Search the Music Review Database

Pop and Contemporary Music

The Thorns
Columbia C86958 Reviewed by RP
A barrage of acoustic, electric, baritone and bass guitars. Sidemen playing pedal, lap steel and twelve strings. Ukulele, dulcimer and mandolin enriching this mellow and over-ripened West Coast rock music that from its opening bars transplants you to another sun-drenched and seemingly carefree land. These are the aural delights, so reminiscent of the Byrds and the Boys, which towel dry more than a dozen Matt Sweet, Pete Drogue and Shawn Mullins songs. They are the gunslinger guitarists whose attractive harmonies and engaging vocals muse over missed opportunities, relationships on the edge of collapse and the strained emotions running out of control. Their prickly observations about life heard in 'No Blue Sky', 'Such A Shame' and 'Among The Living' sets these stark images that catch you unawares with their tales of loneliness, contempt and decay against some incandescent instrumental arrangements which radiate warmth as they mimic the passions revealed in the lyrics. Sentiments echoed through Roy Brittan's sublime work on the piano and reinforced by an underlying presence in the shape of that master of stick and skin, Jim Keltner. An album with soft tones that still possesses bloody razor sharp edges.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

King Crimson -The Power To Believe
SANCD155 Reviewed by DA
King Crimson of late are sounding more and more like their early 70's selves. You can pretty much predict that a new album will have many instrumentals based around heavy chord progressions, a number of improvisations that may or may not hit the mark, and a few 'songs'. However, on The Power To Believe the improvisations are either absent, or so intuitive that I have failed to spot them. So much the better, for here King Crimson have managed to produce their best album for years: in fact one of their best ever. There is a sense of structure here that was missing from the previous CD, and although KC have metamorphosised into a metal monster, it is one with intelligence. I must admit I found myself wondering how the CD would be if Bill Bruford were still the drummer, as Pat Mastelotto's style is very bombastic, giving certain tracks such as 'Level Five' a battering ram effect. Elsewhere 'Dangerous Curves' is the evil mutant brother of Larks' Tongues In Aspic's 'Talking Drum', and one of my favourite tracks here. All in all, if you ever liked King Crimson but found their most recent stuff a bit impenetrable, get this. If you've never met them before, then get this. Excellent!

Natalie Macmaster - In My Hands
Rounder 11661-7025-6 Reviewed by RP
If you want stonkin' fiddle driven songs with a twist of new wave Celtic cloth bleeding its rich colours through some seriously fat production values then Natalie Macmaster is the girl for you. Her arrangements (mainly with guitarist Geordie Sampson) have rejuvinated traditional pieces such as 'Blue Bonnets Over The Border'and 'Flora Macdonald'. While elsewhere in 'Welcome To The Trossachs' due reverence is still paid to the style and craft of yesteryear. This is a track which haemorrhages into five other vignettes including 'Gravel Walks Reel' and 'Colonel Thorton'. Yet the two songs that will definitely leave you yearning for more are 'Get Me Through December' which is beautifully sung by Alison Krauss and the title track that is the only one to feature Natalie Macmaster lead and backing vocals. The attraction lies in her refreshingly sassy pop deliberation in the delivery of sexually charged lines like "I see your shape and I'm attracted. I touch your neck and I'm tempted". An exquisite recording does not quite paper over the fact that for a fiddler Macmaster is one hell of a siren and more of that is needed here.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

Solomon Burke - Don't Give Up On Me
Fat Possum Records dbk 104 Reviewed by RP
Burke, the king of rock and soul, has an immense presence. A charismatic, impassioned and powerful interpreter, his take on songs by the likes of Van Morrison, Tom Waits, Brian Wilson, Bob Dylan and Elvis Costello summons forth performances whose intonation, phrasing and every vocal nuance are soaked in gospel, blues and soul music traditions. With the Blind Boys of Alabama backing him up on Mann and Weil's 'None Of Us Are Free', Burke gives an irresistible message about the harshness of life, proving that these soulful cadences have a deeply rooted social conscience beneath them. A fluid, heart rending and reflective track such as 'The Other Side Of The Coin' (Nick Lowe) transports us into the realm of a conflicted preacher, which is of course territory that Burke understands only too well having spent many years leading his own ministry. The band, including Jay Bellerose (drums & percussion), David Palmer (piano & keyboards), David Piltch (bass), Chris Bruce (guitar) and Rudy Copeland (organ) exquisitely and poignantly underlines all the yearning, raw pain, exhilaration and spiritual gravity that is embodied within his song craft.
Supplier: The Cherished Record Company - www.cherished-record-company.co.uk (44)(0)1579 363603

Julia Fordham - Concrete Love
Vanguard Records SANCD 140 Reviewed by RP
Was it really fifteen years ago that Julia shot to fame with the hit single 'Happy Ever After' taken from her eponymous debut LP? I guess it must be. Well, in the intervening decade and a half there have been other albums such as Porcelain but none really captured the initial enthusiasm for this white soul singer whose bold, seductive and larger than life delivery of a line wooed millions. Compare Concrete Love (her 2002 release) with those early outings and you immediately notice how her sexually charged vocals have ripened to sound a lot like Dusty Springfield. Here Julia's voice, which can still seemingly hold a syllable forever, is an inescapable focal point that has musical layers of modern highly polished soul beating beneath it. The songs all written or co-written by Fordham meander through this romantic material with themes of yearning, adoration and sacrifice. Many of them though pull their punches and there are too few of those tracks like 'Missing Man' or 'Foolish Thing' which don't plaster over the cracks in her heart. On these, love proves elusive, but for this kind of reinforced "concrete love" Fordham shows she is a wry, ironic and contrary mistress who messes with your head.

Frank Black and the Catholics - Show me Your Tears
Diverse Records DIV006LP Reviewed by RP
This is a daring release that flies in the face of commercialism to bring us the very personal and hard hitting views of Frank Black in thirteen self-penned and self-absorbed songs. His brand of moody and atmospheric indie rock has the textural depth of a Dostoyevsky novel. