Bob Dylan More Blood, More Tracks. Deluxe 6 CD & 2 Booklet set
Bob Dylan More Blood, More Tracks. Deluxe 6 CD & 2 Booklet set
Another beautifully glossy production: A 2 book opus for a specific Bob Dylan era. These sets are fast becoming a regular formula for the Bootleg Series. This time the retrospective is on 1975’s Blood on the Tracks complete with all the session tracks. The music is irreproachable - it is truly faultless - and no devoted fan will tire of listening to each song grow and flourish into the eventual album. It will never fully answer the quandary of whether the official release at the time was the best version. That debate will continue. Now though, owning this, you have at your disposal a chance to decide for yourself. Amazingly brought together here are 87 performances over 6 CDs - the sessions for an album that would produce 10 classic tracks (BOTT). There is some amazing music on all the CDs albeit with only about 12 songs in total there is a lot of apparent repetition. There are differences and you can hear the tracks grow to the eventual release. The listener gets to hear each song build and change. But therein lies the majesty of studying Dylan. Each version is different - often changed a lot - what message was he trying to convey with each change? I personally think most of these merit repeated listens and pick your own preferred version – if it wasn't the original release in 1975's album. After a few spins I will be giving it as a whole entity broad berth - going back to the more exciting 'Trouble No More' set - but different strokes for different folks.
The songs on this set show the gradual evolution and growth of this iconic piece of history. Yet again though, beyond the official release of the widely bootlegged music of the 'New York Sessions' this set is a disappointment. As I have said elsewhere, I believe analysis of these sets should largely be about the extras. How much effort has gone into making the package a timeless, must have piece of history? Again, with this collection we are left wanting - we get a short unimpressive essay and another glossy photo book not even of the album itself but the years either side. Ok, that is slightly unfair because no photos of the 6 days in the studio exist but why give us a glossy photo book of newspapers and live shots from the year before and shortly after? Chronologically this is just before the Rolling Thunder tour so interesting but this album is about one moment in time and the creation of a truly breath-taking piece of 20th century art. There are some nice anecdotes in the text including Dylan allegedly fluffing slide guitar to dismiss Mick Jagger's attempt at guidance...but this was not a revelation. There are also some great photos by Barry Feinstein and Ken Regan. Whilst I love photos I also want context and perhaps even history... the Rolling Thunder was a completely political tour, with critical reference to Nixon (perhaps even more relevant in the Trump era). Starting in Plymouth, the site of the original Pilgrim's landings Dylan toured with a travelling troupe and yet this album is or seems to me and millions of others to be more personal and removed from the tour. Beyond being 'around the same time' this has little relevance to Blood on the Tracks. It is not a little ironic that (again in my opinion) the nicest thing about this set is the reproduced note book of Dylan with some of the song lyrics but even here the set is lacking. Due to a printing error the booklet is incomplete!!! You can find the missing pages on Dylan website and print them out yourselves. Or, just download the whole set on a torrent site and try and find the booklets on discogs. That is not advice, merely an option!
When the Bootleg Series of Dylan’s previously unreleased archive material first begin in 1991 it was surely unthinkable that it would last over 30 years and delve so deeply - but here is one of those deep delves. Most other artists have session versions of embryonic sketches as bonus material on deluxe reissues, Dylan's demand and stature merit behemoth standalone releases which are more celebrated than many of his recent albums. With the advent of cheap CD production and tighter record company budgets this set had so much promise, but beyond the glossy exterior and the quality music, it comes up wanting. As mentioned previously the music really is unassailable, the packaging contents is not as laudable.
Another beautifully glossy production: A 2 book opus for a specific Bob Dylan era. These sets are fast becoming a regular formula for the Bootleg Series. This time the retrospective is on 1975’s Blood on the Tracks complete with all the session tracks. The music is irreproachable - it is truly faultless - and no devoted fan will tire of listening to each song grow and flourish into the eventual album. It will never fully answer the quandary of whether the official release at the time was the best version. That debate will continue. Now though, owning this, you have at your disposal a chance to decide for yourself. Amazingly brought together here are 87 performances over 6 CDs - the sessions for an album that would produce 10 classic tracks (BOTT). There is some amazing music on all the CDs albeit with only about 12 songs in total there is a lot of apparent repetition. There are differences and you can hear the tracks grow to the eventual release. The listener gets to hear each song build and change. But therein lies the majesty of studying Dylan. Each version is different - often changed a lot - what message was he trying to convey with each change? I personally think most of these merit repeated listens and pick your own preferred version – if it wasn't the original release in 1975's album. After a few spins I will be giving it as a whole entity broad berth - going back to the more exciting 'Trouble No More' set - but different strokes for different folks.
The songs on this set show the gradual evolution and growth of this iconic piece of history. Yet again though, beyond the official release of the widely bootlegged music of the 'New York Sessions' this set is a disappointment. As I have said elsewhere, I believe analysis of these sets should largely be about the extras. How much effort has gone into making the package a timeless, must have piece of history? Again, with this collection we are left wanting - we get a short unimpressive essay and another glossy photo book not even of the album itself but the years either side. Ok, that is slightly unfair because no photos of the 6 days in the studio exist but why give us a glossy photo book of newspapers and live shots from the year before and shortly after? Chronologically this is just before the Rolling Thunder tour so interesting but this album is about one moment in time and the creation of a truly breath-taking piece of 20th century art. There are some nice anecdotes in the text including Dylan allegedly fluffing slide guitar to dismiss Mick Jagger's attempt at guidance...but this was not a revelation. There are also some great photos by Barry Feinstein and Ken Regan. Whilst I love photos I also want context and perhaps even history... the Rolling Thunder was a completely political tour, with critical reference to Nixon (perhaps even more relevant in the Trump era). Starting in Plymouth, the site of the original Pilgrim's landings Dylan toured with a travelling troupe and yet this album is or seems to me and millions of others to be more personal and removed from the tour. Beyond being 'around the same time' this has little relevance to Blood on the Tracks. It is not a little ironic that (again in my opinion) the nicest thing about this set is the reproduced note book of Dylan with some of the song lyrics but even here the set is lacking. Due to a printing error the booklet is incomplete!!! You can find the missing pages on Dylan website and print them out yourselves. Or, just download the whole set on a torrent site and try and find the booklets on discogs. That is not advice, merely an option!
When the Bootleg Series of Dylan’s previously unreleased archive material first begin in 1991 it was surely unthinkable that it would last over 30 years and delve so deeply - but here is one of those deep delves. Most other artists have session versions of embryonic sketches as bonus material on deluxe reissues, Dylan's demand and stature merit behemoth standalone releases which are more celebrated than many of his recent albums. With the advent of cheap CD production and tighter record company budgets this set had so much promise, but beyond the glossy exterior and the quality music, it comes up wanting. As mentioned previously the music really is unassailable, the packaging contents is not as laudable.
Various Artists "Listen to Bob Dylan" ... a dubious tribute.
Listen to Bob Dylan: A Tribute Album
I was thinking of reviewing this 2 CD compilation with just one word. Insipid. But that seemed harsh and offered no logic or rationale for my comment. This collection of c.20 songs takes Bob Dylan lyrics and transposes them to the sound of 1990s indie / pop Pop, soft rock, pop rock, adult contemporary vein. Some lean towards Simon and Garfunkel for inspiration, others waifish fragile vocals of the early 20th century. Very few redeeming features on this collection.
One saving grace is that it does hopefully leave some newer (younger) fans of Jamie Blunt and Jason Mraz to turn their ears to the originals. The title of the collection, as an instruction, is of course apt in the way. That can never be faulted: Do go and listen to Bob Dylan. There are some undeniably talented people here Cerys Matthews, though also a lot of people I had never heard of - Steel Train, Anberlin and Roark to name but a few. That doesn't detract from the compilation - but the insipid nature of these versions does. Not worth seeking out in my opinion except for completists of some of these artists.
The most novel art here is actually a detail of the recoloured the 1966 Milton Glaser image of Bob Dylan which was distributed with Dylan’s first greatest hits.
‘To Ramona’ by Days Away capture the slurring rolling summers drawl of the original complete with enough emphasis to draw you in, but most of the songs pass by without any ability to muster your attention. Overall few redeeming qualities and not worth the 90 minutes I will never get back from listening to these 21 songs.
I was thinking of reviewing this 2 CD compilation with just one word. Insipid. But that seemed harsh and offered no logic or rationale for my comment. This collection of c.20 songs takes Bob Dylan lyrics and transposes them to the sound of 1990s indie / pop Pop, soft rock, pop rock, adult contemporary vein. Some lean towards Simon and Garfunkel for inspiration, others waifish fragile vocals of the early 20th century. Very few redeeming features on this collection.
One saving grace is that it does hopefully leave some newer (younger) fans of Jamie Blunt and Jason Mraz to turn their ears to the originals. The title of the collection, as an instruction, is of course apt in the way. That can never be faulted: Do go and listen to Bob Dylan. There are some undeniably talented people here Cerys Matthews, though also a lot of people I had never heard of - Steel Train, Anberlin and Roark to name but a few. That doesn't detract from the compilation - but the insipid nature of these versions does. Not worth seeking out in my opinion except for completists of some of these artists.
The most novel art here is actually a detail of the recoloured the 1966 Milton Glaser image of Bob Dylan which was distributed with Dylan’s first greatest hits.
‘To Ramona’ by Days Away capture the slurring rolling summers drawl of the original complete with enough emphasis to draw you in, but most of the songs pass by without any ability to muster your attention. Overall few redeeming qualities and not worth the 90 minutes I will never get back from listening to these 21 songs.
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Klaus Nomi Za Bakdaz CD Digipak
This album – loosely appendaged as ‘The Unfinished Opera’ - should come with a warning. Klaus Nomi lived in New York as a musician and actor from 1972 to 1983, when he passed away from AIDs related complications. Whilst much of the vocal on this CD are his, this is not a Klaus Nomi album but a 2007 composition with Nomi off shoots. Between 1979 and 1983 Klaus Nomi recorded a number of tracks, some of which were on the brilliant albums released during his lifetime (Encore, released posthumously, is already pushing the envelope for novelty). Unlike those releases though this full CD of collected music was edited and produced between 1984 and 2006 based upon the earlier studio recordings. It lacks the panache of Nomi’s lifetime works and would be better served released as outtakes, or never seeing light of day. It still has Nomi’s distinct and recognisable flavour but certainly not what he anticipated. Either the producers have sucked the life out of the work – or it was never completed to the high standards Nomi set on his two great albums. Nicely packaged with images of the man and an Avant-garde booklet it is a nice set for the CD age, but the music is not for Nomi Fans – merely completests. I am not trying to knock the two fans who took time to put this out to the public, but the work that went into it doesn’t seem to have improved this or made the music in its current form merit release. A disappointment for the great Klaus Nomi’s legacy – a collection of records left to posterity which should be celebrated.
This album – loosely appendaged as ‘The Unfinished Opera’ - should come with a warning. Klaus Nomi lived in New York as a musician and actor from 1972 to 1983, when he passed away from AIDs related complications. Whilst much of the vocal on this CD are his, this is not a Klaus Nomi album but a 2007 composition with Nomi off shoots. Between 1979 and 1983 Klaus Nomi recorded a number of tracks, some of which were on the brilliant albums released during his lifetime (Encore, released posthumously, is already pushing the envelope for novelty). Unlike those releases though this full CD of collected music was edited and produced between 1984 and 2006 based upon the earlier studio recordings. It lacks the panache of Nomi’s lifetime works and would be better served released as outtakes, or never seeing light of day. It still has Nomi’s distinct and recognisable flavour but certainly not what he anticipated. Either the producers have sucked the life out of the work – or it was never completed to the high standards Nomi set on his two great albums. Nicely packaged with images of the man and an Avant-garde booklet it is a nice set for the CD age, but the music is not for Nomi Fans – merely completests. I am not trying to knock the two fans who took time to put this out to the public, but the work that went into it doesn’t seem to have improved this or made the music in its current form merit release. A disappointment for the great Klaus Nomi’s legacy – a collection of records left to posterity which should be celebrated.
Fleetwood Mac Rumours 3 CD Set Expanded Edition Warner Music 2013
Patchy Reissue of a phenomenal album.
Released in 2013 this is another reissue of the 50 million selling phenomenon that is 1977’s album Rumours. A truly awesome album on so many levels not just because it captured the imagination but that it seemed to reflect, so clearly and precisely, the mind set and situation or predicament of the 5 members of the band when recording (1976). Relationships feature large in the storylines of all pop albums - but this was personal and obviously the visceral nature came across to listeners capturing the imagination and the zeitgeist of those who weren’t entranced by Punk.
In 2004 the album was reissued with a second disc of demos, not included here (see ‘Deluxe’ below). This edition is 3 CDs, all the tracks of which are now easily available on download. The bonuses included though should be judged by the other contents rather than the music alone. The booklet essay captures the atmosphere brilliantly - short but compact and invested text unlike so many other deluxe reissue. This though is pointedly the ‘Expanded edition’, not the deluxe. The Deluxe includes 2 extra discs in turn. One is a rehash of the Second disc on the 2004 and 2009 release – remastered Roughs, Outtakes and Early Demos and the other a DVD of 1977 "Rosebud" documentary film (plus of course the vinyl album). Assuming you have the original vinyl and the 2004 or 2009 reissued double disc this edition includes all you need. It is a standard gatefold card sleeve digi-folds out to contain 4 slots - nice package with great if already seen images of the band during the famous photo shoots. The live disc really adds nothing and feels like an unnecessary add on. Yes, classic era live set from 1977 is included but nothing exceptional. The all-important third disc though has some great moments, but is a case of diminishing returns. A magnificent demo of ‘Dreams’ Take 2 sits alongside a very strong version of ‘Never Going Back Again’, but ‘The Chain’ demo, apart from showing progress to the classic that made the album, adds little. ‘Keep Me There’ is largely uninteresting either in alternative version or the instrumental are hit and miss for the musical contents.
Worth a flutter – but only for the mega fans, those with a passing interest would do well to pick up the standard edition which is very easy to come by nowadays. It really is one of the few compulsory classic albums every collection should have.
Patchy Reissue of a phenomenal album.
Released in 2013 this is another reissue of the 50 million selling phenomenon that is 1977’s album Rumours. A truly awesome album on so many levels not just because it captured the imagination but that it seemed to reflect, so clearly and precisely, the mind set and situation or predicament of the 5 members of the band when recording (1976). Relationships feature large in the storylines of all pop albums - but this was personal and obviously the visceral nature came across to listeners capturing the imagination and the zeitgeist of those who weren’t entranced by Punk.
In 2004 the album was reissued with a second disc of demos, not included here (see ‘Deluxe’ below). This edition is 3 CDs, all the tracks of which are now easily available on download. The bonuses included though should be judged by the other contents rather than the music alone. The booklet essay captures the atmosphere brilliantly - short but compact and invested text unlike so many other deluxe reissue. This though is pointedly the ‘Expanded edition’, not the deluxe. The Deluxe includes 2 extra discs in turn. One is a rehash of the Second disc on the 2004 and 2009 release – remastered Roughs, Outtakes and Early Demos and the other a DVD of 1977 "Rosebud" documentary film (plus of course the vinyl album). Assuming you have the original vinyl and the 2004 or 2009 reissued double disc this edition includes all you need. It is a standard gatefold card sleeve digi-folds out to contain 4 slots - nice package with great if already seen images of the band during the famous photo shoots. The live disc really adds nothing and feels like an unnecessary add on. Yes, classic era live set from 1977 is included but nothing exceptional. The all-important third disc though has some great moments, but is a case of diminishing returns. A magnificent demo of ‘Dreams’ Take 2 sits alongside a very strong version of ‘Never Going Back Again’, but ‘The Chain’ demo, apart from showing progress to the classic that made the album, adds little. ‘Keep Me There’ is largely uninteresting either in alternative version or the instrumental are hit and miss for the musical contents.
Worth a flutter – but only for the mega fans, those with a passing interest would do well to pick up the standard edition which is very easy to come by nowadays. It really is one of the few compulsory classic albums every collection should have.
Faith No More Angel Dust Deluxe 2 CD gatefold
In 1992 Faith No More were at the top of their game. Exciting, energetic and challenging, within a Heavy Alternative Rock frame. Not quite the lambasted Heavy Metal of the era, but the heavier side of Rock and Pop. Angel Dust was a great example of that. Mike Patton the new lead singer’s first real artistic input it was the perfect balance of heavy rock and indie. A surprising sound that appealed to both Heavy Metal fans and indie listeners. The wall of sound they presented was enthralling and hugely popular at the time. By 2015, when this Deluxe reissue came out, they felt largely irrelevant and any excitement about another reformation seemed to be purely nostalgia, rather than having creative potential. This reissue seems to reinforce that stasis.
Further to that this is a pleasant package with the usual gatefold, booklet and photos in chronological order but bonus music is not great. It mainly consists of live tracks from Munich and Dekalb in 1992 (with one St Louis track randomly in the latter setlist). Most of these were already on bootleg and were, to my ear at least, undistinguished gigs. I saw the band a few times in the UK during this era and any live set was an enthralling experience, but that does not jump out on the songs selected. Instead they sound muddy, not clear cut and new – which in 1992 Angel Dust was. The one outtake plus six mixes and b sides, are all high calibre, but will not leave fans salivating. This set merely feels like a record company cash in and not fan’s choice.
In 1992 Faith No More were at the top of their game. Exciting, energetic and challenging, within a Heavy Alternative Rock frame. Not quite the lambasted Heavy Metal of the era, but the heavier side of Rock and Pop. Angel Dust was a great example of that. Mike Patton the new lead singer’s first real artistic input it was the perfect balance of heavy rock and indie. A surprising sound that appealed to both Heavy Metal fans and indie listeners. The wall of sound they presented was enthralling and hugely popular at the time. By 2015, when this Deluxe reissue came out, they felt largely irrelevant and any excitement about another reformation seemed to be purely nostalgia, rather than having creative potential. This reissue seems to reinforce that stasis.
Further to that this is a pleasant package with the usual gatefold, booklet and photos in chronological order but bonus music is not great. It mainly consists of live tracks from Munich and Dekalb in 1992 (with one St Louis track randomly in the latter setlist). Most of these were already on bootleg and were, to my ear at least, undistinguished gigs. I saw the band a few times in the UK during this era and any live set was an enthralling experience, but that does not jump out on the songs selected. Instead they sound muddy, not clear cut and new – which in 1992 Angel Dust was. The one outtake plus six mixes and b sides, are all high calibre, but will not leave fans salivating. This set merely feels like a record company cash in and not fan’s choice.
Bob Dylan Trouble No More Deluxe 9 CD/DVD (and Vinyl Edition)
Trouble. No, more trouble: "Ever get the feeling you've been cheated?" ...
Over the last few months I have been salivating at the thought of this set. I ended up splurging out on both the Vinyl (with 2 CD) and the 8 CD Deluxe set of live music which includes a newly produced DVD of ‘Trouble No More: A Documentary’. Both sets are consciously and conscientious packaged as pieces of art, documenting the truly amazing ‘conversion’ era performances from a genius musician and lyricist. The energy, vitality and sincerity of this period’s sets are unassailable, surely without question. Dylan proves he is not the ‘Prophet of Profit’, rather a committed, devoted convert. Every single musician he toured and recorded with was selected for their abilities, rather than their devotion to the Lord or their proclivity for drugs or camaraderie (see Rolling Thunder tour). Although the backing singers, as well as being exceptional talented, also had an aesthetic appeal to Dylan himself – his penchant for African American women (including some of those backing singers) is the stuff of legend. Despite this extra dynamic their talents and performing abilities are unquestionable and come through in droves on this set.
Nowadays the music on these sets are easy to come by. I had an illegal download of the 8 CDs (and the film) since its release in 2017. The set excited me though for the extra essays and the entire package. However, I have to say I was a bit disappointed. Not in the music, the fact is that it is vibrant and energetic and a brilliant track selection, comes across on any format. But the extra items, especially in today’s digital age, should have added value. Instead a broad selection of glossy photographs and a couple of short essays don’t really merit the money Columbia were asking for these sets first hand. It does include some great and unseen photos of Dylan and the touring ensemble, including Mark Knopfler and other great session musicians, but in the digital age I was expecting more of the contents. There is an amazing wealth of great music to call on but so many other errors of judgement seem to imply a lack of care in the final product. Why, for example, is the CD ‘Live at Earls Court’, recorded on 27th June, encased in packaging replicating the ticket for 28th June show? I acknowledge it might be aesthetic as for the two dates the tickets were different colours, but it is symptomatic of where there could, and should, have been more thought; It is this though which is the little extra expected in ‘Deluxe’ sets. Likewise, the conversion essay by Penn Jillette is, according to his own text, prompted by this commission in 2017 and that at the time he was pointedly not a fan of this seismic shift in 1978. Paul Williams (now deceased) would have been far better placed or someone of a similar stature.* Though that essay does make a great point. "Dylan's gospel music is stronger than my lack of faith”, managing, in the process, to make the essay about Penn's own failings not directly Bob’s greatness.
The photobook is good, but not worth the extra money demanded for this collection. All the essays are included in the standard release. Instead a detailed contextual analysis would have been ideal. Perhaps I had been spoilt, having read Clinton Heylin’s sharp and well researched Trouble in Mind, as he puts it a kind of ‘companion piece’ to this set (see review elsewhere). The music is still a revelation, just listen to the never released “Ain’t Gonna Go To Hell For Anybody”, to name but one of many, but the set could have included more background and context and less gloss in its packaging. Whilst interesting food for thought, rather than direct criticism, is the fact that the set and the songs would, or may, have benefited from the long contextual ramblings Dylan preceded them with before each performance. These have all been edited out – and are only available on the various often ropey bootlegs of the era.
Personally I was left with the feeling that if I was a Dylan fan only and a completest this would sit alongside the matching Bootleg Series Volumes 1 – 12 (and now Volume 14 More Blood, More Tracks.) but as a stand-alone item it is pleasant but not the emotional investment I was hoping for. Overall though it is disappointing not in the music but in the lost potential that this set should and could have offered in juicy extras.
*Post Script – After writing this review I have since discovered that the author of the main, disappointing, essay is also one half of Penn and Teller the famous 1990s magician duo. So this compounds the disappointment that the core essay was written not by a music historian and specialist but merely a celebrity filler – or at least that is how it reads to me. I strongly suspect the completest in me may be won over by the desire to put my money to better use – I will be selling this on.
Trouble. No, more trouble: "Ever get the feeling you've been cheated?" ...
Over the last few months I have been salivating at the thought of this set. I ended up splurging out on both the Vinyl (with 2 CD) and the 8 CD Deluxe set of live music which includes a newly produced DVD of ‘Trouble No More: A Documentary’. Both sets are consciously and conscientious packaged as pieces of art, documenting the truly amazing ‘conversion’ era performances from a genius musician and lyricist. The energy, vitality and sincerity of this period’s sets are unassailable, surely without question. Dylan proves he is not the ‘Prophet of Profit’, rather a committed, devoted convert. Every single musician he toured and recorded with was selected for their abilities, rather than their devotion to the Lord or their proclivity for drugs or camaraderie (see Rolling Thunder tour). Although the backing singers, as well as being exceptional talented, also had an aesthetic appeal to Dylan himself – his penchant for African American women (including some of those backing singers) is the stuff of legend. Despite this extra dynamic their talents and performing abilities are unquestionable and come through in droves on this set.
Nowadays the music on these sets are easy to come by. I had an illegal download of the 8 CDs (and the film) since its release in 2017. The set excited me though for the extra essays and the entire package. However, I have to say I was a bit disappointed. Not in the music, the fact is that it is vibrant and energetic and a brilliant track selection, comes across on any format. But the extra items, especially in today’s digital age, should have added value. Instead a broad selection of glossy photographs and a couple of short essays don’t really merit the money Columbia were asking for these sets first hand. It does include some great and unseen photos of Dylan and the touring ensemble, including Mark Knopfler and other great session musicians, but in the digital age I was expecting more of the contents. There is an amazing wealth of great music to call on but so many other errors of judgement seem to imply a lack of care in the final product. Why, for example, is the CD ‘Live at Earls Court’, recorded on 27th June, encased in packaging replicating the ticket for 28th June show? I acknowledge it might be aesthetic as for the two dates the tickets were different colours, but it is symptomatic of where there could, and should, have been more thought; It is this though which is the little extra expected in ‘Deluxe’ sets. Likewise, the conversion essay by Penn Jillette is, according to his own text, prompted by this commission in 2017 and that at the time he was pointedly not a fan of this seismic shift in 1978. Paul Williams (now deceased) would have been far better placed or someone of a similar stature.* Though that essay does make a great point. "Dylan's gospel music is stronger than my lack of faith”, managing, in the process, to make the essay about Penn's own failings not directly Bob’s greatness.
The photobook is good, but not worth the extra money demanded for this collection. All the essays are included in the standard release. Instead a detailed contextual analysis would have been ideal. Perhaps I had been spoilt, having read Clinton Heylin’s sharp and well researched Trouble in Mind, as he puts it a kind of ‘companion piece’ to this set (see review elsewhere). The music is still a revelation, just listen to the never released “Ain’t Gonna Go To Hell For Anybody”, to name but one of many, but the set could have included more background and context and less gloss in its packaging. Whilst interesting food for thought, rather than direct criticism, is the fact that the set and the songs would, or may, have benefited from the long contextual ramblings Dylan preceded them with before each performance. These have all been edited out – and are only available on the various often ropey bootlegs of the era.
Personally I was left with the feeling that if I was a Dylan fan only and a completest this would sit alongside the matching Bootleg Series Volumes 1 – 12 (and now Volume 14 More Blood, More Tracks.) but as a stand-alone item it is pleasant but not the emotional investment I was hoping for. Overall though it is disappointing not in the music but in the lost potential that this set should and could have offered in juicy extras.
*Post Script – After writing this review I have since discovered that the author of the main, disappointing, essay is also one half of Penn and Teller the famous 1990s magician duo. So this compounds the disappointment that the core essay was written not by a music historian and specialist but merely a celebrity filler – or at least that is how it reads to me. I strongly suspect the completest in me may be won over by the desire to put my money to better use – I will be selling this on.
Bruce Springsteen - Springsteen on Broadway DVD and 2 CD set
Some artists are changeable, chameleon-like and often, with that, theatrical. Bruce Springsteen, or the artists and stage persona associated with that recording artist is, in the public eye at least, none of these things. He presents a well-controlled image of a hard-working, blue collar hero of the people who performs high end blues rock. An all American rock hero, no indulgent frivolous nonsense, merely roots ‘rock n’ roll’. So when I heard he had ‘done Broadway’ my first thought was it must have been a Jukebox musical like so many other West End shows. The story familiar to The Buddy Holly Story, the Abba Story, in the vein of We Will Rock You or Mamma Mia: Produced perhaps with the artist’s consent, telling the story of an all American boy from rags to riches – climaxing of course in his most popular anthem ‘Born in the USA’. Anything else would have appeared out of ‘character’. But instead this set, now available to watch on Netflix along with full soundtrack CD, is Bruce Springsteen the individual in full, consummate theatrical mode. Perhaps I should not have been surprised. His wry awareness of his own constructed nature as a rock musician, as a blue collar hero, and as an icon comes across here. In the popular imagination, as much as ‘Born in the USA’ is a celebration of his blue collar persona, it is also deceptively upbeat with lyrics structured around the harsh realities of domestic unemployment and the ravages of the Vietnam war. As Springsteen relates it, the USA into which the protagonist was born has no redeeming qualities despite the celebratory panache of the anthemic chorus. Such dark rumblings are expressly stated in the overly long introduction to an acapella version of the song on this set. Usually though the song introductions on this one-man show are the perfect length and perfect context for the great music to follow. The viewer is truly invested in the songs from the outset and their context adds the folk show intimacy to proceedings. I was emotionally involved from the outset. ‘Growin’ Up’ is brilliantly reinterpreted. Perhaps not surprisingly this autobiographical narrative centres around his 'story' with vignettes about his father, mother, his first introduction to the other life that rock n roll could offer, his movement away from his home town, his love of his band etc all part of this performance. For this reason perhaps it focuses disproportionately on the earlier albums, though even ‘The Ghost of Tom Joad’ from eponymous 1995 album and ‘The Rising’ from post 9-11 hold their own against this deeply evocative back catalogue. It is perhaps tellingly that there is nothing from the less successful 1992 double bill Lucky Town or Human Touch.
If you can look beyond the constructed nature of the faux sincerity, the self-deprecating humour alongside self-absorbed importance (“Jersey Shore …. I invented it”) this is an admirable attempt to present ‘Another Side of Bruce Springsteen’. Acknowledging this persona as part of the performance whilst also investing it with sincerity and pathos - a fine balancing act that he pulls off with emotional aplomb. A construct, like all of his (or any performers) presentations, but an entertaining and genuinely emotional one nonetheless.
Some artists are changeable, chameleon-like and often, with that, theatrical. Bruce Springsteen, or the artists and stage persona associated with that recording artist is, in the public eye at least, none of these things. He presents a well-controlled image of a hard-working, blue collar hero of the people who performs high end blues rock. An all American rock hero, no indulgent frivolous nonsense, merely roots ‘rock n’ roll’. So when I heard he had ‘done Broadway’ my first thought was it must have been a Jukebox musical like so many other West End shows. The story familiar to The Buddy Holly Story, the Abba Story, in the vein of We Will Rock You or Mamma Mia: Produced perhaps with the artist’s consent, telling the story of an all American boy from rags to riches – climaxing of course in his most popular anthem ‘Born in the USA’. Anything else would have appeared out of ‘character’. But instead this set, now available to watch on Netflix along with full soundtrack CD, is Bruce Springsteen the individual in full, consummate theatrical mode. Perhaps I should not have been surprised. His wry awareness of his own constructed nature as a rock musician, as a blue collar hero, and as an icon comes across here. In the popular imagination, as much as ‘Born in the USA’ is a celebration of his blue collar persona, it is also deceptively upbeat with lyrics structured around the harsh realities of domestic unemployment and the ravages of the Vietnam war. As Springsteen relates it, the USA into which the protagonist was born has no redeeming qualities despite the celebratory panache of the anthemic chorus. Such dark rumblings are expressly stated in the overly long introduction to an acapella version of the song on this set. Usually though the song introductions on this one-man show are the perfect length and perfect context for the great music to follow. The viewer is truly invested in the songs from the outset and their context adds the folk show intimacy to proceedings. I was emotionally involved from the outset. ‘Growin’ Up’ is brilliantly reinterpreted. Perhaps not surprisingly this autobiographical narrative centres around his 'story' with vignettes about his father, mother, his first introduction to the other life that rock n roll could offer, his movement away from his home town, his love of his band etc all part of this performance. For this reason perhaps it focuses disproportionately on the earlier albums, though even ‘The Ghost of Tom Joad’ from eponymous 1995 album and ‘The Rising’ from post 9-11 hold their own against this deeply evocative back catalogue. It is perhaps tellingly that there is nothing from the less successful 1992 double bill Lucky Town or Human Touch.
If you can look beyond the constructed nature of the faux sincerity, the self-deprecating humour alongside self-absorbed importance (“Jersey Shore …. I invented it”) this is an admirable attempt to present ‘Another Side of Bruce Springsteen’. Acknowledging this persona as part of the performance whilst also investing it with sincerity and pathos - a fine balancing act that he pulls off with emotional aplomb. A construct, like all of his (or any performers) presentations, but an entertaining and genuinely emotional one nonetheless.
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Beyonce Lemonade
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Fortunately not their last, but certainly not their least either.
The Unthanks
Last
This is the fourth album from Newcastle’s finest (behind Busker). Mixing the customary antique Northumberland ballads with songs by Tom Waits, King Crimson and Jon Redfern. Whilst it is not their best album - and will not become it – I am pleased to say following a recent interview with Becky, the title is also not prophetic. The predominant mood is mournful (bordering on suicidal), moving more towards classical strings than on their previous outings. However the sorrow, whilst being dark and foreboding, does manufacture some well timed climaxes on the album. But at points the sombre weighs a bit too much and makes it hard to listen to as a complete unit. Still singing in their distinct Northumberland brogue – especially on the piano heavy track ‘The Gallowgate Lad’ - they manage to make apparently mundane or even just different tracks sound out of the ordinary. With the far grander sound, complete with full band and additional classical instrumentation, they really are perfecting the ominous sound, but also claustrophobic sensation. There is not denying that at points this just doesn’t work – but with these same tunes they will succeed in leaving you transfixed live.
Last
This is the fourth album from Newcastle’s finest (behind Busker). Mixing the customary antique Northumberland ballads with songs by Tom Waits, King Crimson and Jon Redfern. Whilst it is not their best album - and will not become it – I am pleased to say following a recent interview with Becky, the title is also not prophetic. The predominant mood is mournful (bordering on suicidal), moving more towards classical strings than on their previous outings. However the sorrow, whilst being dark and foreboding, does manufacture some well timed climaxes on the album. But at points the sombre weighs a bit too much and makes it hard to listen to as a complete unit. Still singing in their distinct Northumberland brogue – especially on the piano heavy track ‘The Gallowgate Lad’ - they manage to make apparently mundane or even just different tracks sound out of the ordinary. With the far grander sound, complete with full band and additional classical instrumentation, they really are perfecting the ominous sound, but also claustrophobic sensation. There is not denying that at points this just doesn’t work – but with these same tunes they will succeed in leaving you transfixed live.
Whilst Dancing backwards might be a bit harsh, Dancing without moving forward is right unfortunately.
The New York Dolls
Dancing Backwards in High Heels
Aside from the fact that this (my favourite) band are a shadow of their former selves, who were reduced to covering their own songs on the last album (Trash, albeit in a reggae reinterpretation) – they have now stooped one lower – but including a David Johansen solo songs on this one (Funky But Chic). That was a great song – but did not merit a reprise on a Dolls album!
That aside there are still glimpses of dynamite, but I do find myself repeating same opinion as the last one – not earth shattering but a nice pay cheque for the band who missed out on it first time around. Of late they seem to enjoy performing live as well – so this will add fuel – band may also realistically hold their own in the live set, which can’t be bad. But they really aren’t moving forward here.
Dancing Backwards in High Heels
Aside from the fact that this (my favourite) band are a shadow of their former selves, who were reduced to covering their own songs on the last album (Trash, albeit in a reggae reinterpretation) – they have now stooped one lower – but including a David Johansen solo songs on this one (Funky But Chic). That was a great song – but did not merit a reprise on a Dolls album!
That aside there are still glimpses of dynamite, but I do find myself repeating same opinion as the last one – not earth shattering but a nice pay cheque for the band who missed out on it first time around. Of late they seem to enjoy performing live as well – so this will add fuel – band may also realistically hold their own in the live set, which can’t be bad. But they really aren’t moving forward here.
Climb that Hill. keep climbing.
James Walbourne
The Hill
Heavenly
Simplistic rhyming and bordering on the twee English folk at points this album is not earth shattering. Crystal production with clear guitars – gives a slight cosmetic feel to the album. But perhaps it is this mans pedigree and other peoples names who can be used in the same sentence that make this so exceptional. Session musician to the gods (Jim Keltner) on drums on this album whilst Walbourne himself has worked with esteemed musicians such as Jerry Lee Lewis and Richard Thompson in the past. An amazing array of sounds permeates this collection. Throughout the vocals are reminiscent of ray davies vocals – which is not a bad thing. A slant of country on tracks like ‘Sailed the seas’ and ‘Cocaine Eyes’ or the jingle jangle indie guitar of ‘Never going to leave’ show a braod array of tastes and influences.
And yet the eponymous track (the Hill) about Walbournes back yard (Muswell Hill) is a bit hazey and wishey washey.
Highlight is the upbeat Northern Heights. Toe tapping as well as effective –
Also has a timeless folk quality to it – even though it is self penned! (Complete with … sorry to give the game away -… the damsels murder at the end of the song!)
The Hill
Heavenly
Simplistic rhyming and bordering on the twee English folk at points this album is not earth shattering. Crystal production with clear guitars – gives a slight cosmetic feel to the album. But perhaps it is this mans pedigree and other peoples names who can be used in the same sentence that make this so exceptional. Session musician to the gods (Jim Keltner) on drums on this album whilst Walbourne himself has worked with esteemed musicians such as Jerry Lee Lewis and Richard Thompson in the past. An amazing array of sounds permeates this collection. Throughout the vocals are reminiscent of ray davies vocals – which is not a bad thing. A slant of country on tracks like ‘Sailed the seas’ and ‘Cocaine Eyes’ or the jingle jangle indie guitar of ‘Never going to leave’ show a braod array of tastes and influences.
And yet the eponymous track (the Hill) about Walbournes back yard (Muswell Hill) is a bit hazey and wishey washey.
Highlight is the upbeat Northern Heights. Toe tapping as well as effective –
Also has a timeless folk quality to it – even though it is self penned! (Complete with … sorry to give the game away -… the damsels murder at the end of the song!)
Build a Rocket Boys. Fly me to the Moon.
Elbow
Build a Rocket Boys
Overblown stadium rock - the best and worst thing you can say about this is it is listenable. Grandiose strings and overblown sounds don’t make this a classic! – but a stadium heavy album! It doesn’t have the fragility of Asleep at the Wheel or Fugitive Motel – but instead a constructed kind of faux vulnerability. All the tracks merge into one whilst Harvey’s northern sincere vocals wear a bit thin.
However from reports of their recent support slots of stadium tours – I am not sure if this is a success or not!
Build a Rocket Boys
Overblown stadium rock - the best and worst thing you can say about this is it is listenable. Grandiose strings and overblown sounds don’t make this a classic! – but a stadium heavy album! It doesn’t have the fragility of Asleep at the Wheel or Fugitive Motel – but instead a constructed kind of faux vulnerability. All the tracks merge into one whilst Harvey’s northern sincere vocals wear a bit thin.
However from reports of their recent support slots of stadium tours – I am not sure if this is a success or not!
A Folding Hornby Set
Ben Folds & Nick Hornby
Lonely Avenue
Not a new concept – a lyricist and music writer – but when it is two heroic figures of your generation the results could be interesting This is not classic Ben Folds (‘Landed’ / ‘Brick’) but the lyrics are interesting and work well to some of the music.
The concept tracks about individuals are interesting and whet your appetite to know more. ‘Levi Johnston’s Blues’ for example is especially amusing given his recent ‘re’ engagement to Bristol Palin (Sarah Palin’s daughter). Whilst the mini opera of the amusing scribbles of ‘A Working Day’ are apt and what one imagines Nick Hornby goes through everyday. For fans of Ben Folds – this is still very recognisably him more than Hornby - ‘Picture Window’ sounds a bit like ‘Gracie’. Indeed all have catchy riffs and there is a simple beauty that, as with all Ben Folds’s music, can be grating to those who are not fans. (Though personally I would say whatever your opinion - see him live he is electric!)
Lonely Avenue
Not a new concept – a lyricist and music writer – but when it is two heroic figures of your generation the results could be interesting This is not classic Ben Folds (‘Landed’ / ‘Brick’) but the lyrics are interesting and work well to some of the music.
The concept tracks about individuals are interesting and whet your appetite to know more. ‘Levi Johnston’s Blues’ for example is especially amusing given his recent ‘re’ engagement to Bristol Palin (Sarah Palin’s daughter). Whilst the mini opera of the amusing scribbles of ‘A Working Day’ are apt and what one imagines Nick Hornby goes through everyday. For fans of Ben Folds – this is still very recognisably him more than Hornby - ‘Picture Window’ sounds a bit like ‘Gracie’. Indeed all have catchy riffs and there is a simple beauty that, as with all Ben Folds’s music, can be grating to those who are not fans. (Though personally I would say whatever your opinion - see him live he is electric!)
Kasey Chambers (Sexy) Little Bird (that she is)
Kasey Chambers
Little bird
I am a huge fan of Kasey Chambers staccato style country femme fatale. but on first listening – the whine here (and on the previous album Carnival) are wearing thin – but were riveting n The Captain and perfected on Barricades and Brickwalls.
On this album however she seems to be consciously and cynically aiming for catchy chorus’s with songs like ‘Beautiful Mess’ and ‘Someone Like Me’. She has however achieved the catchiness of Sheryl Crow (when she was good) on tracks like ‘This Story’, whilst ‘Love Like a Hurriance’ has aspects of ‘Take It To The Limit’ (The Eagles) and ‘Shine A Light’ (R Stones) ensconced in it.
There is a lot of activity on ‘Down Here On Earth’, and probably translates well live – but her European tours are small affairs so might lose some of the melee of sounds if she tours these songs on this side of the world.
The tracks that really shine however are towards the end of the album. There is a fairytale aspect to the song ‘Nullabor (The Biggest Backyard)’, an exceptional song capturing the vastness of Australia –well written and executed in bush tucker banjo style. This upbeat success is continued with the next couple of tracks – ‘Bring Back My Heart’ and ‘Invisible Girl’. So whilst starting poorly this album certainly gets better. And who knows after few more listens I could end up liking it all!
Little bird
I am a huge fan of Kasey Chambers staccato style country femme fatale. but on first listening – the whine here (and on the previous album Carnival) are wearing thin – but were riveting n The Captain and perfected on Barricades and Brickwalls.
On this album however she seems to be consciously and cynically aiming for catchy chorus’s with songs like ‘Beautiful Mess’ and ‘Someone Like Me’. She has however achieved the catchiness of Sheryl Crow (when she was good) on tracks like ‘This Story’, whilst ‘Love Like a Hurriance’ has aspects of ‘Take It To The Limit’ (The Eagles) and ‘Shine A Light’ (R Stones) ensconced in it.
There is a lot of activity on ‘Down Here On Earth’, and probably translates well live – but her European tours are small affairs so might lose some of the melee of sounds if she tours these songs on this side of the world.
The tracks that really shine however are towards the end of the album. There is a fairytale aspect to the song ‘Nullabor (The Biggest Backyard)’, an exceptional song capturing the vastness of Australia –well written and executed in bush tucker banjo style. This upbeat success is continued with the next couple of tracks – ‘Bring Back My Heart’ and ‘Invisible Girl’. So whilst starting poorly this album certainly gets better. And who knows after few more listens I could end up liking it all!
Clapton, Crap ton more like (ho ho ho - that so original!)
Eric Clapton
Clapton
Great, another album of covers from a (former) legend. Infact this is his 19th studio album. However the album shares the same (obvious) name as one of his 70’s cynical reissues so be careful! That said - the 70’s US Only collection is better than what is on offer here. The collection here is dull, insipid and not overly inspiring. This is more easy listening than challenging unfortunately. Bring back some driving gutsy blues with attitude and the days of excitement that he possessed in the past.
It is not coming off drugs that killed his appetite – but the turgid nature of the tracks he has selected – or at least what he brings to them is very little. The biggest insult but also biggest complement you can give it is it this album is pleasant. On tracks like ‘Rocking Chair’ he brings very little extra – except a deeply moving blues electric guitar solo. Even that borders on formulaic and pretty standard. Indeed most of the songs involve him strumming guitar with token solo – all of which are acceptable but none exceptional. But that before this turns into too critical a slating I am sure it will certainly translate well live and perhaps that is where Eric’s loyalties lie.
Clapton
Great, another album of covers from a (former) legend. Infact this is his 19th studio album. However the album shares the same (obvious) name as one of his 70’s cynical reissues so be careful! That said - the 70’s US Only collection is better than what is on offer here. The collection here is dull, insipid and not overly inspiring. This is more easy listening than challenging unfortunately. Bring back some driving gutsy blues with attitude and the days of excitement that he possessed in the past.
It is not coming off drugs that killed his appetite – but the turgid nature of the tracks he has selected – or at least what he brings to them is very little. The biggest insult but also biggest complement you can give it is it this album is pleasant. On tracks like ‘Rocking Chair’ he brings very little extra – except a deeply moving blues electric guitar solo. Even that borders on formulaic and pretty standard. Indeed most of the songs involve him strumming guitar with token solo – all of which are acceptable but none exceptional. But that before this turns into too critical a slating I am sure it will certainly translate well live and perhaps that is where Eric’s loyalties lie.
Punk sounding Jolly Boys!
THE JOLLY BOYS[FEAT ALBERT MINOTT]
GREAT EXPECTATIONS
An entire album of hit cover versions. Surely this shameless cash in is deserved for a band that have been around for decades. (Though cover versions are often their staple anyway). Some songs work (Hanging on the telephone & Rehab) whilst others are dismal or just a bit boring (Riders on the Storm and Blue Monday)
There is a punk flavour to most of the selection and it does prove that, despite what was said at the time, those songs have the staying power of classics – regardless of the genre they were first written in!
GREAT EXPECTATIONS
An entire album of hit cover versions. Surely this shameless cash in is deserved for a band that have been around for decades. (Though cover versions are often their staple anyway). Some songs work (Hanging on the telephone & Rehab) whilst others are dismal or just a bit boring (Riders on the Storm and Blue Monday)
There is a punk flavour to most of the selection and it does prove that, despite what was said at the time, those songs have the staying power of classics – regardless of the genre they were first written in!
Neil Young, Same Old
Neil Young
Le Noise
Its Neil Young. Distinctive, Whiney voice in the mix and driving guitar. More of the same really – if you like him you’ll like it. Say no more!
Le Noise
Its Neil Young. Distinctive, Whiney voice in the mix and driving guitar. More of the same really – if you like him you’ll like it. Say no more!
Nobody Does It Better.
Rolling Stones
Exile Expanded.
Universal
Contents 2 LP and/or 2 CD + 1 DVD
Album: 5/5
Bonus Tracks: 4/5
What can you say about an album that has been consistently voted one of the best of the 70’s and indeed of all time? The album itself speaks volumes but with the hefty price tag for this new edition is it worth the outlay? Exile is indisputably one of the greatest albums ever issued and this edition features tracks that were previously only available on Bootlegs – including ‘Good Time Women’, ‘Pass The Wine’ & ‘So Divine (Aladdin Story)’. That said, keeping it in perspective ‘Dancing In The Light’ & ‘Following The River’ were not even known to many avid collectors and help to add an overall picture to the band at the time. Ultimately, compared to previous Stones official reissues this is mouth watering, giving you truly something extra for your buck, whilst the other Stones album reissues are all repackaged with nothing extra this does have something extra.
‘Pass The Wine (Sophia Loren)’ has aspects of the reggae and jazz sound about it, but is very similar to the single released to promote the album ‘Plundering My Soul’ (http://www.youtube.com/watch?v=CK6KA4QILUc). ‘Following the River’ is a powerful piano ballad with anthemic qualities of ‘Anybody Seen My Baby?’. But ‘I’m Not Signifying’ has the feel of an unfinished bar room blues number with glimpses of quality. Fortunately the recent additions and adjustments, including extra vocals and guitar, have not been massive. The band have wisely stayed true to the snapshot of the time rather than injected their opinions and experiences nearly forty years later.
Tax exiles and to a degree bloated rock stars of the 1970’s, The Rolling Stones had 2 classics firmly in the bag Let It Bleed (1969) and Sticky Fingers (1971). But with Exile on Main Street the holy trinity of the classic trilogy was complete. To many people’s minds they were never again going to achieve these artistic heights through an entire LP.
This album includes a number of tracks that are still regular live staples such as ‘Tumbling Dice’ and ‘Sweet Virginia’. At the time this was very much a Keith Richards album, mainly recorded in Nellicote, in the mansion he owned in the south of France. For example he alone recorded the whole of ‘Happy’, vocals and all.
Perhaps do yourself a favour and spend the money on getting a piece of history - the original heavy duty vinyl (not 80’s reissue) with original gatefold packaging plus postcards and just download the extra tracks.
Exile on Main Street is available in three formats: the original 18-track LP; a deluxe CD edition with the 10 bonus tracks and a super deluxe package that also includes a vinyl version, a documentary DVD and a 50-page collector's photo book.
James Masterson
James Masterson also contributed to the Genesis Exile publication: http://www.genesis-publications.com/product/exile/deluxe
Exile Expanded.
Universal
Contents 2 LP and/or 2 CD + 1 DVD
Album: 5/5
Bonus Tracks: 4/5
What can you say about an album that has been consistently voted one of the best of the 70’s and indeed of all time? The album itself speaks volumes but with the hefty price tag for this new edition is it worth the outlay? Exile is indisputably one of the greatest albums ever issued and this edition features tracks that were previously only available on Bootlegs – including ‘Good Time Women’, ‘Pass The Wine’ & ‘So Divine (Aladdin Story)’. That said, keeping it in perspective ‘Dancing In The Light’ & ‘Following The River’ were not even known to many avid collectors and help to add an overall picture to the band at the time. Ultimately, compared to previous Stones official reissues this is mouth watering, giving you truly something extra for your buck, whilst the other Stones album reissues are all repackaged with nothing extra this does have something extra.
‘Pass The Wine (Sophia Loren)’ has aspects of the reggae and jazz sound about it, but is very similar to the single released to promote the album ‘Plundering My Soul’ (http://www.youtube.com/watch?v=CK6KA4QILUc). ‘Following the River’ is a powerful piano ballad with anthemic qualities of ‘Anybody Seen My Baby?’. But ‘I’m Not Signifying’ has the feel of an unfinished bar room blues number with glimpses of quality. Fortunately the recent additions and adjustments, including extra vocals and guitar, have not been massive. The band have wisely stayed true to the snapshot of the time rather than injected their opinions and experiences nearly forty years later.
Tax exiles and to a degree bloated rock stars of the 1970’s, The Rolling Stones had 2 classics firmly in the bag Let It Bleed (1969) and Sticky Fingers (1971). But with Exile on Main Street the holy trinity of the classic trilogy was complete. To many people’s minds they were never again going to achieve these artistic heights through an entire LP.
This album includes a number of tracks that are still regular live staples such as ‘Tumbling Dice’ and ‘Sweet Virginia’. At the time this was very much a Keith Richards album, mainly recorded in Nellicote, in the mansion he owned in the south of France. For example he alone recorded the whole of ‘Happy’, vocals and all.
Perhaps do yourself a favour and spend the money on getting a piece of history - the original heavy duty vinyl (not 80’s reissue) with original gatefold packaging plus postcards and just download the extra tracks.
Exile on Main Street is available in three formats: the original 18-track LP; a deluxe CD edition with the 10 bonus tracks and a super deluxe package that also includes a vinyl version, a documentary DVD and a 50-page collector's photo book.
James Masterson
James Masterson also contributed to the Genesis Exile publication: http://www.genesis-publications.com/product/exile/deluxe
Saul Hudson, with everyone else!
SLASH
Slash
Roadrunner
Having publicly fallen out with lead singers of Guns ‘n’ Roses and Velvet Revolver (and having worked his way through two singers for his own Snakepit), Slash has had a remarkable problem keeping front men under control. So perhaps a solo album was a predictable move. But he has done well in ensuring this is not a pure guitarists’ album. An all star line up of vocalists does not make for a consistent piece of work, indeed some of the songs wouldn’t be out of place on the singers’ own band albums, and therein lies the real problem with this collection. Ian Astbury’s contribution sounds like a Cult album track, whilst the Ozzy Osbourne sounds like one of his cosmetic solo tracks as opposed to his classic Sabbath material. The only real exception being the Kid Rock song (‘I Hold On’) which sounds like it came straight out of an Aerosmith studio.
A classic line up – but ultimately nothing exceptional – the stand out track is certainly the one featuring the tinny screech of the Black Eyed Pea Fergie. Not just because of the ‘jump out and grab ya vocals’, on ‘Beautiful Dangerous’ but also the brilliant Slash solo. And you can’t help but wonder how Axl’s vocals would have sounded on ‘Promise’ (instead of Chris Cornell). You can hear on ‘Saint Is A Sinner Too’ why Slash may have felt Thom Yorke would have been ideally suited. Instead he went for the similarly waifish but distinctive vocals of the relatively obscure Rocco Deluca.
Though Slash has never strayed too far from a Guns ‘n’ Roses formula with his mainstream releases, and with his musical partners, what is done is well executed and well produced. All songs are co-authored with Slash writing the riffs and tunes and forwarding it to each singer to add their own mould.
M. Shadow’s (Avenged Sevenfold) ‘Nothing To Say’ is a classic rock song in the vein of Iron Maiden. Aside from the Fergie song, the only one that has single material is Adam Levine (Maroon 5) for ‘Gotten’. You can just hear Maroon 5’s massive hit (and creepy number) ‘She Will Be Loved’ but the track does has a catchy guitar loop in the vein of ‘Don’t Cry’ (in fact mainly written by his cohort in GnR Izzy Stradlin’ – the only other guitarist to feature on the album).
There is a strutting punk swagger to ‘We’re All Gonna Die’ featuring Iggy Pop. But unfortunately the lyrics are simplistic and lazy on this track especially (‘We’re All gonna die, so lets get high’ please?!).With the super group Them Crooked Vultures in full swing at the moment comparisons between that and the Zeppelin-esque ‘Watch This’, featuring Dave Grohl, are unavoidable.
Myles Kennedy is the only person to be featured on more than one song on the album's standard song listing (‘Back From Cali’ and ‘Starlight’)– and this is perhaps not surprising seeing as he will be the consistent lead singer for this summer’s tour. ‘Starlight’ sounds like a Rod Stewart tune but builds to a great anthemic rock song and probably rousing live. Both songs work well and wouldn’t be out of place on a Velvet Revolver album. How this will work live remains to be seen at Vicar Street in June.
This is a collectors’ nightmare or marketing man’s dream. Completists of Black Sabbath, the Cult, The Red Hot Chili Peppers amongst many others will want copies of the song that their members feature on. Before you even get into the limited editions with bonus tracks across different continents!
Overall a well produced (Eric Valentine Good Charlotte, Nickelback, Queens of the Stone Age) and well executed classic rock album.
Slash
Roadrunner
Having publicly fallen out with lead singers of Guns ‘n’ Roses and Velvet Revolver (and having worked his way through two singers for his own Snakepit), Slash has had a remarkable problem keeping front men under control. So perhaps a solo album was a predictable move. But he has done well in ensuring this is not a pure guitarists’ album. An all star line up of vocalists does not make for a consistent piece of work, indeed some of the songs wouldn’t be out of place on the singers’ own band albums, and therein lies the real problem with this collection. Ian Astbury’s contribution sounds like a Cult album track, whilst the Ozzy Osbourne sounds like one of his cosmetic solo tracks as opposed to his classic Sabbath material. The only real exception being the Kid Rock song (‘I Hold On’) which sounds like it came straight out of an Aerosmith studio.
A classic line up – but ultimately nothing exceptional – the stand out track is certainly the one featuring the tinny screech of the Black Eyed Pea Fergie. Not just because of the ‘jump out and grab ya vocals’, on ‘Beautiful Dangerous’ but also the brilliant Slash solo. And you can’t help but wonder how Axl’s vocals would have sounded on ‘Promise’ (instead of Chris Cornell). You can hear on ‘Saint Is A Sinner Too’ why Slash may have felt Thom Yorke would have been ideally suited. Instead he went for the similarly waifish but distinctive vocals of the relatively obscure Rocco Deluca.
Though Slash has never strayed too far from a Guns ‘n’ Roses formula with his mainstream releases, and with his musical partners, what is done is well executed and well produced. All songs are co-authored with Slash writing the riffs and tunes and forwarding it to each singer to add their own mould.
M. Shadow’s (Avenged Sevenfold) ‘Nothing To Say’ is a classic rock song in the vein of Iron Maiden. Aside from the Fergie song, the only one that has single material is Adam Levine (Maroon 5) for ‘Gotten’. You can just hear Maroon 5’s massive hit (and creepy number) ‘She Will Be Loved’ but the track does has a catchy guitar loop in the vein of ‘Don’t Cry’ (in fact mainly written by his cohort in GnR Izzy Stradlin’ – the only other guitarist to feature on the album).
There is a strutting punk swagger to ‘We’re All Gonna Die’ featuring Iggy Pop. But unfortunately the lyrics are simplistic and lazy on this track especially (‘We’re All gonna die, so lets get high’ please?!).With the super group Them Crooked Vultures in full swing at the moment comparisons between that and the Zeppelin-esque ‘Watch This’, featuring Dave Grohl, are unavoidable.
Myles Kennedy is the only person to be featured on more than one song on the album's standard song listing (‘Back From Cali’ and ‘Starlight’)– and this is perhaps not surprising seeing as he will be the consistent lead singer for this summer’s tour. ‘Starlight’ sounds like a Rod Stewart tune but builds to a great anthemic rock song and probably rousing live. Both songs work well and wouldn’t be out of place on a Velvet Revolver album. How this will work live remains to be seen at Vicar Street in June.
This is a collectors’ nightmare or marketing man’s dream. Completists of Black Sabbath, the Cult, The Red Hot Chili Peppers amongst many others will want copies of the song that their members feature on. Before you even get into the limited editions with bonus tracks across different continents!
Overall a well produced (Eric Valentine Good Charlotte, Nickelback, Queens of the Stone Age) and well executed classic rock album.
CCR - truly superb collection!
Creedence Clearwater Revival
The Singles Collection
Theirs are iconic songs that have gone on to be covered by a whole host of artists – from Tina Turner (‘Proud Mary’ http://www.youtube.com/watch?v=XfyEpmQM7bw) to Nirvana (‘Bad Moon Rising’). Indeed the band were pivotal in shaping the music of future generations across many genres: ‘Up Around The Bend’ (http://www.youtube.com/watch?v=BnRsaHXHznQ) was to go on to be a hit single for Hanoi Rocks whilst Bonnie Tyler to REM have covered the rousing ‘Have You Ever Seen The Rain?’ (http://www.youtube.com/watch?v=TS9_ipu9GKw). But for those unfamiliar with Creedence Clearwater Revival: they were a country rock group not unlike The Band, with a strong (and egotistical) key member. Brainchild of John Fogerty (lead vocalist, lead guitarist, and primary songwriter) CCR were a hugely successful band of the late 60’s and early 70’s. Their singles were spread pretty evenly over their 7 albums but really were the strongest tracks from each of the albums, so for that alone this collection is essential listening. This nicely packaged collection itself includes all their singles, with B sides – in chronological order (along with a poster and DVD). The only item missing is their later single and #1 hit in Mexico in 1970 ‘Cotton fields’.
The booklet is a bit ‘light’ on text for true fans, and the sleeve images are recycled on the poster and booklet, but as a taster this near complete collection offers a great insight to a classic singles band. This is a truly masterful collection of songs crafted by a great song smith and this anthology acts as a reminder of the great music that was happening in America at the cusp of the 1970’s.
All this collection is in mono (except posthumously released ‘Revolutions Per Minute’) but they still have a cracking sound.
Despite Fogerty’s superb song writing this selection also includes a healthy number of interpretations of others songs including ‘I Heard It Through The Grapevine’ (http://www.youtube.com/watch?v=zZe9OtFNt_8) and even their early work as the terribly named ‘The Golliwogs’ - though it wasn’t until Fogerty started penning songs that they began regularly hitting the charts.
The poster is of all the US sleeves plus a selection of international ones. To top that off there is a DVD and although the music videos look stayed by today standards, the songs are still as sharp as ever. But do check out their psychedelic video for their cover of Screaming Jay Hawkin’s I Put A Spell On You (http://www.youtube.com/watch?v=4R6nmKjcSeU)
The Singles Collection
Theirs are iconic songs that have gone on to be covered by a whole host of artists – from Tina Turner (‘Proud Mary’ http://www.youtube.com/watch?v=XfyEpmQM7bw) to Nirvana (‘Bad Moon Rising’). Indeed the band were pivotal in shaping the music of future generations across many genres: ‘Up Around The Bend’ (http://www.youtube.com/watch?v=BnRsaHXHznQ) was to go on to be a hit single for Hanoi Rocks whilst Bonnie Tyler to REM have covered the rousing ‘Have You Ever Seen The Rain?’ (http://www.youtube.com/watch?v=TS9_ipu9GKw). But for those unfamiliar with Creedence Clearwater Revival: they were a country rock group not unlike The Band, with a strong (and egotistical) key member. Brainchild of John Fogerty (lead vocalist, lead guitarist, and primary songwriter) CCR were a hugely successful band of the late 60’s and early 70’s. Their singles were spread pretty evenly over their 7 albums but really were the strongest tracks from each of the albums, so for that alone this collection is essential listening. This nicely packaged collection itself includes all their singles, with B sides – in chronological order (along with a poster and DVD). The only item missing is their later single and #1 hit in Mexico in 1970 ‘Cotton fields’.
The booklet is a bit ‘light’ on text for true fans, and the sleeve images are recycled on the poster and booklet, but as a taster this near complete collection offers a great insight to a classic singles band. This is a truly masterful collection of songs crafted by a great song smith and this anthology acts as a reminder of the great music that was happening in America at the cusp of the 1970’s.
All this collection is in mono (except posthumously released ‘Revolutions Per Minute’) but they still have a cracking sound.
Despite Fogerty’s superb song writing this selection also includes a healthy number of interpretations of others songs including ‘I Heard It Through The Grapevine’ (http://www.youtube.com/watch?v=zZe9OtFNt_8) and even their early work as the terribly named ‘The Golliwogs’ - though it wasn’t until Fogerty started penning songs that they began regularly hitting the charts.
The poster is of all the US sleeves plus a selection of international ones. To top that off there is a DVD and although the music videos look stayed by today standards, the songs are still as sharp as ever. But do check out their psychedelic video for their cover of Screaming Jay Hawkin’s I Put A Spell On You (http://www.youtube.com/watch?v=4R6nmKjcSeU)
Dan Sartain, Is he Sane?
Dan Sartain
Lives
The charismatic Rockabilly hero (albeit sometimes complete with a creepy pencil moustache) Dan Sartain returns with his dark take on life. Produced by Liam Watson this is Dan’s fourth album (but try and get the limited release ones!). His music is a cross between the more sombre aspects of The Cure and The Stray Cats. This album continues where Join Dan Sartain left off with short snappy 2 minute humourous rockabilly – perhaps with a bit more grit this time. Indeed, it is more reminiscent, at points, of the fantastic 60’s garage bands like ? & the Mysterians. There is the recurring theme of questioning and challenging religion, most clearly on ‘Prayin’ For A Miracle’ or the lead single ‘Atheist Funeral’ (http://www.youtube.com/watch?v=DqANJYnenHg).
All the songs are relatively simple but always intense, fast paced psychedelic rockabilly from one of America’s strangest characters! Perhaps not surprisingly, with an album 30 minutes in length but with a full 13 tracks, the songs themselves don’t really get a chance to come into their own before they finish, which can be frustrating as they lack the completeness of a punk tune. That said the catchiness of ‘Voo-Doo’ with the anthemic ‘you do voodoo’ lyric is exciting and will translate well live (maybe in May this year). But with funny tracks like ‘Yes Men’ you need no more time to get the joke.
To see another track from the album - Ruby Carol (http://www.youtube.com/watch?v=5rEyH2zPytE&feature=related)
Lives
The charismatic Rockabilly hero (albeit sometimes complete with a creepy pencil moustache) Dan Sartain returns with his dark take on life. Produced by Liam Watson this is Dan’s fourth album (but try and get the limited release ones!). His music is a cross between the more sombre aspects of The Cure and The Stray Cats. This album continues where Join Dan Sartain left off with short snappy 2 minute humourous rockabilly – perhaps with a bit more grit this time. Indeed, it is more reminiscent, at points, of the fantastic 60’s garage bands like ? & the Mysterians. There is the recurring theme of questioning and challenging religion, most clearly on ‘Prayin’ For A Miracle’ or the lead single ‘Atheist Funeral’ (http://www.youtube.com/watch?v=DqANJYnenHg).
All the songs are relatively simple but always intense, fast paced psychedelic rockabilly from one of America’s strangest characters! Perhaps not surprisingly, with an album 30 minutes in length but with a full 13 tracks, the songs themselves don’t really get a chance to come into their own before they finish, which can be frustrating as they lack the completeness of a punk tune. That said the catchiness of ‘Voo-Doo’ with the anthemic ‘you do voodoo’ lyric is exciting and will translate well live (maybe in May this year). But with funny tracks like ‘Yes Men’ you need no more time to get the joke.
To see another track from the album - Ruby Carol (http://www.youtube.com/watch?v=5rEyH2zPytE&feature=related)
Rounder Records 40th Anniversary Concert
Rounder Records 40th Anniversary Concert
Rounder
The title to this collection is a bit of a misnomer – whilst it is based around the roots of a performance at the Grand Old Opry House, some of the artists also donated tracks from their live collections elsewhere, including Robert Plant / Alison Krauss from their MTV performance. Overall there is a country flavour to the compilation that borders on the easy listening or lounge room lazy, a sound that Rounder has gradually moved to in recent year. Just listen to Mary Chapin Carpenter’s ‘Why Shouldn’t We’ (http://www.youtube.com/watch?v=830BXw_tb8E) or Minnie Driver’s ‘Beloved’ (http://www.youtube.com/watch?v=W3LA9klGKpI). And essentially that is this main problem with this collection: it is less a celebration spanning 40 years and more a collection of successful artists on Rounder of the last 10 years, a snapshot of Rounder at their 40th year. None of the historic classics that have been responsible for Rounder’s place in history are included, instead tracks by a cross range of artists who have seen success in recent decades. There are classic songs on this album written by, amongst others, John Fogarty (‘River Is Waiting’ performed by the legendary Irma Thomas) and Leonhard Cohen (‘Dance Me To The End Of Love’ by Madeleine Peyroux). There is however also a fair share of insipid, but quality, country bluegrass (Alison Krauss and Union Station) and Creole (Nathan & The Zydeco Cha Cha’s) that the label has moved to and not a celebration of all that has gone before e.g. Mississippi John Hurt or the Wainwrights (Loudon or Martha). Perhaps because it is a ‘live’ concert collection that was to be expected, but covers of tracks by some of the many diverse artists they have had on the label would have been appealing. Early George Thorogood, or Clarence Gatemouth Brown, or even interpretations of the tracks Alan Lomax first recorded for posterity all compiled together, would have made for a fascinating aural experience. Ultimately the biggest appeal for this side of the Atlantic (aside from the Country obsession in some area’s of the Midlands) is probably the live guest slot of Alison Krauss and Robert Plant. But unlike last year’s behemoth of their British contemporary, Topic’s 7 CD package celebrating 70 years (http://www.topicrecords.co.uk/acatalog/index2.html), this is just a slick compilation of contemporary country artists and not a must have.
Rounder
The title to this collection is a bit of a misnomer – whilst it is based around the roots of a performance at the Grand Old Opry House, some of the artists also donated tracks from their live collections elsewhere, including Robert Plant / Alison Krauss from their MTV performance. Overall there is a country flavour to the compilation that borders on the easy listening or lounge room lazy, a sound that Rounder has gradually moved to in recent year. Just listen to Mary Chapin Carpenter’s ‘Why Shouldn’t We’ (http://www.youtube.com/watch?v=830BXw_tb8E) or Minnie Driver’s ‘Beloved’ (http://www.youtube.com/watch?v=W3LA9klGKpI). And essentially that is this main problem with this collection: it is less a celebration spanning 40 years and more a collection of successful artists on Rounder of the last 10 years, a snapshot of Rounder at their 40th year. None of the historic classics that have been responsible for Rounder’s place in history are included, instead tracks by a cross range of artists who have seen success in recent decades. There are classic songs on this album written by, amongst others, John Fogarty (‘River Is Waiting’ performed by the legendary Irma Thomas) and Leonhard Cohen (‘Dance Me To The End Of Love’ by Madeleine Peyroux). There is however also a fair share of insipid, but quality, country bluegrass (Alison Krauss and Union Station) and Creole (Nathan & The Zydeco Cha Cha’s) that the label has moved to and not a celebration of all that has gone before e.g. Mississippi John Hurt or the Wainwrights (Loudon or Martha). Perhaps because it is a ‘live’ concert collection that was to be expected, but covers of tracks by some of the many diverse artists they have had on the label would have been appealing. Early George Thorogood, or Clarence Gatemouth Brown, or even interpretations of the tracks Alan Lomax first recorded for posterity all compiled together, would have made for a fascinating aural experience. Ultimately the biggest appeal for this side of the Atlantic (aside from the Country obsession in some area’s of the Midlands) is probably the live guest slot of Alison Krauss and Robert Plant. But unlike last year’s behemoth of their British contemporary, Topic’s 7 CD package celebrating 70 years (http://www.topicrecords.co.uk/acatalog/index2.html), this is just a slick compilation of contemporary country artists and not a must have.
Deep thinking Comedy musician produces a great little number.
Dan Reeder
This New Century
Oh Boy
3/5
Introverted American recording artist Dan Reeder is hardly prolific. This is only his third album in six years. However this album is different from the others and show’s a clear direction in his journey through life. But the consistently funny, witty nature of a lot of Reeder’s work runs deep through this as well. At points it may be almost pleasant background music that gives you a laugh, but listen closer and there are the workings of a clever writer and performer. He is observational in the vein of the Flight of The Conchords, though a little less obvious and more subtle. His humour has more than Cledus T Judd or other slap stick ‘comedy’ musicians (but not quite as sharp as Weird Al Jankovich). There is an element of puerile humour (‘She Won’t Even Blow’), but there is also a dash of witty observation (Beachball: ‘The weak spot on a beach ball is the valve, if you don’t count the smell’). His calming deep voice could be put to good use on longer songs (all the songs are less than 3-30 minutes) with perhaps greater pun intensity and a little less one joke tunes.
A bit darker and less upbeat (also less sexual) than his last album (Sweetheart) overall the album works well. The highlight track to listen to though has to be ‘Maybe’ – an intimate light observation on life with a very simple but effective structure.
As an album it is worth a flutter but may tire after a few listens.
http://danreeder.com/post/315594807/music
38 wait, ready steady, collectors korner
Christie Hennessy
Christie Hennessy (aka The Green Album)
H & I Music
HANDI03
3/5
It has been a long time coming, but some 38 years after its original release, Christie Hennessy, or ‘The Green Album’, an album that has entered into folk legend status, has finally been officially released on Compact Disc. The original vinyl was and is highly sought after and some of the original 500 copies have changed hands for hundreds of pounds. Hennessy himself was not the most prolific - there was, of course, a 20 year gap before his next release – but during that time the album was still being played and garnered a following in the folk circles as well as having an immediate impact on listeners including the young Christy Moore. And whilst it is not worth the extended wait, most of the 14 track set still sounds great. As if to confirm its important place in history it is now lavishly packaged in card sleeve and beautifully booklet complete with original liner notes.
The tracks on this 1972 album were put down after Hennessy had worked his way around Britain (not simply England as some will tell you) and after he had assembled an assorted collection of traditional (‘Stagolee’) and self penned (‘Messenger Boy’) tracks. The traditional ‘Young Sailor’ is well performed but his version actually blends a number of traditional tracks into the tune, whilst the sweet self penned ‘When I’m Walking Out With My Girl’ highlights the touching intimate warmth that Hennessy harnessed so well.
The overall sound is quirky and possibly a bit twee at points, meaning that some of it may not have aged as well. Perhaps it was Christy Moore’s updated interpretations that made them timeless (not unlike Dylan’s and Paul Simon’s reinterpretations of other folk icons). The tracks are all worth listening to for their place in history, but as an album only for the committed.
