The 2013 Muirsical Review
The FabricationsHQ Album & Artist 2013 Awards (including the usual dose of Muirsical cynicism,
humour and those that deserve a dishonourable mention) will appear on site in the coming weeks.
Meanwhile enjoy the review summary of the year just gone – and the only one you'll ever see or read
that includes mention of Beyonce, Black Sabbath and Scottish folk music...
The FabricationsHQ Album & Artist 2013 Awards (including the usual dose of Muirsical cynicism,
humour and those that deserve a dishonourable mention) will appear on site in the coming weeks.
Meanwhile enjoy the review summary of the year just gone – and the only one you'll ever see or read
that includes mention of Beyonce, Black Sabbath and Scottish folk music...
And so another year heads fades out like a radio edit single as the next one in line has the Play button pushed.
And the twelve months seem to be played out faster each year – in fact almost as fast as a signature vocalist can be replaced by a tribute singer, or whatever it takes to keep the brand alive or create a partial reunion of a once classic act.
2013 was another year of retro or old-school rock releases and classic rock comebacks, with results varying from same ‘ol same ‘ol to genuinely outstanding.
But in terms of the manufactured mainstream pop that dominates the airwaves it was a year that ended with an album that delivered definitive proof the commercial entertainment side of the music industry is all about creating an image to be watched and not music to be listened to.
In December Beyoncé released her self-titled "visual album," as the singer herself describes it.
The Queen Bee of MTV wasn’t kidding. The album contains seventeen music videos including one for each of the fourteen album tracks.
The short-film videos are, in effect, the album, with Beyoncé confirming the visual ideas came first and the song structures (generally loose arrangements) were worked around the imagery.
All of which means Beyoncé the album is all about Beyoncé the artist and her visual concepts, leaving nothing to the listener’s imagination. Sorry I mean the viewer's imagination.
Most of the videos feature Beyoncé and her semi-clothed or sexily attired body, along with what seem to be her obligatory and mandatory sexually charged, or sexually provocative, movements.
And the twelve months seem to be played out faster each year – in fact almost as fast as a signature vocalist can be replaced by a tribute singer, or whatever it takes to keep the brand alive or create a partial reunion of a once classic act.
2013 was another year of retro or old-school rock releases and classic rock comebacks, with results varying from same ‘ol same ‘ol to genuinely outstanding.
But in terms of the manufactured mainstream pop that dominates the airwaves it was a year that ended with an album that delivered definitive proof the commercial entertainment side of the music industry is all about creating an image to be watched and not music to be listened to.
In December Beyoncé released her self-titled "visual album," as the singer herself describes it.
The Queen Bee of MTV wasn’t kidding. The album contains seventeen music videos including one for each of the fourteen album tracks.
The short-film videos are, in effect, the album, with Beyoncé confirming the visual ideas came first and the song structures (generally loose arrangements) were worked around the imagery.
All of which means Beyoncé the album is all about Beyoncé the artist and her visual concepts, leaving nothing to the listener’s imagination. Sorry I mean the viewer's imagination.
Most of the videos feature Beyoncé and her semi-clothed or sexily attired body, along with what seem to be her obligatory and mandatory sexually charged, or sexually provocative, movements.
As a heterosexual male who has noticed (with no more than a passing glance, obviously) Beyoncé is not unattractive, I’m not exactly throwing my hands up in front of my eyes.
But if this was a future where fully immersive Virtual Reality 3D interaction was possible, sticking a $20 bill in a torn fishnet, bikini top, pair of short shorts or a more strikingly obvious, natural crevice would be the icing on the “visual album” cake.
But then Beyoncé is a smart girl; she knows what sells.
And how successful or ingrained in the pop consciousness would ‘Single Ladies’ be if not for the video and dance routine?
Beyoncé may be the very definition of empowerment for women in the business world – albeit in this case the business of musical entertainment – but for all her self-described and laughable "modern feminist" malarkey, she’s managed to push feminism back a good couple of decades.
