alice Armstrong could, and would, deliver a solid and impressive musical payload.
Mission accomplished.
Ross Muir
FabricationsHQ
He’s also currently an integral part of Danny Bryant’s excellent band.
In short, Stevie Watts knows his way around a bluesy, funky, soulful or rockin’ set of keys as the mood, song style or scene setting solo requires.
All those traits are featured on Mission to the Moon, the debut album from The Stevie Watts Trio (Watts, guitarist Nat Martin, drummer Vinnie Lammi) and guest / featured vocalist Alice Armstrong (if it’s a mission to the moon you have to bring along an Armstrong, right?).
There's another trait worth mentioning, the one that makes Mission to the Moon so band and song solid.
While Stevie Watts may have his name on the cover it’s all about the featured quartet; there’s no showboating or over extended or overblown solos. The groove and 'story' of the songs take lead here, along with Alice Armstrong’s jazz club styled vocal (and some blues cool, intelligent phrasing).
That singer and trio are a perfect fit for each other is highlighted from the get-go on the cool, snappy vibe of opening number 'Camden Starling,' which has a little call and answer from Stevie Watts, Alice Armstrong and Nat Martin toward song end for some additional, jazzified fun.
As delightful an addition to proceedings as Alice Armstrong is The Stevie Watts Trio are featured as just that across three instrumentals.
'Tronjevity' is a funky little affair that could have been born out of the 60s blues clubs while 'Memphis Sky' is a slower, organ led gospel blues with some lovely little melodic remarks from Nat Martin.
The keyboard-stab passages on 'Dave,' along with the controlled freneticism of Vinnie Lammi’s drum work, make for a jazz-tinged piece quite unlike anything else on the album.
The blues credentials of the quartet are on fine show on the lengthiest tracks on the album, 'Just Go' and 'No Good.'
The seven minute 'Just Go' features an initially understated vocal from Alice Armstrong and a short, complementary solo from Nat Martin (less is more is a recurring and welcome theme on Mission to the Moon); all four performers then raise each other’s game and the ever swelling volume.
'No Good' is a spacious, eleven minute organ backed blues ballad featuring another great vocal from Alice Armstrong (and a lovely, blues crying solo from Nat Martin) with a self-critical lyric about failed relationships and the search for that lasting one.
'No Good' is unquestionably the centrepiece of the album but there are plenty of other attractions on offer, including the soul funky 'Honey Baby,' the bubbly, up-tempo groove of 'In My Stride' and the title track, which snaps, jazz crackles and soul-pops the album to a swinging "See ya!" conclusion.
The hope for this particular Mission to the Moon was that The Stevie Watts Trio and Alice Armstrong could, and would, deliver a solid and impressive musical payload.
Mission accomplished.
Ross Muir
FabricationsHQ
When Rivers Meet – We Fly Free
The debut album from UK band When Rivers Meet, featuring husband and wife duo Grace (vocals, mandolin, violin) and Aaron Bond (guitars/ vocals), follows in the blues rock footsteps of earlier EPs The Uprising and Innocence of Youth.
Both EPs garnered some deserved attention through tracks such as the simple but beautifully effective ballad 'Tomorrow' and the harmonies & stomp of 'My Babe Says That He Loves Me.'
On We Fly Free Grace and Aaron Bond are joined by Adam Bowers (producer/ mixer, bass, drums, organ, piano) and Robin G Breeze (bass, organ, piano).
The WRM brand of rock and blues crosses a number of genres including Americana and the swamp-rock vibe of the American Deep South.
There’s also an intentional retro feel to both the song writing and instrumentation; the results are a distinct and confident sounding album that will hit the sweet spot of those partial to the genres mentioned above.
Opening brace 'Did I Break The Law' and 'Bound For Nowhere' feature strong vocals from both the Bonds (Grace Bond, who has a fabulous voice, predominately takes lead) and memorable choruses.
The guitar parts (which include slide and picked styles) propel the numbers along, particularly when switching to the distorted vibe for choruses.
'Walking On The Wire' follows much the same pattern (and another earworm of a chorus) while 'I’d Have Fallen' showcases the gentler side of WRM, with mandolin, violin and acoustic slide guitar parts.
It also features another good vocal blend from the duo.
'Battleground' is a number where it is difficult to avoid the White Stripes comparison; its power and White Stripes styled drive made it the obvious lead-off single choice but the drum figure, with liberal use of the toms, is over-done.
Equally, 'Kissing The Sky' is too by-the-numbers but following track 'Breaker Of Chains,' a slice of atmospheric Americana, is a success because the song builds well, carries a strong dynamic and features a purposeful lead vocal from Aaron Bond.
For all the swampy guitar tones and big beats on display, it’s the occasional moments of contrast that provide the real winners.