Christie Hennessy (aka The Green Album)
H & I Music
HANDI03
3/5
It has been a long time coming, but some 38 years after its original release, Christie Hennessy, or ‘The Green Album’, an album that has entered into folk legend status, has finally been officially released on Compact Disc. The original vinyl was and is highly sought after and some of the original 500 copies have changed hands for hundreds of pounds. Hennessy himself was not the most prolific - there was, of course, a 20 year gap before his next release – but during that time the album was still being played and garnered a following in the folk circles as well as having an immediate impact on listeners including the young Christy Moore. And whilst it is not worth the extended wait, most of the 14 track set still sounds great. As if to confirm its important place in history it is now lavishly packaged in card sleeve and beautifully booklet complete with original liner notes.
The tracks on this 1972 album were put down after Hennessy had worked his way around Britain (not simply England as some will tell you) and after he had assembled an assorted collection of traditional (‘Stagolee’) and self penned (‘Messenger Boy’) tracks. The traditional ‘Young Sailor’ is well performed but his version actually blends a number of traditional tracks into the tune, whilst the sweet self penned ‘When I’m Walking Out With My Girl’ highlights the touching intimate warmth that Hennessy harnessed so well.
The overall sound is quirky and possibly a bit twee at points, meaning that some of it may not have aged as well. Perhaps it was Christy Moore’s updated interpretations that made them timeless (not unlike Dylan’s and Paul Simon’s reinterpretations of other folk icons). The tracks are all worth listening to for their place in history, but as an album only for the committed.
Sam Amidon Featuring Queen Beth
Sam Amidon
I See The Sign
Bedroom Community
3/5
Comment: Bert Jansch ‘sound alike’ for Beth Orton to duet with (again).
This is Sam Amidon’s third album, but until he teamed up with Beth Orton I knew nothing of him (I assume I am not alone). Such extra coverage will not do him any harm, but I therefore cannot comment on his new output in the context of his previous work. This album though is a good collection of Folk standards and whilst it will not shatter the world, may raise his profile. Suffice to say his folk/ easy listening new lo-fi sound is not unlike the Fleet Foxes or current nu-folk but it is mainly his similarities to Bert Jansch that permeates and partly harms this collection.
Tracks from the Alan Lomax recordings on his South Sea Island tapes such as ‘Way Go Lily’ recorded by Bessie Jones are well performed and intimate. All except ‘Relief’ – an interpretation of the R Kelly Song - and the self penned ‘Red’ are traditional numbers given the Amidon slant. ‘Relief’ is hard to recognise, completely devoid of the R&B sound and given a greater beauty without the over production.
Some of the other tracks he has known all his life – and learnt from his folk musician parents. ‘Pretty Fair Damsel’ has been given a shot in the arm, and certainly improvement on the Steeleye Span version (aka ‘Dark Eyed Sailor’) – adding a country lilt to his pleasant voice.
As mentioned his wavering, slightly flat, vocal style gives him a sound very much like Jansch – which makes him memorable and perhaps above average compared to the sheer volume of talented musicians available on the internet. However, the really grating thing is that this sound really does permeate nearly all the tracks and a bit more of his own identity would benefit. That said he adds much to the tracks as well. His Appalachian sound and influence is prevalent – none more so is this blended than in the opening track ‘How Come That Blood’.
Beth Orton herself features more as celebrity backing vocalist (but for BO Collectors for vocals check out ‘You Better Mind’), but has brought a talented young musician into the public eye so no major complaints!
I See The Sign
Bedroom Community
3/5
Comment: Bert Jansch ‘sound alike’ for Beth Orton to duet with (again).
This is Sam Amidon’s third album, but until he teamed up with Beth Orton I knew nothing of him (I assume I am not alone). Such extra coverage will not do him any harm, but I therefore cannot comment on his new output in the context of his previous work. This album though is a good collection of Folk standards and whilst it will not shatter the world, may raise his profile. Suffice to say his folk/ easy listening new lo-fi sound is not unlike the Fleet Foxes or current nu-folk but it is mainly his similarities to Bert Jansch that permeates and partly harms this collection.
Tracks from the Alan Lomax recordings on his South Sea Island tapes such as ‘Way Go Lily’ recorded by Bessie Jones are well performed and intimate. All except ‘Relief’ – an interpretation of the R Kelly Song - and the self penned ‘Red’ are traditional numbers given the Amidon slant. ‘Relief’ is hard to recognise, completely devoid of the R&B sound and given a greater beauty without the over production.
Some of the other tracks he has known all his life – and learnt from his folk musician parents. ‘Pretty Fair Damsel’ has been given a shot in the arm, and certainly improvement on the Steeleye Span version (aka ‘Dark Eyed Sailor’) – adding a country lilt to his pleasant voice.
As mentioned his wavering, slightly flat, vocal style gives him a sound very much like Jansch – which makes him memorable and perhaps above average compared to the sheer volume of talented musicians available on the internet. However, the really grating thing is that this sound really does permeate nearly all the tracks and a bit more of his own identity would benefit. That said he adds much to the tracks as well. His Appalachian sound and influence is prevalent – none more so is this blended than in the opening track ‘How Come That Blood’.
Beth Orton herself features more as celebrity backing vocalist (but for BO Collectors for vocals check out ‘You Better Mind’), but has brought a talented young musician into the public eye so no major complaints!
Saucy, Sexy, Self Explanatory
Naughty Nostalgia
Various Artists
Sandy Hook Records 1994
CDSH 2117
A great collection of old music hall and bar room songs. From the innuendo laden to the down right saucy and bawdy songs of good time men and women!
Perhaps self explanatory – this collection is limited to ‘the pre-naughty age’ for the modern mind! Not that that ever existed. It is a witty if puerile collection of adult tunes from before WWII. Dark Ladies of the night and gravelly voiced immoral men combine to give us their take on human nature.
Popular and successful artists of the time including Bessie Smith with her ‘Need A Little Sugar In My Bowl’ to the raunchy, even rock n roll (for want of less of an innuendo!) of ‘Keep Your Hands Off My Mojo’ by Coot Grant (Leona Wilson).
At points the humour is subtle and intelligent ‘I’ll Keep Sittin On It (If I Can’t Sell It)’ where Georgia White is obviously singing about her Chair. To the less subtle approaches of Oscar’s Chicago Swingers who are ‘New Rubbing On The Darned Old Thing’ but not to much success. The classic ‘Crowin Rooster Blues’ tells the sad story of unsuccessful prostitutes (are successful prostitutes stories happy?).
Pimps and Tight women abound in this collection of light hearted jazz and blues tunes (nearly all probably under the category ‘race records’) and generally, other than a few famous names, most are obscure artists.
A bit clichéd, but good time and old enough hopefully to overcome the stigma of their situation.
To hear samples click on below link,
http://www.csufresno.edu/folklore/drinkingsongs/mp3s/1930s/1930s--1989ca-naughty-nostalgia--various-artists-(CD)/index.htm
(check out his whole site – it is great)
alternatively to hear selections from this album in coming weeks and more innovative arrangements of traditional songs tunes into That’s All Folk on Dublin City FM 103.2 Thursday 11-30am. Also – listen online (11-30 am Thursday GMT only) www.dublincityfm.ie
Various Artists
Sandy Hook Records 1994
CDSH 2117
A great collection of old music hall and bar room songs. From the innuendo laden to the down right saucy and bawdy songs of good time men and women!
Perhaps self explanatory – this collection is limited to ‘the pre-naughty age’ for the modern mind! Not that that ever existed. It is a witty if puerile collection of adult tunes from before WWII. Dark Ladies of the night and gravelly voiced immoral men combine to give us their take on human nature.
Popular and successful artists of the time including Bessie Smith with her ‘Need A Little Sugar In My Bowl’ to the raunchy, even rock n roll (for want of less of an innuendo!) of ‘Keep Your Hands Off My Mojo’ by Coot Grant (Leona Wilson).
At points the humour is subtle and intelligent ‘I’ll Keep Sittin On It (If I Can’t Sell It)’ where Georgia White is obviously singing about her Chair. To the less subtle approaches of Oscar’s Chicago Swingers who are ‘New Rubbing On The Darned Old Thing’ but not to much success. The classic ‘Crowin Rooster Blues’ tells the sad story of unsuccessful prostitutes (are successful prostitutes stories happy?).
Pimps and Tight women abound in this collection of light hearted jazz and blues tunes (nearly all probably under the category ‘race records’) and generally, other than a few famous names, most are obscure artists.
A bit clichéd, but good time and old enough hopefully to overcome the stigma of their situation.
To hear samples click on below link,
http://www.csufresno.edu/folklore/drinkingsongs/mp3s/1930s/1930s--1989ca-naughty-nostalgia--various-artists-(CD)/index.htm
(check out his whole site – it is great)
alternatively to hear selections from this album in coming weeks and more innovative arrangements of traditional songs tunes into That’s All Folk on Dublin City FM 103.2 Thursday 11-30am. Also – listen online (11-30 am Thursday GMT only) www.dublincityfm.ie
Kill It Kid by Kill It Kid .... Wow
Kill It Kid
Kill It Kid
A brief overvierw - no time for a review so here are my initial thoughts.
This features the Danzig like vocals ok Chris Turpin and the velvet voiced female who offers almost Heather Small on this double vocal. This is riff heavy blues rock. With a Rock and Rockabilly melee of sound with bluegrass violins prominent on tracks like ‘Heaven Never Felt So Close’. Overall a heavy blues slant on this 11 track album. OK but not earth shattering.
Kill It Kid
A brief overvierw - no time for a review so here are my initial thoughts.
This features the Danzig like vocals ok Chris Turpin and the velvet voiced female who offers almost Heather Small on this double vocal. This is riff heavy blues rock. With a Rock and Rockabilly melee of sound with bluegrass violins prominent on tracks like ‘Heaven Never Felt So Close’. Overall a heavy blues slant on this 11 track album. OK but not earth shattering.
Scots Folk frae the Maclean camp.
Malinky
Flower and Iron
CDTRAX330
Winners of 2009 Scottish Trad Awards this 2008 release is a tight collection of jigs and reels from this quintet. Recorded in the exclusive setting of Dougie Maclean’s studios in Perth, the sound is very much within the Scottish folk mould. With vocal from Steve Byrne and Fiona Hunter, these talented musicians give us a wealth of tunes from across the English speaking world. A solid selection of tunes, a handful self penned, plus others from America, Scotland, England and Ireland. Whilst some like ‘When Margaret was Eleven’ telling the war from a child’s point of view are a bit simplistic (‘Your father’s gone campaigning, was a way of not explaining’) the overall feel of this folk album is excellent. Both vocalists are talented and the Scottish brogue comes through clearly throughout. That said it is the sheer volume of instruments used well by this quintet that is most amazing. Bouzoukis’, Cellos, Guitars and many other instruments are crammed into these tunes without over filling each song. The highlight is the second track – ‘The Broomfield Hill’ – a well constructed traditional reworking of a Child’s Ballad.
Available on the Greentrax label.
To hear selections from this album in coming weeks and more innovative arrangements of traditional songs tunes into That’s All Folk on Dublin City FM 103.2 Thursday 11-30am. Also – listen online (11-30 am Thursday GMT only) www.dublincityfm.ie
Flower and Iron
CDTRAX330
Winners of 2009 Scottish Trad Awards this 2008 release is a tight collection of jigs and reels from this quintet. Recorded in the exclusive setting of Dougie Maclean’s studios in Perth, the sound is very much within the Scottish folk mould. With vocal from Steve Byrne and Fiona Hunter, these talented musicians give us a wealth of tunes from across the English speaking world. A solid selection of tunes, a handful self penned, plus others from America, Scotland, England and Ireland. Whilst some like ‘When Margaret was Eleven’ telling the war from a child’s point of view are a bit simplistic (‘Your father’s gone campaigning, was a way of not explaining’) the overall feel of this folk album is excellent. Both vocalists are talented and the Scottish brogue comes through clearly throughout. That said it is the sheer volume of instruments used well by this quintet that is most amazing. Bouzoukis’, Cellos, Guitars and many other instruments are crammed into these tunes without over filling each song. The highlight is the second track – ‘The Broomfield Hill’ – a well constructed traditional reworking of a Child’s Ballad.
Available on the Greentrax label.
To hear selections from this album in coming weeks and more innovative arrangements of traditional songs tunes into That’s All Folk on Dublin City FM 103.2 Thursday 11-30am. Also – listen online (11-30 am Thursday GMT only) www.dublincityfm.ie
The Artists formerly known as Rachel and the Unthanks....
The Unthanks
Here’s The Tender Coming
EMI
Awards have abounded for this band in recent years. Nominated for the Best Album award at the BBC Folk Awards 2008 and also nominated for the 2008 Mercury Music Prize. As well as three further BBC Folk Awards in 2008 (Best Band, Best Live Act, Horizon Award(winner)) one would be forgiven for thinking the celebrity would produce an album that failed to live up to expectations (and if it exceeded expectations accusations of sell out would proliferate!)
A line up change led to a change of name for Rachel Unthank and The Winterset, who for their 3rd album are now simply The Unthanks. ‘Cruel Sister’ and ‘The Bairns’ were popular albums, but with ‘Here’s The Tender Coming’ they have continued their fantastic interpretations of classic folk songs, with a few of their own thrown in. They are adept at storytelling, and tragic stories of people, from those lost at sea to unhappy arranged marriages.
There is no denying their sound has altered somewhat with the shift in line-up. Perhaps The Unthanks greatest success is in their ability to update folk music to the modern listener and on tracks like ‘Lucky Gilchrist’ they have challenged the traditional format with a sound more like Mika than the more traditional folk sound. That is certainly not a bad thing. The rasping vocals of Becky on the all too predictable ‘Annachie Gordon’ are undeniably excellent, whilst the harrowing story of Patience Kershaw is striking and excellently presented. A predominantly vocal style is prevalent even in its softness. Indeed the music lets the story take over too much over the course of the album, which can tire at points. ‘Living by the Water’ owes more to Beth Orton thank to Anne Briggs in terms of vocals. Upbeat bonus track ‘Betsy Bell’ perhaps sways the collection overall
Overall a solid set of folk numbers.
To hear selections from this album in coming weeks and more innovative arrangements of traditional songs tunes into That’s All Folk on Dublin City FM 103.2 Thursday 11-30am. Also – listen online (11-30 am Thursday GMT only) www.dublincityfm.ie
Here’s The Tender Coming
EMI
Awards have abounded for this band in recent years. Nominated for the Best Album award at the BBC Folk Awards 2008 and also nominated for the 2008 Mercury Music Prize. As well as three further BBC Folk Awards in 2008 (Best Band, Best Live Act, Horizon Award(winner)) one would be forgiven for thinking the celebrity would produce an album that failed to live up to expectations (and if it exceeded expectations accusations of sell out would proliferate!)
A line up change led to a change of name for Rachel Unthank and The Winterset, who for their 3rd album are now simply The Unthanks. ‘Cruel Sister’ and ‘The Bairns’ were popular albums, but with ‘Here’s The Tender Coming’ they have continued their fantastic interpretations of classic folk songs, with a few of their own thrown in. They are adept at storytelling, and tragic stories of people, from those lost at sea to unhappy arranged marriages.
There is no denying their sound has altered somewhat with the shift in line-up. Perhaps The Unthanks greatest success is in their ability to update folk music to the modern listener and on tracks like ‘Lucky Gilchrist’ they have challenged the traditional format with a sound more like Mika than the more traditional folk sound. That is certainly not a bad thing. The rasping vocals of Becky on the all too predictable ‘Annachie Gordon’ are undeniably excellent, whilst the harrowing story of Patience Kershaw is striking and excellently presented. A predominantly vocal style is prevalent even in its softness. Indeed the music lets the story take over too much over the course of the album, which can tire at points. ‘Living by the Water’ owes more to Beth Orton thank to Anne Briggs in terms of vocals. Upbeat bonus track ‘Betsy Bell’ perhaps sways the collection overall
Overall a solid set of folk numbers.
To hear selections from this album in coming weeks and more innovative arrangements of traditional songs tunes into That’s All Folk on Dublin City FM 103.2 Thursday 11-30am. Also – listen online (11-30 am Thursday GMT only) www.dublincityfm.ie
A New York Doll: Is it a Johansen, Is it a Thunders ... er No,
Steve Conte & The Crazy Truth
Steve Conte & The Crazy Truth
Thunderdog music. LC 03654
2 stars
Steve Conte, the ‘new’ guitarist for the New York Dolls, brings us his first mainstream solo album. With its driving guitar heavy blues this is not going to set the world alight any time soon, but it is a solid collection of rockers. The sound is heavier than his more famous incarnation and is more reminiscent of Aerosmith or Guns and Roses. Texas T for example would not sound out of place on an early Lynyrd Skynyrd album.
As with many rock albums the lyrics are hardly Einstein, but the energy more than makes up for this. The trio sound like they are enjoying themselves in the studio which helps to give the album an exciting edge over and above the usual.
The album itself may also appeal to completists and collectors of specific artists as, not surprisingly it features harmonica by his other band member David Johansen (download ‘The Goods Are Odd’) as well as Catherine Russell and Nicki Richards who have worked with David Bowie and Madonna respectively.
James Masterson
Steve Conte & The Crazy Truth
Thunderdog music. LC 03654
2 stars
Steve Conte, the ‘new’ guitarist for the New York Dolls, brings us his first mainstream solo album. With its driving guitar heavy blues this is not going to set the world alight any time soon, but it is a solid collection of rockers. The sound is heavier than his more famous incarnation and is more reminiscent of Aerosmith or Guns and Roses. Texas T for example would not sound out of place on an early Lynyrd Skynyrd album.
As with many rock albums the lyrics are hardly Einstein, but the energy more than makes up for this. The trio sound like they are enjoying themselves in the studio which helps to give the album an exciting edge over and above the usual.
The album itself may also appeal to completists and collectors of specific artists as, not surprisingly it features harmonica by his other band member David Johansen (download ‘The Goods Are Odd’) as well as Catherine Russell and Nicki Richards who have worked with David Bowie and Madonna respectively.