Thankfully, in amongst the Beyoncés, Biebers and Miley Cyrus’ that 21st century pop culture thrives on (and the modern MTV world cultured), other acts and artists, both old and new, were reinforcing the unfettered energy and timeless viability of music for music’s sake, whether metal-tinged rock, classic rock, new wave, fusion, undiluted pop, truly progressive rock, something fresh and innovative (yes, it still happens on occasion) or traditional folk (with a touch of Celtic roll) that sites such as FabricationsHQ continue to promote and review.
And in 2013 some of the old guard delivered the musical goods in fine style...
Rod Stewart stepped away from the uber-successful but one dimensional crooner songbook releases to deliver Time, his first album of original, all-new material (only one cover resides within the standard album issue) in more than two decades. It's also, arguably, his best work in more than thirty-five years.
Ozzy Osbourne was part of a Black Sabbath full-length studio album for the first time since 1979 and with 13 it’s as if the mixed results of Technical Ecstasy and the much maligned Never Say Die! never happened.
In Sabbath’s alternative doom-metal time and riff-laden space 13 becomes the natural follow up to Sabotage, the last classic Sabbath album of the Ozzy Osbourne era.
Frontiers Records stuck the word 'Band' after Pat Travers’ name on the Can Do album and the current PT quartet did the name proud – and in some sonic style.
It’s an album that proves those that Can most certainly (still) Do; a modern sounding album but with a nod to Canadian musician’s guitar-rock past, back when there was more than a little Heat in the Street.
David Bowie’s distinct new-wave musicality was heard on The Next Day, the legendary singer’s first album in a decade.
No surprise the album got all the critical acclaim and plaudits but the bigger surprise – albeit a pleasant one – was when Biffy Clyro grabbed the Q Best Album award away from Bowie and his hotly tipped album with their own release, Opposites.
It was thoroughly deserved if unexpected kudos for the Ayrshire power-rock trio’s best release thus far.
However where Biffy Clyro go from here might be as interesting as the album itself.
On the progressive side of the musical spectrum Preacher, another Ayrshire band, released their debut album, Signals.
Preacher's semi-conceptual release carries a modern sound within a Pink Floyd framework and while it was never going to get the sort of attention their fellow county musicians did with Opposites, it bodes well for the future of a band who have already shared a top-of-the-bill event at the Glasgow O2 ABC.
Significant support slots and festival dates are expected in 2014, both within and beyond the borders of the UK.
But if this was a future where fully immersive Virtual Reality 3D interaction was possible, sticking a $20 bill in a torn fishnet, bikini top, pair of short shorts or a more strikingly obvious, natural crevice would be the icing on the “visual album” cake.
But then Beyoncé is a smart girl; she knows what sells.
And how successful or ingrained in the pop consciousness would ‘Single Ladies’ be if not for the video and dance routine?
Beyoncé may be the very definition of empowerment for women in the business world – albeit in this case the business of musical entertainment – but for all her self-described and laughable "modern feminist" malarkey, she’s managed to push feminism back a good couple of decades.
Thankfully, in amongst the Beyoncés, Biebers and Miley Cyrus’ that 21st century pop culture thrives on (and the modern MTV world cultured), other acts and artists, both old and new, were reinforcing the unfettered energy and timeless viability of music for music’s sake, whether metal-tinged rock, classic rock, new wave, fusion, undiluted pop, truly progressive rock, something fresh and innovative (yes, it still happens on occasion) or traditional folk (with a touch of Celtic roll) that sites such as FabricationsHQ continue to promote and review.
And in 2013 some of the old guard delivered the musical goods in fine style...
Rod Stewart stepped away from the uber-successful but one dimensional crooner songbook releases to deliver Time, his first album of original, all-new material (only one cover resides within the standard album issue) in more than two decades. It's also, arguably, his best work in more than thirty-five years.
Ozzy Osbourne was part of a Black Sabbath full-length studio album for the first time since 1979 and with 13 it’s as if the mixed results of Technical Ecstasy and the much maligned Never Say Die! never happened.
In Sabbath’s alternative doom-metal time and riff-laden space 13 becomes the natural follow up to Sabotage, the last classic Sabbath album of the Ozzy Osbourne era.
