Beggars Bliss - Beggars Bliss
On their self-titled debut album Beggars Bliss, hailing from Derby and formed in 2024, have laid their blues driven, classic rock stylings out as a statement of ten tracks intent.
Honing their material with constant gigging across the Midlands these last couple of years, the band – Henry John (lead vocals, guitars), Milly Ayesha (keys, backing vocals), Dan Griffiths (bass, backing vocals), Chris West (drums, backing vocals) – have picked the best of their self-penned repertoire for their debut album, which kicks off with 'I Am I,' a weighty, mid-paced riff driven slice of 70s retro-vibe stomp with a splash of Led Zep.
Building from an ethereal intro, 'I Am I' also sports some clever twists on the main riff towards the end of the song; the results are some welcome creativity within what is a tried and tested rock formula (some effective keys and a short guitar solo ensure the track also carries a modern edge).
'Forbidden Fruit,' with its lyric of sinful temptation, maintains the standard with a rollicking blues rock feel.
Henry John has some great vocal lines (including some half-spoken), Milly Ayesha adds some understated but effective keys contributions, and Dan Griffiths & Chris West provide a rock-solid rhythm section (kudos too for the three-part vocal backing harmonies). A great one-two start.
'Peaches N' Cream,' which lyrically explores glint-in-the-eye obsession, is a rollicking little number.
The downside is it overstays its welcome by having the track title and "give it to me!" lines repeated a few too many times. Sometimes less is more.
Harmonica introduced road number 'Train Song' provides blues rock solid redemption however with its loose, Stonesy arrangement. The latter is reinforced by the "woo hoo!" interjections a la 'Sympathy for the Devil.'
The downtempo 'Dusk 'Till Dawn' traverses the well ploughed furrow of heartbreak and Southern Americana, but the band navigates the territory very well.
Henry John delivers another great vocal performance, supported by backing vocals that fit the vibe of the song. The front man also weighs in with an emotional and lyrical solo that isn’t overplayed.
'I’m On Fire' retains the slow tempo but ups the lyrical heat for this slow-burn blues rocker.
Some tasty lead guitar lines take centre stage before dropping to a Hammond backed verse chorus with more effective backing vocals. The latter add to the song’s gospel-like feel, despite a lyrical content that would be frowned upon by church-going types.
Upbeat rock 'n' roller 'Sunshine' sports an earworm chorus and some nice bar-room piano parts from Milly Ayesha, which add to the song’s good-time feel.
More effective backing vocals (a recurring trait of the album) help elevate the song further.
'Butterfly' opens with heavy riffage before dropping to a more reserved verse and chorus.
With clever use of light & shade, and some Skynyrd/ Hatchett stylings, 'Butterfly' does, indeed, sting like a southern rockin' bee. Good stuff.
'Spiralling' hearkens back to the weight of opener 'I Am I,' but here with a heavier, doom-laden feel (the dissonant riffing at the opening isn’t too far removed from Black Sabbath).
Milly Ayesha and Dan Griffiths are given the opportunity to deliver a vocal verse each, with Ayesha’s higher & cleaner vocal contrasting, yet complementing, Griffiths’ gruffer delivery.
'Rabbit Hole,' which opens with an effective piano intro, has the interesting juxtaposition of lyrical self-doubt and distraction sitting within an uplifting, major key song.
Another great vocal (and some nice lead lines) from Henry John, played against a chorus redolent of Pearl Jam or Stone Temple Pilots, help make this a strong closing statement.
Recorded at RatCat Studios with Natt Webb (The Struts, Alt Blk Era), Beggars Bliss is an impressive and solid sounding debut.
They may not be reinventing the wheel, but what Beggars Bliss do they do well, with both passion and purpose.
Nelson McFarlane & Ross Muir
FabricationsHQ
Honing their material with constant gigging across the Midlands these last couple of years, the band – Henry John (lead vocals, guitars), Milly Ayesha (keys, backing vocals), Dan Griffiths (bass, backing vocals), Chris West (drums, backing vocals) – have picked the best of their self-penned repertoire for their debut album, which kicks off with 'I Am I,' a weighty, mid-paced riff driven slice of 70s retro-vibe stomp with a splash of Led Zep.
Building from an ethereal intro, 'I Am I' also sports some clever twists on the main riff towards the end of the song; the results are some welcome creativity within what is a tried and tested rock formula (some effective keys and a short guitar solo ensure the track also carries a modern edge).
'Forbidden Fruit,' with its lyric of sinful temptation, maintains the standard with a rollicking blues rock feel.
Henry John has some great vocal lines (including some half-spoken), Milly Ayesha adds some understated but effective keys contributions, and Dan Griffiths & Chris West provide a rock-solid rhythm section (kudos too for the three-part vocal backing harmonies). A great one-two start.
'Peaches N' Cream,' which lyrically explores glint-in-the-eye obsession, is a rollicking little number.
The downside is it overstays its welcome by having the track title and "give it to me!" lines repeated a few too many times. Sometimes less is more.
Harmonica introduced road number 'Train Song' provides blues rock solid redemption however with its loose, Stonesy arrangement. The latter is reinforced by the "woo hoo!" interjections a la 'Sympathy for the Devil.'
The downtempo 'Dusk 'Till Dawn' traverses the well ploughed furrow of heartbreak and Southern Americana, but the band navigates the territory very well.
Henry John delivers another great vocal performance, supported by backing vocals that fit the vibe of the song. The front man also weighs in with an emotional and lyrical solo that isn’t overplayed.
'I’m On Fire' retains the slow tempo but ups the lyrical heat for this slow-burn blues rocker.
Some tasty lead guitar lines take centre stage before dropping to a Hammond backed verse chorus with more effective backing vocals. The latter add to the song’s gospel-like feel, despite a lyrical content that would be frowned upon by church-going types.
Upbeat rock 'n' roller 'Sunshine' sports an earworm chorus and some nice bar-room piano parts from Milly Ayesha, which add to the song’s good-time feel.
More effective backing vocals (a recurring trait of the album) help elevate the song further.
'Butterfly' opens with heavy riffage before dropping to a more reserved verse and chorus.
With clever use of light & shade, and some Skynyrd/ Hatchett stylings, 'Butterfly' does, indeed, sting like a southern rockin' bee. Good stuff.
'Spiralling' hearkens back to the weight of opener 'I Am I,' but here with a heavier, doom-laden feel (the dissonant riffing at the opening isn’t too far removed from Black Sabbath).
Milly Ayesha and Dan Griffiths are given the opportunity to deliver a vocal verse each, with Ayesha’s higher & cleaner vocal contrasting, yet complementing, Griffiths’ gruffer delivery.
'Rabbit Hole,' which opens with an effective piano intro, has the interesting juxtaposition of lyrical self-doubt and distraction sitting within an uplifting, major key song.
Another great vocal (and some nice lead lines) from Henry John, played against a chorus redolent of Pearl Jam or Stone Temple Pilots, help make this a strong closing statement.
Recorded at RatCat Studios with Natt Webb (The Struts, Alt Blk Era), Beggars Bliss is an impressive and solid sounding debut.
They may not be reinventing the wheel, but what Beggars Bliss do they do well, with both passion and purpose.
Nelson McFarlane & Ross Muir
FabricationsHQ