Mark Pontin Group – Kaleidoscope
The third album from the Mark Pontin Group couldn’t be better named.
Previous album Textures reflected its title (a textured affair that ranged from gritty amps to 11 blues raunch to the melodically soulful) but here we have a Kaleidoscope of ever-shifting musical colours that continually change shape though a narrative that tells the tale of a man who wakes up to find he’s lost not just the one he loves, but everything else.
As dark as all that sounds Kaleidoscope is a musically uplifting work due, in no small part, to the late 60s/ early 70s soul-blues-funk vibe and feel of the album, which suits its narrative perfectly (even the album cover reflects the musical timeframe within).
The fact that Mark Pontin – a consummate singer (with soulful tendencies) and exemplary guitarist – was listening to a lot of Johnny Guitar Watson, Sly And The Family Stone, James Brown and the band Rufus, among others, at the time of recording, is also evident (no bad thing).
Additionally, much of the album features Pontin’s ’61 and ’65 Stratocasters, along with a host of vintage amps (augmented by strings and brass in places); all of which help tell the musically authentic story.
Kaleidoscope opens with the echoing guitar chords of short instrumental 'Sunrise,' as our protagonist wakes up to the realisation (through end of track rainfall) that 'Everything (Today)' has changed, via a Motown blues vibe with strings & brass accompaniment and Mark Pontin’s soulfully soaring vocal ("I reach out as though to touch, through this fading farewell") and equally soulful guitar solo.
Following number, the lazy and hazy 'Don’t Sleep,' with easy on the ear chorus, is as melodic as it is melancholic (with a funky little touch on the short but complementary guitar solo).
An interlude from the main story then kicks in with the funk and brass (and swishy Moog solo from featured keyboardist Owain Hughes) of the Average White Band styled 'This Will Never Be a Hit Now. '
The latter is a well-formed dig at over-hyped commodities reigning supreme over musical creativity or, as Mark Pontin so astutely put it in pre-release press "it’s all about how much money you spend that determines success." Spot on, sadly.
The story (and the protagonist’s depression) continues as Mark Pontin gets his early-era Robin Trower on (in seriously impressive style) for the weighty, psychedelic fusion blues of 'Starmaker.'
The only track on the album performed with the core band/ as a power trio (Pontin, drummer James Garvey and bassist Callum Morgan-Jones – who shares four-string duties on the album with Tim Hamill), 'Starmaker' showcases one of Mark Pontin’s best vocals (and full-bodied guitar solos) of the entire album.
Providing delightful contrast is the string-backed, melodic slow blues of 'Roll With Me Easy,' featuring a reflective, looking-back lyric of happier times ("we would talk for hours, you showed me where you used to play your games").
The short and psychedelically sharp 'Forever' then rocks up the ante as our now despairing character tries to come to terms with his loss, while not fully accepting it ("I will leave you behind… I will want you forever").
Previous album Textures reflected its title (a textured affair that ranged from gritty amps to 11 blues raunch to the melodically soulful) but here we have a Kaleidoscope of ever-shifting musical colours that continually change shape though a narrative that tells the tale of a man who wakes up to find he’s lost not just the one he loves, but everything else.
As dark as all that sounds Kaleidoscope is a musically uplifting work due, in no small part, to the late 60s/ early 70s soul-blues-funk vibe and feel of the album, which suits its narrative perfectly (even the album cover reflects the musical timeframe within).
The fact that Mark Pontin – a consummate singer (with soulful tendencies) and exemplary guitarist – was listening to a lot of Johnny Guitar Watson, Sly And The Family Stone, James Brown and the band Rufus, among others, at the time of recording, is also evident (no bad thing).
Additionally, much of the album features Pontin’s ’61 and ’65 Stratocasters, along with a host of vintage amps (augmented by strings and brass in places); all of which help tell the musically authentic story.
Kaleidoscope opens with the echoing guitar chords of short instrumental 'Sunrise,' as our protagonist wakes up to the realisation (through end of track rainfall) that 'Everything (Today)' has changed, via a Motown blues vibe with strings & brass accompaniment and Mark Pontin’s soulfully soaring vocal ("I reach out as though to touch, through this fading farewell") and equally soulful guitar solo.