Frontiers Records stuck the word 'Band' after Pat Travers’ name on the Can Do album and the current PT quartet did the name proud – and in some sonic style.
It’s an album that proves those that Can most certainly (still) Do; a modern sounding album but with a nod to Canadian musician’s guitar-rock past, back when there was more than a little Heat in the Street.
David Bowie’s distinct new-wave musicality was heard on The Next Day, the legendary singer’s first album in a decade.
No surprise the album got all the critical acclaim and plaudits but the bigger surprise – albeit a pleasant one – was when Biffy Clyro grabbed the Q Best Album award away from Bowie and his hotly tipped album with their own release, Opposites.
It was thoroughly deserved if unexpected kudos for the Ayrshire power-rock trio’s best release thus far.
However where Biffy Clyro go from here might be as interesting as the album itself.
On the progressive side of the musical spectrum Preacher, another Ayrshire band, released their debut album, Signals.
Preacher's semi-conceptual release carries a modern sound within a Pink Floyd framework and while it was never going to get the sort of attention their fellow county musicians did with Opposites, it bodes well for the future of a band who have already shared a top-of-the-bill event at the Glasgow O2 ABC.
Significant support slots and festival dates are expected in 2014, both within and beyond the borders of the UK.
Steven Wilson, arguably the most prolific and creative progressive of the last decade, produced his best solo album to date with The Raven That Refused To Sing, but modern prog really took a giant leap forward with Lifesigns and their self-titled debut.
Led by the song writing, voice and keyboards of John Young (who has played with everyone from the Scorpions to The Strawbs to Bonnie Tyler, to name but three), Lifesigns is a breath of fresh air in a genre that is in danger of becoming stale and repetitive (ironic considering the musical definition of the word “progressive”); the general consensus is, sadly, it has to sound like, or take its lead from, Gabriel-era Genesis or YES to get noticed or sell.
While re-writing the musical Book of Genesis is perhaps understandable, YES are still alive and gigging – that said, YES may still sound like YES, but in the last few years they have lost the musical spirit of what made them giants walking the lands of prog in the first place. It’s almost like they have lost their musical voice.
But I digress.
While re-writing the musical Book of Genesis is perhaps understandable, YES are still alive and gigging – that said, YES may still sound like YES, but in the last few years they have lost the musical spirit of what made them giants walking the lands of prog in the first place. It’s almost like they have lost their musical voice.
But I digress.
Modern or high-energy blues remains in safe hands (make that the six-string fingers) with the likes of the ridiculously prolific Joe Bonamassa, Popa Chubby, King King featuring Alan Nimmo (voted best British Blues band for the second year in a row at the British Blues Awards) and Gwyn Ashton.
Outside of another excellent little album with Beth Hart, Joe Bonamassa managed to release an Acoustic Evening live album and a DVD celebrating his four 'different venue' London shows in 2013.
The songs on Popa Chubby’s Universal Breakdown Blues are written in the old-school mould, brought to life in the modern blues era by the big man of New York blues and his big ‘n’ smoky vocal and excellent guitar chops.
Standing in the Shadows, featuring Alan Nimmo’s voice and outstanding six-string work, is arguably the best blues album of 2013 while Gwyn Ashton has clearly found a way to trap blues-infused energy within his guitars.
Ashton’s Fistful of Blues EP is the perfect successor and extension to Radiogram, the singer and guitarist’s 2012 release and best album to date.
But for truly raw modern blues, to the degree that the guitar strings are replaced by nerve endings, look no further than Michael Katon.
The Michigan musician has been producing high-energy blues and boogie for nigh on thirty years and while Hard On! (The Boogie) and Blue Tooth (featuring blues tunes Katon cut his teeth on; hence the name) are 2012 releases they are the latest examples of Michael Katon’s brand of raw(kin') blues and albums that surfaced on the FabricationsHQ radar in 2013.
By contrast, and for instrumental soundscapes with a blues-based core, grab yourself a copy of The Manhattan Blues Project by legendary guitarist and ex-Lou Reed and Alice Cooper sideman Steve Hunter.