James Masterson
Alongside Pama International's LP probably the best album of the year!!!!
Boo Hewerdine - God Bless The Pretty Things
CD
(39:29)
5/5 PERFECT!!
Navigator Records
Something of an underground star from his earliest days with The Bible through to his more recent career as long term guitarist for Eddi Reader, Boo Hewerdine (a name you don’t forget in a hurry), is back with a great album in his own right. He is often condemned as suffering the ‘Dylan effect’ - “I prefer it when his songs are sung by others” (amongst them Brian Kennedy and Paul Young). Hopefully this album, full of radio friendly quality tunes well performed, will change that. Joining him on this collection are a number of allies including Del Amitri’s Justin Currie plus Kildare lass Heidi Talbot – and many more from the Eddi Reader folk circle.
The album as a whole is excellent. It has aspects of the really upbeat Americana as we drive across the highway (‘Geography’ “Lying in bed with her, the first time I heard Graceland play”). Even the potentially insipid whines of the singer songwriter on tracks like ‘Soul Mate’ come across as uplifting as opposed to maudlin. The strongest track on the album however is the ‘Sleeping Lions’ which has the familiar beauty of an old friend whilst sounding fresh and new.
The waltz of ‘In Paris After The War’, with its subtle accordion and double bass, will defy anyone not to shuffle round the floor with their partner. Overall the album infuses intimacy and warmth – not least on ‘Rags’, a self doubting ballad in the vein of ‘Mixed Emotions’ or ‘Angie’ by The Rolling Stones.
The only real criticism of this album is that ‘Silver Moon’ sounds a bit too much like Eddi Reader herself. It’s retro barroom sumptuous, has aspects of the ‘Blue Moon’ about it, without quite cutting it. That, however, is a small criticism and this track is in keeping with the rest of the album: a great collection and well worth owning.
James Masterson
To hear selections from this album in coming weeks and more innovative arrangements of traditional songs tunes into That’s All Folk on Dublin City FM 103.2 Thursday 11-30am. Also – listen online (11-30 am Thursday GMT only) www.dublincityfm.ie
.
CD
(39:29)
5/5 PERFECT!!
Navigator Records
Something of an underground star from his earliest days with The Bible through to his more recent career as long term guitarist for Eddi Reader, Boo Hewerdine (a name you don’t forget in a hurry), is back with a great album in his own right. He is often condemned as suffering the ‘Dylan effect’ - “I prefer it when his songs are sung by others” (amongst them Brian Kennedy and Paul Young). Hopefully this album, full of radio friendly quality tunes well performed, will change that. Joining him on this collection are a number of allies including Del Amitri’s Justin Currie plus Kildare lass Heidi Talbot – and many more from the Eddi Reader folk circle.
The album as a whole is excellent. It has aspects of the really upbeat Americana as we drive across the highway (‘Geography’ “Lying in bed with her, the first time I heard Graceland play”). Even the potentially insipid whines of the singer songwriter on tracks like ‘Soul Mate’ come across as uplifting as opposed to maudlin. The strongest track on the album however is the ‘Sleeping Lions’ which has the familiar beauty of an old friend whilst sounding fresh and new.
The waltz of ‘In Paris After The War’, with its subtle accordion and double bass, will defy anyone not to shuffle round the floor with their partner. Overall the album infuses intimacy and warmth – not least on ‘Rags’, a self doubting ballad in the vein of ‘Mixed Emotions’ or ‘Angie’ by The Rolling Stones.
The only real criticism of this album is that ‘Silver Moon’ sounds a bit too much like Eddi Reader herself. It’s retro barroom sumptuous, has aspects of the ‘Blue Moon’ about it, without quite cutting it. That, however, is a small criticism and this track is in keeping with the rest of the album: a great collection and well worth owning.
James Masterson
To hear selections from this album in coming weeks and more innovative arrangements of traditional songs tunes into That’s All Folk on Dublin City FM 103.2 Thursday 11-30am. Also – listen online (11-30 am Thursday GMT only) www.dublincityfm.ie
.
Sharon Shannon, a return to the classic Fisherman's Blues!
Sharon Shannon
Saints and Scoundrels
The Daisy Label DLCD036
Release Date: 25th Sept 2009
Everyone’s favourite auntie returns showing us just how diverse her tastes and abilities are. Saints and Scoundrels has a solid collection of tunes with an upbeat feel, and more importantly a wealth of guests joining Sharon and her band.
Included are a couple of great exclusives. Imelda May’s upbeat rockabilly track ‘Go Tell The Devil’ was written for this collection, whilst ‘Saints and Angels’, amazingly, was written for The Waterboy’s Fisherman’s Blues sessions but was never included on the album. To make it even more worthwhile this particular track also features a part reunion of that classic 1989 line-up that includes Mike Scott, Steve Wickham and Anthony Thistlethwaite. The track itself sounds distinctly different from anything else on this album, and ultimately wouldn’t feel out of place on Fisherman’s Blues. It is just a real shame that there appears to be an error on the hard copies (CD’s and slip cases) of the issue – wrongly stating that The Waterboy’s feature on another track as well - the jig of ‘Hillybilly Lilly and Buffalo Benjo’.
The bawdy good time sessions with The Cartoon Thieves and even a cameo from Jerry Fish all help to make this album worth tracking down.
There is no denying that the purists will feel a bit aggrieved: Whilst there are the occasional waltzes, jigs and reels including ‘The Wild West Wagon Train’ and ‘Lady Luck’, even these are more international (and specifically American) than Sharon’s more traditional outings.
However the major disappointment is the Shane MacGowan track, a pitiful slur on this otherwise eclectic and entertaining album. Overall whilst there is no ‘Galway Girl’ here, it is definitely worth cherry picking a few tracks depending on your tastes!!
James Masterson
To hear selections from this album in coming weeks and more innovative arrangements of traditional songs tunes into That’s All Folk on Dublin City FM 103.2 Thursday 11-30am. Also – listen online (11-30 am Thursday GMT only) www.dublincityfm.ie
.
Saints and Scoundrels
The Daisy Label DLCD036
Release Date: 25th Sept 2009
Everyone’s favourite auntie returns showing us just how diverse her tastes and abilities are. Saints and Scoundrels has a solid collection of tunes with an upbeat feel, and more importantly a wealth of guests joining Sharon and her band.
Included are a couple of great exclusives. Imelda May’s upbeat rockabilly track ‘Go Tell The Devil’ was written for this collection, whilst ‘Saints and Angels’, amazingly, was written for The Waterboy’s Fisherman’s Blues sessions but was never included on the album. To make it even more worthwhile this particular track also features a part reunion of that classic 1989 line-up that includes Mike Scott, Steve Wickham and Anthony Thistlethwaite. The track itself sounds distinctly different from anything else on this album, and ultimately wouldn’t feel out of place on Fisherman’s Blues. It is just a real shame that there appears to be an error on the hard copies (CD’s and slip cases) of the issue – wrongly stating that The Waterboy’s feature on another track as well - the jig of ‘Hillybilly Lilly and Buffalo Benjo’.
The bawdy good time sessions with The Cartoon Thieves and even a cameo from Jerry Fish all help to make this album worth tracking down.
There is no denying that the purists will feel a bit aggrieved: Whilst there are the occasional waltzes, jigs and reels including ‘The Wild West Wagon Train’ and ‘Lady Luck’, even these are more international (and specifically American) than Sharon’s more traditional outings.
However the major disappointment is the Shane MacGowan track, a pitiful slur on this otherwise eclectic and entertaining album. Overall whilst there is no ‘Galway Girl’ here, it is definitely worth cherry picking a few tracks depending on your tastes!!
James Masterson
To hear selections from this album in coming weeks and more innovative arrangements of traditional songs tunes into That’s All Folk on Dublin City FM 103.2 Thursday 11-30am. Also – listen online (11-30 am Thursday GMT only) www.dublincityfm.ie
.
Before the return to the Pavement
Spiral Stairs
The Real Feel
Domino Records
WIGCD251P
As one of the main contributors to Pavement in the 90’s, then Preston School of Industry for the last decade, Scott Kannberg is the man and main contributor behind Spiral Stairs. This album still features the members of Preston but the sound here is very much his own as opposed to the bands’. This is a man at ease with himself and there is less wallowing in the jingle jangle guitars and indie upbeat to this first ‘solo’ album, more the singer songwriter with a purpose! Jangling guitars still introduce the album on ‘True Love’, but here Kannberg is a man with focus and telling stories with a message. There is also more of a darker side to this album with tracks like the opener and ‘Call The Ceasefire’, but also moments of foot tapping fun like on the kooky ‘Cold Change’ and the alt country of ‘Almighty Mighty Fall’. We also rock out with the bar room blues of the follow up tracks ‘Subiaco Shuffle’ and the dark melancholy ‘Wharf-Hand Blues’. There are even traces of Gary Moore here as opposed to the indie pedigree of old.
The repetition on the curiously titled ‘Maltese T’ (Maltese Terrier) tires slightly and adds an unnecessary minute to the song, but may be electrifying live. Also another to watch out for live will be the power punk of ‘Stolen Pills’.
However for the close of the album on ‘Blood Money’ we drift back into more singer songwriter environment (after 17 seconds of synth based ‘The Real Feel’) .
Currently supporting Bob Mould (Hüsker Dü/Sugar fame) I doubt he will make a tour of these islands in the next few months, but who knows - this album is released well in time to give a chance to tour and promote it before the inevitable Pavement anniversary reunion next year.
A Note for collector - the LP version of the album will be released with an exclusive 7" ('Hey Folk Singa!'/'The Moodist').
James Masterson
The Real Feel
Domino Records
WIGCD251P
As one of the main contributors to Pavement in the 90’s, then Preston School of Industry for the last decade, Scott Kannberg is the man and main contributor behind Spiral Stairs. This album still features the members of Preston but the sound here is very much his own as opposed to the bands’. This is a man at ease with himself and there is less wallowing in the jingle jangle guitars and indie upbeat to this first ‘solo’ album, more the singer songwriter with a purpose! Jangling guitars still introduce the album on ‘True Love’, but here Kannberg is a man with focus and telling stories with a message. There is also more of a darker side to this album with tracks like the opener and ‘Call The Ceasefire’, but also moments of foot tapping fun like on the kooky ‘Cold Change’ and the alt country of ‘Almighty Mighty Fall’. We also rock out with the bar room blues of the follow up tracks ‘Subiaco Shuffle’ and the dark melancholy ‘Wharf-Hand Blues’. There are even traces of Gary Moore here as opposed to the indie pedigree of old.
The repetition on the curiously titled ‘Maltese T’ (Maltese Terrier) tires slightly and adds an unnecessary minute to the song, but may be electrifying live. Also another to watch out for live will be the power punk of ‘Stolen Pills’.
However for the close of the album on ‘Blood Money’ we drift back into more singer songwriter environment (after 17 seconds of synth based ‘The Real Feel’) .
Currently supporting Bob Mould (Hüsker Dü/Sugar fame) I doubt he will make a tour of these islands in the next few months, but who knows - this album is released well in time to give a chance to tour and promote it before the inevitable Pavement anniversary reunion next year.
A Note for collector - the LP version of the album will be released with an exclusive 7" ('Hey Folk Singa!'/'The Moodist').
James Masterson
Heavy Dirt man.
The Heavy
The House That Dirt Built
Counter Records
COUNTCD028
This album is a logical extension of, rather than a continuation of, The Heavy’s debut LP Great Vengeance and Furious Fire. Whilst tracks like ‘That Kind Of Man’ on their debut showed glimpses of their potential – the follow up crams it all neatly into 10 exciting tunes. From the outset there is more depth and variety of sound which, whilst still retaining the soul feel, adds a wealth of reggae and driving blues rock into the mix; Previously James Brown shone through, now there are aspects of The Doors to The Black Keys or even the proto punk of MC5 (‘Oh No! Not You Again!!’). There is even a strong attempt at a down beat reggae sound on the excellent ‘Cause For Alarm’
Whilst Kelvin Swaby’s vocals, at points, are very shrill and almost falsetto (‘Short Change Hero’) they are, at other points, deeper, more mature and controlled (‘How You Like Me Now?’).
‘Sixteen’ is possibly in the vein of Amy Winehouse’s ‘Back In Black’ – but the track stands up on its own along side similar tracks like ‘Love Like That’ as having an all embracing sound similar to classic 60’s girl groups. Overall there is a great variety in this work.
One thing is for certain - each of these tracks will compliment their blistering live set.
For sample tracks (and some far better videos than their opening album!) check out http://www.theheavy.co.uk/
James Masterson
.
The House That Dirt Built
Counter Records
COUNTCD028
This album is a logical extension of, rather than a continuation of, The Heavy’s debut LP Great Vengeance and Furious Fire. Whilst tracks like ‘That Kind Of Man’ on their debut showed glimpses of their potential – the follow up crams it all neatly into 10 exciting tunes. From the outset there is more depth and variety of sound which, whilst still retaining the soul feel, adds a wealth of reggae and driving blues rock into the mix; Previously James Brown shone through, now there are aspects of The Doors to The Black Keys or even the proto punk of MC5 (‘Oh No! Not You Again!!’). There is even a strong attempt at a down beat reggae sound on the excellent ‘Cause For Alarm’
Whilst Kelvin Swaby’s vocals, at points, are very shrill and almost falsetto (‘Short Change Hero’) they are, at other points, deeper, more mature and controlled (‘How You Like Me Now?’).
‘Sixteen’ is possibly in the vein of Amy Winehouse’s ‘Back In Black’ – but the track stands up on its own along side similar tracks like ‘Love Like That’ as having an all embracing sound similar to classic 60’s girl groups. Overall there is a great variety in this work.
One thing is for certain - each of these tracks will compliment their blistering live set.
For sample tracks (and some far better videos than their opening album!) check out http://www.theheavy.co.uk/
James Masterson
.
Nevada Girls, Big in France for some reason!
Alela Diane ft. Alina Hardin
Alela & Alina EP
Names (Family) Records
Alela Diane Menig (named by her 3 year old brother!) and Alina Hardin offer up a collection of Traditional and Menig penned tunes, plus a Townes Van Zandt song to finish off this 6 track EP. There is little subtlety here – this is American country with prominent female vocal harmonies, if you like that sound you’ll love this.
The beautiful self penned song Crying Wolf is a highlight (http://www.youtube.com/watch?v=PlMYSJEAV74) that is only matched by the brilliant version of Matty Groves (http://www.youtube.com/watch?v=bUns2Ye0wWM). Clearly something of a favourite at the moment as it has also recently been covered by James Yorkston (as ‘Little Musgrave’) and Martin Simpson as well. But of the recent versions this is the most understated and the best.
The only disappointment (of sorts) is that, whilst the Townes Van Zandt song is good and has two strong female vocals in perfect harmony - apart from the gender of the vocalists - the tune remains very faithful to the original, where a drastic reinterpretation may have been more challenging. But that is trifling compared to how good the EP’s six tracks are in their entirety. Alela herself is big in France for some reason and this great collection won’t harm her standing elsewhere around the world!
James Masterson
To hear selections from this album in coming weeks and more innovative arrangements of traditional songs tunes into That’s All Folk on Dublin City FM 103.2 Thursday 11-30am. Also – listen online (11-30 am Thursday GMT only) www.dublincityfm.ie
Alela & Alina EP
Names (Family) Records
Alela Diane Menig (named by her 3 year old brother!) and Alina Hardin offer up a collection of Traditional and Menig penned tunes, plus a Townes Van Zandt song to finish off this 6 track EP. There is little subtlety here – this is American country with prominent female vocal harmonies, if you like that sound you’ll love this.
The beautiful self penned song Crying Wolf is a highlight (http://www.youtube.com/watch?v=PlMYSJEAV74) that is only matched by the brilliant version of Matty Groves (http://www.youtube.com/watch?v=bUns2Ye0wWM). Clearly something of a favourite at the moment as it has also recently been covered by James Yorkston (as ‘Little Musgrave’) and Martin Simpson as well. But of the recent versions this is the most understated and the best.
The only disappointment (of sorts) is that, whilst the Townes Van Zandt song is good and has two strong female vocals in perfect harmony - apart from the gender of the vocalists - the tune remains very faithful to the original, where a drastic reinterpretation may have been more challenging. But that is trifling compared to how good the EP’s six tracks are in their entirety. Alela herself is big in France for some reason and this great collection won’t harm her standing elsewhere around the world!
James Masterson
To hear selections from this album in coming weeks and more innovative arrangements of traditional songs tunes into That’s All Folk on Dublin City FM 103.2 Thursday 11-30am. Also – listen online (11-30 am Thursday GMT only) www.dublincityfm.ie
Fruity baby!
Fruit Bats - The Ruminant Band
Subpop
39:40
This album (from another fragile folk band from Seattle) has been a long time in the pipeline. It has been four years since Spelled in Bones. And the singing about unicorns with self indulgent pointless rolling guitars at points it is hard to work out what took them so long! It has aspects of late 60’s Pink Floyd about it, up to and including the fact that the album lost its way!
As a label back in the late 80’s / early 90’s Subpop were cutting edge and exciting, but this album is neither of those things. Nor is there enough quality song writing or performance to salvage this album from the mediocre.
The sharp chords guitar intro of the opening track ‘Primitive Man’ is refreshing and uplifting, even Libby Reed’s high pitch vocals are hypnotising. This and much of the vocals on the album are reminiscent of Brian Molko, but the music is more in the vein of Seventies Rock. Both the pomp of T-Rex and the indulgent rock of Pink Floyd. ‘Being On Our Own’ has shades of the happy go lucky sound of the Beatles upbeat pop about it, but ultimately the album doesn’t stray to far from easy rolling folk rock. With the singing of Unicorns (‘Tegucigalpa’) and self indulgent pointless rolling guitars (‘The Blessed Breeze’) there is an element of talking gibberish and recycling nothing new for the sake of it. This only highlights how much we need a new form of punk!
Overall this album is nothing earth shattering, but if you liked Spelled in Bones you’ll enjoy this. But do yourself a favour and go back to explore the original sources of inspiration as well.