'I Will Fight,' with its piano-led introduction and subtle key change, is an album highlight as is the similarly effective 'Bury My Body,' where the harmonies of the duo breathe freely over the acoustic guitar and piano introduction.
The addition of the rhythm section along with some retro-woozy production toward the end of 'Bury My Body' makes this a contender for best song on the album.
'Take Me to the River' is, unfortunately, overly repetitive (and as derivative as the over-used title) but redemption is delivered via the atmospheric and bluesy 'Friend of Mine' and the foot stomping, album closing 'We Fly Free.'
Indeed the title track, a meaty slice of Americana meets swamp-rock, is the calling card of WRM – quieter verses, big chorus and slabs of pounding drums with slide guitar.
With a bit more light and shade (something that is reflected within the aforementioned EPs) the debut album from When Rivers Meet could have been not just a very good one, but a great one.
Given Grace and Aaron Bond’s collective and dovetailing talents however it’s clear they have it in their musical locker to not just Fly Free, but Fly High.
Nelson McFarlane & Ross Muir
FabricationsHQ
Both EPs garnered some deserved attention through tracks such as the simple but beautifully effective ballad 'Tomorrow' and the harmonies & stomp of 'My Babe Says That He Loves Me.'
On We Fly Free Grace and Aaron Bond are joined by Adam Bowers (producer/ mixer, bass, drums, organ, piano) and Robin G Breeze (bass, organ, piano).
The WRM brand of rock and blues crosses a number of genres including Americana and the swamp-rock vibe of the American Deep South.
There’s also an intentional retro feel to both the song writing and instrumentation; the results are a distinct and confident sounding album that will hit the sweet spot of those partial to the genres mentioned above.
Opening brace 'Did I Break The Law' and 'Bound For Nowhere' feature strong vocals from both the Bonds (Grace Bond, who has a fabulous voice, predominately takes lead) and memorable choruses.
The guitar parts (which include slide and picked styles) propel the numbers along, particularly when switching to the distorted vibe for choruses.
'Walking On The Wire' follows much the same pattern (and another earworm of a chorus) while 'I’d Have Fallen' showcases the gentler side of WRM, with mandolin, violin and acoustic slide guitar parts.
It also features another good vocal blend from the duo.
'Battleground' is a number where it is difficult to avoid the White Stripes comparison; its power and White Stripes styled drive made it the obvious lead-off single choice but the drum figure, with liberal use of the toms, is over-done.
Equally, 'Kissing The Sky' is too by-the-numbers but following track 'Breaker Of Chains,' a slice of atmospheric Americana, is a success because the song builds well, carries a strong dynamic and features a purposeful lead vocal from Aaron Bond.
For all the swampy guitar tones and big beats on display, it’s the occasional moments of contrast that provide the real winners.
'I Will Fight,' with its piano-led introduction and subtle key change, is an album highlight as is the similarly effective 'Bury My Body,' where the harmonies of the duo breathe freely over the acoustic guitar and piano introduction.
The addition of the rhythm section along with some retro-woozy production toward the end of 'Bury My Body' makes this a contender for best song on the album.
'Take Me to the River' is, unfortunately, overly repetitive (and as derivative as the over-used title) but redemption is delivered via the atmospheric and bluesy 'Friend of Mine' and the foot stomping, album closing 'We Fly Free.'
Indeed the title track, a meaty slice of Americana meets swamp-rock, is the calling card of WRM – quieter verses, big chorus and slabs of pounding drums with slide guitar.
With a bit more light and shade (something that is reflected within the aforementioned EPs) the debut album from When Rivers Meet could have been not just a very good one, but a great one.
Given Grace and Aaron Bond’s collective and dovetailing talents however it’s clear they have it in their musical locker to not just Fly Free, but Fly High.
Nelson McFarlane & Ross Muir
FabricationsHQ
Rich Young – Nonsense Of The Heart
It’s worth repeating and expanding on something FabricationsHQ made mention of when reviewing a previous Rich Young album, because it’s very much underlined and exclamation pointed on said singer songwriter multi-instrumentalist’s latest solo offering, Nonsense Of The Heart.
Rich Young may have a relatively small piece of the album & gigging pie (but then just how many something-to-say singer songwriter artists are out there under the radar whose only crime is to have bags of talent but no gimmick, hype or massive financial backing) but, just like his rather fitting forename, it’s a rich one in terms of musical fulfilment.
Rich Young is equally comfortable in genres such as folk, pop and rock but there is no question his musical heart and songwriting mind sit, most often, as they do here, in Americana territory, with a sprinkling of country and a dash US coastal pop.
That he’s also in a prolific songwriting vein of form right now is proven by both the quality and width of Nonsense Of The Heart.