The collection of musical vignette tributes to the famous New York borough was one of the Muirsical highlights of 2013; Steve Hunter and The Manhattan Blues Project carries more tone and touch than most guitarists produce in a career.
On the less serious side of the musical year just gone, Ylvis may have come up with their best comedy/ spoof Song & Video release yet...
Outside of another excellent little album with Beth Hart, Joe Bonamassa managed to release an Acoustic Evening live album and a DVD celebrating his four 'different venue' London shows in 2013.
The songs on Popa Chubby’s Universal Breakdown Blues are written in the old-school mould, brought to life in the modern blues era by the big man of New York blues and his big ‘n’ smoky vocal and excellent guitar chops.
Standing in the Shadows, featuring Alan Nimmo’s voice and outstanding six-string work, is arguably the best blues album of 2013 while Gwyn Ashton has clearly found a way to trap blues-infused energy within his guitars.
Ashton’s Fistful of Blues EP is the perfect successor and extension to Radiogram, the singer and guitarist’s 2012 release and best album to date.
But for truly raw modern blues, to the degree that the guitar strings are replaced by nerve endings, look no further than Michael Katon.
The Michigan musician has been producing high-energy blues and boogie for nigh on thirty years and while Hard On! (The Boogie) and Blue Tooth (featuring blues tunes Katon cut his teeth on; hence the name) are 2012 releases they are the latest examples of Michael Katon’s brand of raw(kin') blues and albums that surfaced on the FabricationsHQ radar in 2013.
By contrast, and for instrumental soundscapes with a blues-based core, grab yourself a copy of The Manhattan Blues Project by legendary guitarist and ex-Lou Reed and Alice Cooper sideman Steve Hunter.
The collection of musical vignette tributes to the famous New York borough was one of the Muirsical highlights of 2013; Steve Hunter and The Manhattan Blues Project carries more tone and touch than most guitarists produce in a career.
On the less serious side of the musical year just gone, Ylvis may have come up with their best comedy/ spoof Song & Video release yet...
There’s nothing funny however about the excellent slow groove, arrangement and vocal harmonies of 'The Cabin;' if Daryl Hall was to sing this song with a new/ different lyric, you’d swear it was an out-take from Hall & Oates’ Abandoned Luncheonette period.
That said, if Ylvis (Norwegian comedy duo and brothers Vegard and Bård Ylvisåker) performed their uber-massive viral hit ‘What Does the Fox Say?’ as Norway’s Eurovision Song Contest entry, they’d win by an electro-popped mile.
But, that said again, I don’t think you can beat the chorus and solo from their melodic-rock opus ‘Jan Egeland.’
If they change the lyric or sang that one in their native language, the melodic rock fan boys would be wetting themselves.
All of which says more about current pop trends and polished but predictable Euro and US melodic rock than it does about Ylvis whom, I hope, never leave the building.
Another European act that caught FabricationsHQ’s ear in 2013 was Italian band The Mugshots.
On their Love, Lust and Revenge five track EP the band honed a very deliberate and distinct sound with an Alice Cooper Band feel and appeal – and we’re talking early era band and material – dark, sinister, theatrical but with plenty of musical interest and some simple but effective piano underpinning three of the five songs.
Dick Wagner (Lou Reed, Alice Cooper) played on, arranged and produced the songs; in providing the latter service The Mugshots earned the distinction of becoming the first European band to be produced by the legendary American guitarist.
’Curse the Moon’ may well be the highlight of the four originals while ‘Free (As I Am)’ is a number that wouldn’t be out of place on those early Alice Cooper Band albums.
As a final tip of the top hat to Cooper there's a nice cover of the under heard/ hidden gem ‘Pass the Gun Around,’ the excellent Cooper/ Wagner penned number that closes out Cooper's 1983 album, Dada.
FabricationsHQ also provides a promotional nod for Celtic and Celtic influenced music, primarily the Scottish folk ‘n’ roll and Scots Gaelic scenes.
Ivan Drever and Joy Dunlop, two of the finest practitioners of those respective genres, produced worthy material in 2013 but honourable mention needs to be given to two of the newer kids on the folk-based block first...