James Masterson
To hear selections from this album in coming weeks and more innovative arrangements of traditional songs tunes into That’s All Folk on Dublin City FM 103.2 Thursday 11-30am. Also – listen online (11-30 am Thursday GMT only) www.dublincityfm.ie
Subpop
39:40
This album (from another fragile folk band from Seattle) has been a long time in the pipeline. It has been four years since Spelled in Bones. And the singing about unicorns with self indulgent pointless rolling guitars at points it is hard to work out what took them so long! It has aspects of late 60’s Pink Floyd about it, up to and including the fact that the album lost its way!
As a label back in the late 80’s / early 90’s Subpop were cutting edge and exciting, but this album is neither of those things. Nor is there enough quality song writing or performance to salvage this album from the mediocre.
The sharp chords guitar intro of the opening track ‘Primitive Man’ is refreshing and uplifting, even Libby Reed’s high pitch vocals are hypnotising. This and much of the vocals on the album are reminiscent of Brian Molko, but the music is more in the vein of Seventies Rock. Both the pomp of T-Rex and the indulgent rock of Pink Floyd. ‘Being On Our Own’ has shades of the happy go lucky sound of the Beatles upbeat pop about it, but ultimately the album doesn’t stray to far from easy rolling folk rock. With the singing of Unicorns (‘Tegucigalpa’) and self indulgent pointless rolling guitars (‘The Blessed Breeze’) there is an element of talking gibberish and recycling nothing new for the sake of it. This only highlights how much we need a new form of punk!
Overall this album is nothing earth shattering, but if you liked Spelled in Bones you’ll enjoy this. But do yourself a favour and go back to explore the original sources of inspiration as well.
James Masterson
To hear selections from this album in coming weeks and more innovative arrangements of traditional songs tunes into That’s All Folk on Dublin City FM 103.2 Thursday 11-30am. Also – listen online (11-30 am Thursday GMT only) www.dublincityfm.ie
Kate Walsh, the internet phenomenon!
Kate Walsh - Light & Dark
BluePie (Blueberry Pie) Records (presumably part of Mercury)
(44.49)
With this, her third album in 7 years, Kate Walsh is hardly when prolific compared to many of her peers but she has changed her style over time. This release is far more country rock than the jazzier pop of Tim’s House. Yet it still retains the beautifully constructed vulnerability of both her previous works. The fragile singer songwriter (ala Joni Mitchell) is still present but if anything this album builds on it with aspects of the alt country and Gram Parsons, complete with all the self doubt and insecurities. The most apt example of this is ‘Trying’ back to back with the stringed ballad ‘June Last Year’, both of which would give Sheryl Crow a run for her money (June Last Year on Balcony TV http://www.youtube.com/watch?v=GAB-HkKp_Rs).
Walsh has a great register of classic influences from Neil Young and Joni Mitchell to Dinah Washington and Louis Armstrong but at points her own lyrics are a bit more simplistic (“I Wish I could be there, I”d cut off all my hair” on ‘Gather My Strength’).
Overall there are some well arranged strings especially on the fuller sounding and AOR radio friendly ‘Seafarer’ and the singalong spirit of the chorus to ‘Be Mine’.
There’s a theme of an old love gone bad throughout the album. This includes a fascinating scathing attack on a former partner (“You’ll never make music of your own .. .and the money you make from my dreams you can just take it all”). I for one do not know if this is based upon personal experience or song writing licence.
There are a couple of highlights - ‘As He Pleases’ deals with the emotional hurt of a relationship and ‘I Cling On For Dear Life’, on the same subject, but the higher register is beautifully frail. These, as well as the title track, are well worth giving a listen, but overall the album lacks anything to bring it above the mediocre delicate singer songwriter. However that said all of the tracks on this album will certainly convey well on the stage so if you have even a passing interest in the music check her out at the Pod at the end of October.
James Masterson
To hear selections from this album in coming weeks and more innovative arrangements of traditional songs tunes into That’s All Folk on Dublin City FM 103.2 Thursday 11-30am. Also – listen online (11-30 am Thursday GMT only) www.dublincityfm.ie
BluePie (Blueberry Pie) Records (presumably part of Mercury)
(44.49)
With this, her third album in 7 years, Kate Walsh is hardly when prolific compared to many of her peers but she has changed her style over time. This release is far more country rock than the jazzier pop of Tim’s House. Yet it still retains the beautifully constructed vulnerability of both her previous works. The fragile singer songwriter (ala Joni Mitchell) is still present but if anything this album builds on it with aspects of the alt country and Gram Parsons, complete with all the self doubt and insecurities. The most apt example of this is ‘Trying’ back to back with the stringed ballad ‘June Last Year’, both of which would give Sheryl Crow a run for her money (June Last Year on Balcony TV http://www.youtube.com/watch?v=GAB-HkKp_Rs).
Walsh has a great register of classic influences from Neil Young and Joni Mitchell to Dinah Washington and Louis Armstrong but at points her own lyrics are a bit more simplistic (“I Wish I could be there, I”d cut off all my hair” on ‘Gather My Strength’).
Overall there are some well arranged strings especially on the fuller sounding and AOR radio friendly ‘Seafarer’ and the singalong spirit of the chorus to ‘Be Mine’.
There’s a theme of an old love gone bad throughout the album. This includes a fascinating scathing attack on a former partner (“You’ll never make music of your own .. .and the money you make from my dreams you can just take it all”). I for one do not know if this is based upon personal experience or song writing licence.
There are a couple of highlights - ‘As He Pleases’ deals with the emotional hurt of a relationship and ‘I Cling On For Dear Life’, on the same subject, but the higher register is beautifully frail. These, as well as the title track, are well worth giving a listen, but overall the album lacks anything to bring it above the mediocre delicate singer songwriter. However that said all of the tracks on this album will certainly convey well on the stage so if you have even a passing interest in the music check her out at the Pod at the end of October.
James Masterson
To hear selections from this album in coming weeks and more innovative arrangements of traditional songs tunes into That’s All Folk on Dublin City FM 103.2 Thursday 11-30am. Also – listen online (11-30 am Thursday GMT only) www.dublincityfm.ie
The Fife fraternity's heritage. The OTHER scottish mafia.
James Yorkston & The Big Eyes Family Players
Folk Songs
(Domino)
This album, in some ways continues where When the Haar Rolls In left off, with Yorkston’s lo fi rolling folk, except this time the tracks are not self penned: this is a collection of mainly British traditional folk songs largely arranged by Yorkston himself.
Yorkston is part of the Scottish musical Mafia of the Neuk of East Fife, the Fence Collective (which also includes the fantastic King Creosote) whose debt and reverence of British folk and pop is to be admired. And this set is no exception. This anthology includes complex folk songs such as ‘Rufford Park Poachers’ to the more simple and familiar folk stalwarts such as ‘Sovay’, but done in his distinctive style.
This timely collection of pre-recorded Folk songs will hopefully bring these musical gems to a new audience not familiar with the 60’s and 70’s versions by Shirley Collins and Martin Carthy, and of course Yorkston’s two greatest hero’s Anne Briggs and Bert Jansch along with many others. At points it needs to move further from its sources though, and could do with an injection of difference rather than homage, but its sincerity is unquestionable and as passionate as Yorkston’s other work. This album contains less of his lighter, fluffier Nick Drake sounding tunes and more of the intense guttural sounds that give the claustrophobia of depth and enthusiasm to his many musical recordings. One for fans of folk in general, but also for fans of Yorkston’s captivating style and ability.
James Masterson
To hear selections from this album in coming weeks and more innovative arrangements of traditional songs tunes into That’s All Folk on Dublin City FM 103.2 Thursday 11-30am. Also – listen online (11-30 am Thursday GMT only) www.dublincityfm.ie
Folk Songs
(Domino)
This album, in some ways continues where When the Haar Rolls In left off, with Yorkston’s lo fi rolling folk, except this time the tracks are not self penned: this is a collection of mainly British traditional folk songs largely arranged by Yorkston himself.
Yorkston is part of the Scottish musical Mafia of the Neuk of East Fife, the Fence Collective (which also includes the fantastic King Creosote) whose debt and reverence of British folk and pop is to be admired. And this set is no exception. This anthology includes complex folk songs such as ‘Rufford Park Poachers’ to the more simple and familiar folk stalwarts such as ‘Sovay’, but done in his distinctive style.
This timely collection of pre-recorded Folk songs will hopefully bring these musical gems to a new audience not familiar with the 60’s and 70’s versions by Shirley Collins and Martin Carthy, and of course Yorkston’s two greatest hero’s Anne Briggs and Bert Jansch along with many others. At points it needs to move further from its sources though, and could do with an injection of difference rather than homage, but its sincerity is unquestionable and as passionate as Yorkston’s other work. This album contains less of his lighter, fluffier Nick Drake sounding tunes and more of the intense guttural sounds that give the claustrophobia of depth and enthusiasm to his many musical recordings. One for fans of folk in general, but also for fans of Yorkston’s captivating style and ability.
James Masterson
To hear selections from this album in coming weeks and more innovative arrangements of traditional songs tunes into That’s All Folk on Dublin City FM 103.2 Thursday 11-30am. Also – listen online (11-30 am Thursday GMT only) www.dublincityfm.ie
Another Alison Krauss Collection! Curse you Robert Plant!
Alison Krauss
The Essential Alison Krauss
(Decca)
Often touted by the press as the new Bluegrass revivalist (thanks mainly to the ‘O Brother Where Art Thou’ soundtrack) Alison Krauss is definitely now a Country star with broad influences from Country to Rock. But twenty six Grammys and record sales in excess of 12 million, whatever you think of Alison Krauss, she has certainly been the focal point for raising the profile for her style of music and her roots in Bluegrass. Of course it was her collaboration on Raising Sand with Robert Plant that introduced her voice to a new group of fans last year. Unlike her last outing though this is not going to win her any new fans, but it might sell to the easy listening country music fan in all of us!
Not a song writer (she writes nothing on this compilation), it is her strengths as a performer and also producer – giving all her songs that grandiose style that comes from American Country – that are her virtues.
With a broad selection of tracks, including the title track from her 1992 album Every Time You Say Goodbye and one from 2007’s phenomenon Raising Sand (‘Sister Rosetta Goes Before Us’) this is a good collection. However, it does suffer from recycling, having two tracks from her last Collection: ‘Simple Love’, and ‘Sawing On The Strings’, neither of which are exceptional. The transition from Bluegrass heroine to country queen (somewhere between Reba Macintyre and Lucinda Williams) is apparent when listening to this collection. Of course her own version of ‘When You Say Nothing at All’ is more fragile than the more famous Keating version but her own cover version of the Foundations ‘Baby, Now that I’ve Found You’ lacks something of the grittiness of the original.
This superstar is now in her late 30’s and this is a solid collection of easy listening Bluegrass country folk tracks spanning nearly 20 years of a career that probably still has a few more years left in it – and a few more collections to follow.
James Masterson
The Essential Alison Krauss
(Decca)
Often touted by the press as the new Bluegrass revivalist (thanks mainly to the ‘O Brother Where Art Thou’ soundtrack) Alison Krauss is definitely now a Country star with broad influences from Country to Rock. But twenty six Grammys and record sales in excess of 12 million, whatever you think of Alison Krauss, she has certainly been the focal point for raising the profile for her style of music and her roots in Bluegrass. Of course it was her collaboration on Raising Sand with Robert Plant that introduced her voice to a new group of fans last year. Unlike her last outing though this is not going to win her any new fans, but it might sell to the easy listening country music fan in all of us!
Not a song writer (she writes nothing on this compilation), it is her strengths as a performer and also producer – giving all her songs that grandiose style that comes from American Country – that are her virtues.
With a broad selection of tracks, including the title track from her 1992 album Every Time You Say Goodbye and one from 2007’s phenomenon Raising Sand (‘Sister Rosetta Goes Before Us’) this is a good collection. However, it does suffer from recycling, having two tracks from her last Collection: ‘Simple Love’, and ‘Sawing On The Strings’, neither of which are exceptional. The transition from Bluegrass heroine to country queen (somewhere between Reba Macintyre and Lucinda Williams) is apparent when listening to this collection. Of course her own version of ‘When You Say Nothing at All’ is more fragile than the more famous Keating version but her own cover version of the Foundations ‘Baby, Now that I’ve Found You’ lacks something of the grittiness of the original.
This superstar is now in her late 30’s and this is a solid collection of easy listening Bluegrass country folk tracks spanning nearly 20 years of a career that probably still has a few more years left in it – and a few more collections to follow.
James Masterson
The Cave Singers A Warm Welcome Part 2
The Cave Singers
Welcome Joy
Matador
34:38
The Cave Singers’ sound has certainly developed since their successful 2007 debut album, Invitation Songs. Recorded in Vancouver, Welcome Joy, exhibits more variety than their debut signature blend of Americana meets English folk. The alt county nasal vocal and laid back slide guitar picking are still there from the outset. The opening track, ‘Summer Light’, is comforting and familiar, but ‘At the Cut’ sees this Seattle trio unleash their inner rock child, and they certainly have fun in the process.
However, they have not strayed too far from their roots – ‘Leap’ is reminiscent of their previous single ‘Dancing On Our Graves’. They maintain the fragile singer-songwriter sound, but spice things up with some great lyrics (“You’re damned if you’re wrong, you’re damned if you’re right, … they’re damned if they’re right, they’re damned if they are wrong, but they don’t mind” from ‘Summer Light’).
Ultimately, like the softer side of the White Stripes, they show some commendable influences (Leadbelly, Bukka White) but also aspects of acoustic Rolling Stones circa Exile On Main Street; certainly an exceptional pedigree. But certain experimentation on this album falls short of the mark, as with the final track ‘Bramble’, a good song, but with its hollow echoed acoustic, sounds like it was recorded in cupboard outside the studio. The albums only major fault is that it is lacking in length. Coming in at less than 35 minutes, Welcome Joy is not short on quality though and is well worth tracking down.
James Masterson
To hear selections from this album in coming weeks and more innovative arrangements of traditional songs tunes into That’s All Folk on Dublin City FM 103.2 Thursday 11-30am. You can listen online at www.dublincityfm.ie
Welcome Joy
Matador
34:38
The Cave Singers’ sound has certainly developed since their successful 2007 debut album, Invitation Songs. Recorded in Vancouver, Welcome Joy, exhibits more variety than their debut signature blend of Americana meets English folk. The alt county nasal vocal and laid back slide guitar picking are still there from the outset. The opening track, ‘Summer Light’, is comforting and familiar, but ‘At the Cut’ sees this Seattle trio unleash their inner rock child, and they certainly have fun in the process.
However, they have not strayed too far from their roots – ‘Leap’ is reminiscent of their previous single ‘Dancing On Our Graves’. They maintain the fragile singer-songwriter sound, but spice things up with some great lyrics (“You’re damned if you’re wrong, you’re damned if you’re right, … they’re damned if they’re right, they’re damned if they are wrong, but they don’t mind” from ‘Summer Light’).
Ultimately, like the softer side of the White Stripes, they show some commendable influences (Leadbelly, Bukka White) but also aspects of acoustic Rolling Stones circa Exile On Main Street; certainly an exceptional pedigree. But certain experimentation on this album falls short of the mark, as with the final track ‘Bramble’, a good song, but with its hollow echoed acoustic, sounds like it was recorded in cupboard outside the studio. The albums only major fault is that it is lacking in length. Coming in at less than 35 minutes, Welcome Joy is not short on quality though and is well worth tracking down.
James Masterson
To hear selections from this album in coming weeks and more innovative arrangements of traditional songs tunes into That’s All Folk on Dublin City FM 103.2 Thursday 11-30am. You can listen online at www.dublincityfm.ie
The Lovely Julie part 2
Julie Feeney
Pages
Mittens MITT2
It has been three years since Julie Feeney’s critically successful 13 Songs (winner of Choice Music Prize). Now the long awaited follow up is finally with us. Recorded with an orchestra, but under Julie’s complete control, this album is an upbeat classical influenced pop instrumentation with eloquent precise vocals. Just listen to the clarity and meticulousness on ‘Life’s Nudge’. A richness of sound and a penchant for the theatric make this an excellent album. It is reminiscent of what the genius Klaus Nomi would be doing now. The avant-garde staccato majesty of ‘Love Is A Tricky Thing’ was an excellent lead single. Whilst the upbeat and cynical (but observant) ‘Mr Roving Eye’ is an excellent lascivious track. And the emotional maturity and complexity of ‘One More Tune’. However it is not all classically sexual; The uplifting beauty of ‘Grace’ is almost a secular hymn. The erotic and sensual permeates this whole album.
An exceptionally talented artist and this sophisticated set contains some grand moments however the album tires as an entity –each track is powerful and grandiose in itself and make some great singles but is emotionally exhausting! Alongside tracks from her debut I would envisage this making for a great live show – in conjunction with her obvious theatrical background.
James Masterson
Pages
Mittens MITT2
It has been three years since Julie Feeney’s critically successful 13 Songs (winner of Choice Music Prize). Now the long awaited follow up is finally with us. Recorded with an orchestra, but under Julie’s complete control, this album is an upbeat classical influenced pop instrumentation with eloquent precise vocals. Just listen to the clarity and meticulousness on ‘Life’s Nudge’. A richness of sound and a penchant for the theatric make this an excellent album. It is reminiscent of what the genius Klaus Nomi would be doing now. The avant-garde staccato majesty of ‘Love Is A Tricky Thing’ was an excellent lead single. Whilst the upbeat and cynical (but observant) ‘Mr Roving Eye’ is an excellent lascivious track. And the emotional maturity and complexity of ‘One More Tune’. However it is not all classically sexual; The uplifting beauty of ‘Grace’ is almost a secular hymn. The erotic and sensual permeates this whole album.
An exceptionally talented artist and this sophisticated set contains some grand moments however the album tires as an entity –each track is powerful and grandiose in itself and make some great singles but is emotionally exhausting! Alongside tracks from her debut I would envisage this making for a great live show – in conjunction with her obvious theatrical background.