Following number, the lazy and hazy 'Don’t Sleep,' with easy on the ear chorus, is as melodic as it is melancholic (with a funky little touch on the short but complementary guitar solo).
An interlude from the main story then kicks in with the funk and brass (and swishy Moog solo from featured keyboardist Owain Hughes) of the Average White Band styled 'This Will Never Be a Hit Now. '
The latter is a well-formed dig at over-hyped commodities reigning supreme over musical creativity or, as Mark Pontin so astutely put it in pre-release press "it’s all about how much money you spend that determines success." Spot on, sadly.
The story (and the protagonist’s depression) continues as Mark Pontin gets his early-era Robin Trower on (in seriously impressive style) for the weighty, psychedelic fusion blues of 'Starmaker.'
The only track on the album performed with the core band/ as a power trio (Pontin, drummer James Garvey and bassist Callum Morgan-Jones – who shares four-string duties on the album with Tim Hamill), 'Starmaker' showcases one of Mark Pontin’s best vocals (and full-bodied guitar solos) of the entire album.
Providing delightful contrast is the string-backed, melodic slow blues of 'Roll With Me Easy,' featuring a reflective, looking-back lyric of happier times ("we would talk for hours, you showed me where you used to play your games").
The short and psychedelically sharp 'Forever' then rocks up the ante as our now despairing character tries to come to terms with his loss, while not fully accepting it ("I will leave you behind… I will want you forever").
The instrumental 'Hotel Diablo' (featuring some jazz-sparring between Mark Pontin’s guitar and Owain Hughes’ Fender Rhodes) finds our man in complete freefall before finding himself walking the guitar twanging, slow rock ‘n’ roll streets of 'Hell’s Kitchen' ("can’t catch a breeze when you’re down on your knees").
The funky, percussive blues of 'Freeway Fantasy' leads to the soulful and rhythmic sway of 'Waiting' (one of many songs to benefit from the vocal contributions of Ayesha Pontin).
An early 70s soul classic in 21st century clothing, 'Waiting' is outdone by the soul-groove and smooth 'Everything (Tomorrow);' the latter’s string-backed beauty is countered by our protagonist’s realisation of how far he has fallen, through drug addiction, as he catches himself in a reflection ("said the mirror through a smile, we can make a deal – I’ll make it worth your while!").
Having hit rock bottom, there’s a 'Phoenix' like recovery from the ashes of anguish on the emotive and cinematically framed closing track, which doubles as a call of hope to those who have suffered similarly, battle within, or have mental health problems ("to all those who draw battlelines, crawl through fields of landmines, alone in your mind to survive… I see with your eyes").
South Wales should be rightly proud of Mark Pontin and the Mark Pontin Group, just as Mark Pontin should be rightly proud of the musical scope and storytelling soul-depth of Kaleidoscope.
Ross Muir
FabricationsHQ
The funky, percussive blues of 'Freeway Fantasy' leads to the soulful and rhythmic sway of 'Waiting' (one of many songs to benefit from the vocal contributions of Ayesha Pontin).
An early 70s soul classic in 21st century clothing, 'Waiting' is outdone by the soul-groove and smooth 'Everything (Tomorrow);' the latter’s string-backed beauty is countered by our protagonist’s realisation of how far he has fallen, through drug addiction, as he catches himself in a reflection ("said the mirror through a smile, we can make a deal – I’ll make it worth your while!").
Having hit rock bottom, there’s a 'Phoenix' like recovery from the ashes of anguish on the emotive and cinematically framed closing track, which doubles as a call of hope to those who have suffered similarly, battle within, or have mental health problems ("to all those who draw battlelines, crawl through fields of landmines, alone in your mind to survive… I see with your eyes").
South Wales should be rightly proud of Mark Pontin and the Mark Pontin Group, just as Mark Pontin should be rightly proud of the musical scope and storytelling soul-depth of Kaleidoscope.
Ross Muir
FabricationsHQ