That said, if Ylvis (Norwegian comedy duo and brothers Vegard and Bård Ylvisåker) performed their uber-massive viral hit ‘What Does the Fox Say?’ as Norway’s Eurovision Song Contest entry, they’d win by an electro-popped mile.
But, that said again, I don’t think you can beat the chorus and solo from their melodic-rock opus ‘Jan Egeland.’
If they change the lyric or sang that one in their native language, the melodic rock fan boys would be wetting themselves.
All of which says more about current pop trends and polished but predictable Euro and US melodic rock than it does about Ylvis whom, I hope, never leave the building.
Another European act that caught FabricationsHQ’s ear in 2013 was Italian band The Mugshots.
On their Love, Lust and Revenge five track EP the band honed a very deliberate and distinct sound with an Alice Cooper Band feel and appeal – and we’re talking early era band and material – dark, sinister, theatrical but with plenty of musical interest and some simple but effective piano underpinning three of the five songs.
Dick Wagner (Lou Reed, Alice Cooper) played on, arranged and produced the songs; in providing the latter service The Mugshots earned the distinction of becoming the first European band to be produced by the legendary American guitarist.
’Curse the Moon’ may well be the highlight of the four originals while ‘Free (As I Am)’ is a number that wouldn’t be out of place on those early Alice Cooper Band albums.
As a final tip of the top hat to Cooper there's a nice cover of the under heard/ hidden gem ‘Pass the Gun Around,’ the excellent Cooper/ Wagner penned number that closes out Cooper's 1983 album, Dada.
FabricationsHQ also provides a promotional nod for Celtic and Celtic influenced music, primarily the Scottish folk ‘n’ roll and Scots Gaelic scenes.
Ivan Drever and Joy Dunlop, two of the finest practitioners of those respective genres, produced worthy material in 2013 but honourable mention needs to be given to two of the newer kids on the folk-based block first...
Toronto trad trio NUA contacted FabricationsHQ recently with a copy of their debut album, Bold, and I’m very glad they did.
Bold is the perfect title for an album that adds a contemporary touch and bold musical strokes to the traditional Scots and Irish influenced sounds (would you like a little jazzified groove in your folk, sir?)
Just as Lifesigns have recently been detected in modern progressive rock, NUA might just be the kick up the bodhrán traditional folk in the 21st century needs.
Closer to home, 50 Shades of Blue might just be one of the best – and cheekiest – names to appear in recent times.
And there’s nothing grey about the music performed by 50 Shades duo Mark (percussion) and Lorna Jane Gracie (vocal, guitar) – there’s most definitely a hint of blue in what they produce but in this case it’s more akin to bluegrass, arranged within a folk framework (folkgrass anyone?)
The song quality and musical maturity shown on their self-released four-track EP is all the more surprising when you realise that Lorna Jane Gracie only sang her first vocal notes with a microphone in 2013, at an open-mic session at The Clutha bar and music venue in Glasgow.
The Clutha is a regular haunt for many Glaswegians and Scots who have a love of live music but it was in the news more recently because of the tragedy that befell the building – on November the 29th 2013 a police helicopter lost power and crashed into the pub, leading to ten fatalities.
While 50 Shades of Blue’s ‘Lest We Forget’ was written before The Clutha tragedy the song has since become a poignant memory to those lost.
Bold is the perfect title for an album that adds a contemporary touch and bold musical strokes to the traditional Scots and Irish influenced sounds (would you like a little jazzified groove in your folk, sir?)
Just as Lifesigns have recently been detected in modern progressive rock, NUA might just be the kick up the bodhrán traditional folk in the 21st century needs.
Closer to home, 50 Shades of Blue might just be one of the best – and cheekiest – names to appear in recent times.
And there’s nothing grey about the music performed by 50 Shades duo Mark (percussion) and Lorna Jane Gracie (vocal, guitar) – there’s most definitely a hint of blue in what they produce but in this case it’s more akin to bluegrass, arranged within a folk framework (folkgrass anyone?)