James Masterson
Pretty Polly and the Boys
Polly and the Billets Doux
Fiction, Half Truths and Downright Lies
Bleak Mouse Records BLM005
36:35
Fiction, Half Truths and Downright Lies is the debut LP from this south of England Quartet and was before release hailed as the next thing in jazz and folk. Polly herself has been touted as the next heroine of jazz, drawing comparisons to Billie Holiday. Whilst that may be the case live, it is definitely not so on their album (ironic given the title). This is more blues than jazz . With aspects of Sheryl Crow and moments of K T Tunstall the album feels more bluegrass than folk. The opening track ‘Follow My Feet’ is raunchy blues (http://www.youtube.com/watch?v=cX19gFsMUQo) whilst ‘Back to Earth’ is more reminiscent of The Beatles ‘Follow The Sun’ that ‘Strange Fruit’. Although ‘Charmed’ shows aspects of classic smoky club room sexy jazz.
But these comparisons aside the album itself is good. It is what the third Black Crowes album should have sounded like, or the Stones just after Exile. Tracks like ‘To Be A Fighter’ and ‘Lead On Me’ have a real exciting and fast edge to them. Showcased here are beautifully crafted songs that are well performed: ultimately the album does not have a bad track. Whilst there are aspects of quality jazz this is a well blended mêlée of rock n roll sounds that work well. A great album and potentially a huge success. (Doesn’t include their original Single and EP Head Of Steam.)
James Masterson
Fiction, Half Truths and Downright Lies
Bleak Mouse Records BLM005
36:35
Fiction, Half Truths and Downright Lies is the debut LP from this south of England Quartet and was before release hailed as the next thing in jazz and folk. Polly herself has been touted as the next heroine of jazz, drawing comparisons to Billie Holiday. Whilst that may be the case live, it is definitely not so on their album (ironic given the title). This is more blues than jazz . With aspects of Sheryl Crow and moments of K T Tunstall the album feels more bluegrass than folk. The opening track ‘Follow My Feet’ is raunchy blues (http://www.youtube.com/watch?v=cX19gFsMUQo) whilst ‘Back to Earth’ is more reminiscent of The Beatles ‘Follow The Sun’ that ‘Strange Fruit’. Although ‘Charmed’ shows aspects of classic smoky club room sexy jazz.
But these comparisons aside the album itself is good. It is what the third Black Crowes album should have sounded like, or the Stones just after Exile. Tracks like ‘To Be A Fighter’ and ‘Lead On Me’ have a real exciting and fast edge to them. Showcased here are beautifully crafted songs that are well performed: ultimately the album does not have a bad track. Whilst there are aspects of quality jazz this is a well blended mêlée of rock n roll sounds that work well. A great album and potentially a huge success. (Doesn’t include their original Single and EP Head Of Steam.)
James Masterson
Richard Thompson's 4 CD career restropective
Richard Thompson
Walking On A Wire
Shout Factory
4 CD Box Set
Does the world really need another repackaged Richard Thompson box set? In this case the answer is a cautious yes. The 70+ tracks on this compilation are only a fraction of the songs he has written and performed – but because of the chronological spread this gives a great insight into the history of the man and his music. Tracks were chosen to “celebrate the diversity of his music” and for once I can concur with a press release! The collection really does include the vast cross section of his entire career, warts and all. Included are Fairport Convention tracks (Time Will Show The Wiser and Sloth amongst others), a large amount of his duets with then wife Linda, followed by purely solo and band efforts, plus a collection of songs with Danny Thompson. Also included is a selection of live tracks, where he is at his most devastating and alluring. The caveat being that, as with many artists, few of his songs come across as well on album as on the stage – one of the few exceptions being the classic 1952 Vincent Black Lightening, included here.
The whole compilation, whilst covering his career from start to today, for me at least, only really kicks off half way through the second album, as Thompson’s vocals are first given a full airing, in his later duets. Man in Need and Shoot Out The Lights are excellent, and from then on the tracks start to greatly improve; with the humourous Wall of Death and the classic anthem Walking on a Wire. From this point on, Thompson’s musical tastes start to mature or at least move from traditional twee English folk into the far more exciting folk rock. With some classic lyrics and some great inspirations (“My head was beating like a song from the Clash” as he declares in Tear Stained Letter) it is more like rock ‘n’ roll than the early folk of the Fairport era.
Rolling Stone placed him in the top 20 Guitarists and tracks like Beeswing go some way to confirming this status. Having had songs covered by a wealth of artists, including R.E.M. and Elvis Costello, Thompson’s influence and place in the hall of fame is safe; this collection does not damage that.
James Masterson
To hear selections from this album in coming weeks and more innovative arrangements of traditional songs tunes into That’s All Folk on Dublin City FM 103.2 Thursday 11-30am.
You can listen online at 11-30 G.M.T. Thursdays on www.dublincityfm.ie.
Walking On A Wire
Shout Factory
4 CD Box Set
Does the world really need another repackaged Richard Thompson box set? In this case the answer is a cautious yes. The 70+ tracks on this compilation are only a fraction of the songs he has written and performed – but because of the chronological spread this gives a great insight into the history of the man and his music. Tracks were chosen to “celebrate the diversity of his music” and for once I can concur with a press release! The collection really does include the vast cross section of his entire career, warts and all. Included are Fairport Convention tracks (Time Will Show The Wiser and Sloth amongst others), a large amount of his duets with then wife Linda, followed by purely solo and band efforts, plus a collection of songs with Danny Thompson. Also included is a selection of live tracks, where he is at his most devastating and alluring. The caveat being that, as with many artists, few of his songs come across as well on album as on the stage – one of the few exceptions being the classic 1952 Vincent Black Lightening, included here.
The whole compilation, whilst covering his career from start to today, for me at least, only really kicks off half way through the second album, as Thompson’s vocals are first given a full airing, in his later duets. Man in Need and Shoot Out The Lights are excellent, and from then on the tracks start to greatly improve; with the humourous Wall of Death and the classic anthem Walking on a Wire. From this point on, Thompson’s musical tastes start to mature or at least move from traditional twee English folk into the far more exciting folk rock. With some classic lyrics and some great inspirations (“My head was beating like a song from the Clash” as he declares in Tear Stained Letter) it is more like rock ‘n’ roll than the early folk of the Fairport era.
Rolling Stone placed him in the top 20 Guitarists and tracks like Beeswing go some way to confirming this status. Having had songs covered by a wealth of artists, including R.E.M. and Elvis Costello, Thompson’s influence and place in the hall of fame is safe; this collection does not damage that.
James Masterson
To hear selections from this album in coming weeks and more innovative arrangements of traditional songs tunes into That’s All Folk on Dublin City FM 103.2 Thursday 11-30am.
You can listen online at 11-30 G.M.T. Thursdays on www.dublincityfm.ie.
Welsh Nationalist Dafydd Iwan returns with a sense of irony.
Dafydd Iwan
Dos I Ganu
38:46 SAIN SCD 2600
A political folk singer songwriter who found celebrity fame in late 60’s as Wales’s answer to Bob Dylan (or another celtic Donovan), Dafydd has continued to release albums into the new millennia. Clearly it is not the most lucrative career, but one he still clearly loves as much as his home nation of Wales. From the outset let me make clear - I understand none of the (Welsh) lyrics. I had however heard a couple of his previous albums. The occasional Cymru pops out of the blur of lyrics (and the occasional English word such as ‘Wall Street’ on the title track). However beyond that the music itself is upbeat and has moved on from his folkie days in the late 60’s to more show band and MOR flavour: with less energy and more celebration. Upbeat Waltz style of the opening tracks and the country bluegrass of certain tracks works well but the sound of Mwsyasho Y Gaucho sounds more like a European Beer Cellar or Austrian Alpine dancing song. There is still a glimmer of the political activity he pursued and the folk activist he still he. One of the more upbeat songs (I am told) is about the futility of an injured Welsh soldier from Iraq (Cân Y Milwr). To listen to that and the title track - http://www.sainwales.com/sain/product.aspx?productuid=251930&clickproductonpage=/sain/category.aspx?categoryid=363
A Welsh version of You Raise me Up is better than the Westlife version, and lacks the overblown orchestral ‘majesty’ of his fellow countryman Aled Jones’s version, but is not exceptional. Unfortunately their is none of the rousing upbeat to this album that made his original (and only) ‘hit’ ‘Yma O Hyd’ so infectious (http://www.youtube.com/watch?v=XSiU1HrVjUw). Overall the album is good for fans, but will not win over any new listeners.
James Masterson
To hear selections from this album in coming weeks and more innovative arrangements of traditional songs tunes into That’s All Folk on Dublin City FM 103.2 Thursday 11-30am.
You can listen live online at www.dublincityfm.ie
Dos I Ganu
38:46 SAIN SCD 2600
A political folk singer songwriter who found celebrity fame in late 60’s as Wales’s answer to Bob Dylan (or another celtic Donovan), Dafydd has continued to release albums into the new millennia. Clearly it is not the most lucrative career, but one he still clearly loves as much as his home nation of Wales. From the outset let me make clear - I understand none of the (Welsh) lyrics. I had however heard a couple of his previous albums. The occasional Cymru pops out of the blur of lyrics (and the occasional English word such as ‘Wall Street’ on the title track). However beyond that the music itself is upbeat and has moved on from his folkie days in the late 60’s to more show band and MOR flavour: with less energy and more celebration. Upbeat Waltz style of the opening tracks and the country bluegrass of certain tracks works well but the sound of Mwsyasho Y Gaucho sounds more like a European Beer Cellar or Austrian Alpine dancing song. There is still a glimmer of the political activity he pursued and the folk activist he still he. One of the more upbeat songs (I am told) is about the futility of an injured Welsh soldier from Iraq (Cân Y Milwr). To listen to that and the title track - http://www.sainwales.com/sain/product.aspx?productuid=251930&clickproductonpage=/sain/category.aspx?categoryid=363
A Welsh version of You Raise me Up is better than the Westlife version, and lacks the overblown orchestral ‘majesty’ of his fellow countryman Aled Jones’s version, but is not exceptional. Unfortunately their is none of the rousing upbeat to this album that made his original (and only) ‘hit’ ‘Yma O Hyd’ so infectious (http://www.youtube.com/watch?v=XSiU1HrVjUw). Overall the album is good for fans, but will not win over any new listeners.
James Masterson
To hear selections from this album in coming weeks and more innovative arrangements of traditional songs tunes into That’s All Folk on Dublin City FM 103.2 Thursday 11-30am.
You can listen live online at www.dublincityfm.ie
Collected works of England's uncle of twee English folk
Chris Wood - Albion
2 CD
Navigator (under licence from R.U.F. Records)
(59:06) (70:38)
3/5
Brought together over two CD’s this collection is a double CD ‘greatest hits’ from a bastion of English Folk. There are aspects of this collection that make it the antithesis of accessible folk music, (over indulgent lyrics of woe) but other aspects that make it a quality collection (some truly great and intricate tunes amongst them). Wood has historically blended English dance music and French inspiration - as well as being a member of Wood & Cutting and the acclaimed Wood, Wilson & Carthy, both hugely influential acts on the British folk music scene.
The collection includes his award winning ‘One In A Million’ plus the humourous upbeat instrumental ‘I Feel A Smile Coming On’. However’ the title track itself borders on the whiney rather than entertaining (does that make me one of Thatcher’s Children?).
There are also some major omissions. This collection does not include ‘England In Ribbons’ ‘The Welcome Sailor’ or even ‘The Cottager’s Reply’ amongst many others. But that criticism may be harsh as Albion is consciously spreads across his back catalogue and already includes ‘John Ball’ and ‘Mad John’ from last year’s The Trespasser.
Folk is often all about displacement and home plus a recurring obsession about enclosure and imprisonment. And none more so than on the track ‘Albion’, “I'm homesick now; though I live in the town I was born". This track was written during the Thatcher era but the theme again recurs on last years The Trespasser.
Woods guitar work can be rhythmic and hypnotic but the vocals can be nasal and introverted - folk music at its most sentimental and clichéd. That said there are eclectic aspects to his sound as well in the Indian feel to ‘Cold Haily Rainy Night’. But overall this is twee English folk – very similar to his friend and colleague Martin Carthy. If you like him you’ll love this, but perhaps this should come with a warning: For the purist folk fan as opposed to the Billy Bragg enthusiast!
James Masterson
http://www.youtube.com/watch?v=3QC2av7-_Ik
http://www.youtube.com/watch?v=EWQZcKylYY0
To hear selections from this album in coming weeks and more innovative arrangements of traditional songs tunes into That’s All Folk on Dublin City FM 103.2 Thursday 11-30am (G.M.T.). You can listen online on www.dublincityfm.ie
2 CD
Navigator (under licence from R.U.F. Records)
(59:06) (70:38)
3/5
Brought together over two CD’s this collection is a double CD ‘greatest hits’ from a bastion of English Folk. There are aspects of this collection that make it the antithesis of accessible folk music, (over indulgent lyrics of woe) but other aspects that make it a quality collection (some truly great and intricate tunes amongst them). Wood has historically blended English dance music and French inspiration - as well as being a member of Wood & Cutting and the acclaimed Wood, Wilson & Carthy, both hugely influential acts on the British folk music scene.
The collection includes his award winning ‘One In A Million’ plus the humourous upbeat instrumental ‘I Feel A Smile Coming On’. However’ the title track itself borders on the whiney rather than entertaining (does that make me one of Thatcher’s Children?).
There are also some major omissions. This collection does not include ‘England In Ribbons’ ‘The Welcome Sailor’ or even ‘The Cottager’s Reply’ amongst many others. But that criticism may be harsh as Albion is consciously spreads across his back catalogue and already includes ‘John Ball’ and ‘Mad John’ from last year’s The Trespasser.
Folk is often all about displacement and home plus a recurring obsession about enclosure and imprisonment. And none more so than on the track ‘Albion’, “I'm homesick now; though I live in the town I was born". This track was written during the Thatcher era but the theme again recurs on last years The Trespasser.
Woods guitar work can be rhythmic and hypnotic but the vocals can be nasal and introverted - folk music at its most sentimental and clichéd. That said there are eclectic aspects to his sound as well in the Indian feel to ‘Cold Haily Rainy Night’. But overall this is twee English folk – very similar to his friend and colleague Martin Carthy. If you like him you’ll love this, but perhaps this should come with a warning: For the purist folk fan as opposed to the Billy Bragg enthusiast!
James Masterson
http://www.youtube.com/watch?v=3QC2av7-_Ik
http://www.youtube.com/watch?v=EWQZcKylYY0
To hear selections from this album in coming weeks and more innovative arrangements of traditional songs tunes into That’s All Folk on Dublin City FM 103.2 Thursday 11-30am (G.M.T.). You can listen online on www.dublincityfm.ie
The God returns with a few more classics.
Eric Bogle
Other People’s Children
Greentrax CDTRAX287
2005
Bogle’s Back. This time going full circle and claiming it is time to call it a day. Whilst this is not a concept album (I don’t think?) there is a recurring theme of finality from this elder statesman and folk troubadour. The album opens with ‘Tamborine Mountain’, a nod to Australia’s musical father, Slim Dusty, an appropriate start to an album from an equally important Aussie icon. The second track on the album is actually a follow up to one of his most famous tracks: ‘Hallowed Ground’ leaves off where ‘No Man’s Land’ (aka. ‘Green Fields of France’) left off. Eric was obviously wandering across the fields on his last return to Europe. This song captures his usually emotive and powerful style, however overall the album itself is very hit and miss. Tracks like ‘Thou Shalt Not’ and ‘A Good Man’ are a bit simplistic and ring more like the twee folk of Spinal Tap’s ‘Listen to the Flower People’ or Phil Ochs at his most banal. However the intricacy and genius of Bogle can be seen on many of the tracks on this album. On ‘The Last Of The Old Timer’s’ he is still able to manipulate our emotions as much as ever. Although this won’t be his last album he also, tellingly, performs the anecdotal ‘Tired’ which tells how he is weary of the ever fighting musician’s life and is handing the flame onto the younger generation. If that ever does happen it will truly be a great loss for music as Bogle is undoubtedly a great song writer and his effect and influence should not be overlooked.
James Masterson
To hear selections from this album in coming weeks and more innovative arrangements of traditional songs tunes into That’s All Folk on Dublin City FM 103.2 Thursday 11-30am (G.M.T.). You can listen online on www.dublincityfm.ie
Other People’s Children
Greentrax CDTRAX287
2005
Bogle’s Back. This time going full circle and claiming it is time to call it a day. Whilst this is not a concept album (I don’t think?) there is a recurring theme of finality from this elder statesman and folk troubadour. The album opens with ‘Tamborine Mountain’, a nod to Australia’s musical father, Slim Dusty, an appropriate start to an album from an equally important Aussie icon. The second track on the album is actually a follow up to one of his most famous tracks: ‘Hallowed Ground’ leaves off where ‘No Man’s Land’ (aka. ‘Green Fields of France’) left off. Eric was obviously wandering across the fields on his last return to Europe. This song captures his usually emotive and powerful style, however overall the album itself is very hit and miss. Tracks like ‘Thou Shalt Not’ and ‘A Good Man’ are a bit simplistic and ring more like the twee folk of Spinal Tap’s ‘Listen to the Flower People’ or Phil Ochs at his most banal. However the intricacy and genius of Bogle can be seen on many of the tracks on this album. On ‘The Last Of The Old Timer’s’ he is still able to manipulate our emotions as much as ever. Although this won’t be his last album he also, tellingly, performs the anecdotal ‘Tired’ which tells how he is weary of the ever fighting musician’s life and is handing the flame onto the younger generation. If that ever does happen it will truly be a great loss for music as Bogle is undoubtedly a great song writer and his effect and influence should not be overlooked.
James Masterson
To hear selections from this album in coming weeks and more innovative arrangements of traditional songs tunes into That’s All Folk on Dublin City FM 103.2 Thursday 11-30am (G.M.T.). You can listen online on www.dublincityfm.ie