Not only is it the equivalent of an old-school double album (18 songs, 72 minutes) it’s also one of Rich Young's finest offerings to date; it successfully delivers both up-tempo/ uplifting musicality and downtempo balladeering, the latter usually sitting within more contemporary arrangements.
Opening number 'A Great Tomorrow' is a mid-tempo Americana rock 'n' soulful roll of a number that could well be the anthem for a 2020 we’d all sooner see the back of ("there’s always gonna be a great tomorrow, there’s always gonna be a brand new day").
Similarly up-tempo (and a whole lotta smile-on-your-face fun) is following number, the country-folk pickin’ rumble of 'Chicken Boy' (with a sharper, finger-pointing lyric than the title suggests).
The other side of Rich Young is catered for through songs such as reverbed piano & vocal ballad 'Heart' (it may not be the strongest song on the album but it carries an honest, vocal charm like no other track) and the downtempo, atmospheric 'Crazies,' featuring David Hartley on pedal steel.
A number of other guest talents grace various tracks on Nonsense Of The Heart, including 'Gramercy Blues,' which benefits from the textures added by "Sci-Fi" Jim Byatt (guitar solo), Louise Stocker (concertina) and Myke Clifford (clarinet).
Clifford also adds forlorn saxophone to the sparse but wholly effective, and reflective, 'Wireless Days' and delightfully flitting passages of flute to the acoustically shaped 'Outsider.'
The fact of the musical matter is every one of the eighteen numbers on Nonsense Of The Heart has something to offer, from the Springsteen Lite of 'Fraud' and harmonica blowin’ Americana-pop of 'Fever Burns (Tarot)' to the more contemporary sounds applied to the rhythmic sway of 'Let Her Go, Let Her Run,' the early-era Waterboys sounding 'This is My Church' and funky vibe applied to album closer 'Soul River,' featuring Jane Edwards on harmony and gospel-accentuated backing vocals
To return to the pie sized analogy, Rich by name, Rich by musical nature.
Pass across another small tasty slice, please.
Ross Muir
FabricationsHQ
Rich Young may have a relatively small piece of the album & gigging pie (but then just how many something-to-say singer songwriter artists are out there under the radar whose only crime is to have bags of talent but no gimmick, hype or massive financial backing) but, just like his rather fitting forename, it’s a rich one in terms of musical fulfilment.
Rich Young is equally comfortable in genres such as folk, pop and rock but there is no question his musical heart and songwriting mind sit, most often, as they do here, in Americana territory, with a sprinkling of country and a dash US coastal pop.
That he’s also in a prolific songwriting vein of form right now is proven by both the quality and width of Nonsense Of The Heart.
Not only is it the equivalent of an old-school double album (18 songs, 72 minutes) it’s also one of Rich Young's finest offerings to date; it successfully delivers both up-tempo/ uplifting musicality and downtempo balladeering, the latter usually sitting within more contemporary arrangements.
Opening number 'A Great Tomorrow' is a mid-tempo Americana rock 'n' soulful roll of a number that could well be the anthem for a 2020 we’d all sooner see the back of ("there’s always gonna be a great tomorrow, there’s always gonna be a brand new day").
Similarly up-tempo (and a whole lotta smile-on-your-face fun) is following number, the country-folk pickin’ rumble of 'Chicken Boy' (with a sharper, finger-pointing lyric than the title suggests).
The other side of Rich Young is catered for through songs such as reverbed piano & vocal ballad 'Heart' (it may not be the strongest song on the album but it carries an honest, vocal charm like no other track) and the downtempo, atmospheric 'Crazies,' featuring David Hartley on pedal steel.
A number of other guest talents grace various tracks on Nonsense Of The Heart, including 'Gramercy Blues,' which benefits from the textures added by "Sci-Fi" Jim Byatt (guitar solo), Louise Stocker (concertina) and Myke Clifford (clarinet).
Clifford also adds forlorn saxophone to the sparse but wholly effective, and reflective, 'Wireless Days' and delightfully flitting passages of flute to the acoustically shaped 'Outsider.'
The fact of the musical matter is every one of the eighteen numbers on Nonsense Of The Heart has something to offer, from the Springsteen Lite of 'Fraud' and harmonica blowin’ Americana-pop of 'Fever Burns (Tarot)' to the more contemporary sounds applied to the rhythmic sway of 'Let Her Go, Let Her Run,' the early-era Waterboys sounding 'This is My Church' and funky vibe applied to album closer 'Soul River,' featuring Jane Edwards on harmony and gospel-accentuated backing vocals
To return to the pie sized analogy, Rich by name, Rich by musical nature.
Pass across another small tasty slice, please.
Ross Muir
FabricationsHQ