The song quality and musical maturity shown on their self-released four-track EP is all the more surprising when you realise that Lorna Jane Gracie only sang her first vocal notes with a microphone in 2013, at an open-mic session at The Clutha bar and music venue in Glasgow.
The Clutha is a regular haunt for many Glaswegians and Scots who have a love of live music but it was in the news more recently because of the tragedy that befell the building – on November the 29th 2013 a police helicopter lost power and crashed into the pub, leading to ten fatalities.
While 50 Shades of Blue’s ‘Lest We Forget’ was written before The Clutha tragedy the song has since become a poignant memory to those lost.
Faileasan (Awakening), from the beautiful voice of Joy Dunlop, is the Scots Gaelic singer’s most emotive work to date -- and the most traditional, in just about every sense of the word.
The songs, the musicians, indeed every part of the album (from its recording to the album design, photography and cover) were sourced from the Argyll area.
Towards the end of the year Orcadian singer songwriter Ivan Drever released an album of archive and rarities material (From The Vaults) but the start of 2013 saw the release of Gifts, the debut album from Drever McGuire Young.
On Gifts Ivan Drever, percussionist/ whistle player Frankie McGuire and guitarist/ multi-instrumentalist Richard Young have collaborated to produce a fusion of folk balladeering and pop melodies, with hints of rhythm and blues.
The songs, the musicians, indeed every part of the album (from its recording to the album design, photography and cover) were sourced from the Argyll area.
Towards the end of the year Orcadian singer songwriter Ivan Drever released an album of archive and rarities material (From The Vaults) but the start of 2013 saw the release of Gifts, the debut album from Drever McGuire Young.
On Gifts Ivan Drever, percussionist/ whistle player Frankie McGuire and guitarist/ multi-instrumentalist Richard Young have collaborated to produce a fusion of folk balladeering and pop melodies, with hints of rhythm and blues.
On the subject of fusion, the most outstanding and original work of the year came from Scottish (classical) guitarist Simon Thacker and Svara-Kanti.
On Rakshasa the quartet fused Indian and Western music, embraced both cultures and delivered a musical meeting of western harmonics and the Hindustani, Carnatic and Dhrupad forms.
Classical Gas meets Bollywood this most certainly is not; anyone looking for that sort of clichéd commerciality can jog on.
Rakshasa is both accessible and comfortable, complex and challenging; it is an album rich in musical vibrancy and colour yet contains some quite stark black and white textures.
It’s also an exceptional piece of work – in any culture.
For all the reimagined retro-rock and re-released or re-recorded Greatest Hits that seems to dominate rock music these days (but hey, if that’s what the kids want and that’s what pays the bills…) plus the cookie-cutter conveyor belt of manufactured pop pap, 2013 was still a good year for great music, in a number of genres.
If the next year is half as good, FabricationsHQ will still have a lot to write about in 2014.
Now excuse me; I'm off to design a fully immersive and functioning Virtual Reality 3D system with video interaction capability. Anyone got a bunch of $20's?
Ross Muir
December 2013/ January 2014
On Rakshasa the quartet fused Indian and Western music, embraced both cultures and delivered a musical meeting of western harmonics and the Hindustani, Carnatic and Dhrupad forms.
Classical Gas meets Bollywood this most certainly is not; anyone looking for that sort of clichéd commerciality can jog on.
Rakshasa is both accessible and comfortable, complex and challenging; it is an album rich in musical vibrancy and colour yet contains some quite stark black and white textures.
It’s also an exceptional piece of work – in any culture.
For all the reimagined retro-rock and re-released or re-recorded Greatest Hits that seems to dominate rock music these days (but hey, if that’s what the kids want and that’s what pays the bills…) plus the cookie-cutter conveyor belt of manufactured pop pap, 2013 was still a good year for great music, in a number of genres.
If the next year is half as good, FabricationsHQ will still have a lot to write about in 2014.
Now excuse me; I'm off to design a fully immersive and functioning Virtual Reality 3D system with video interaction capability. Anyone got a bunch of $20's?
Ross Muir
December 2013/ January 2014
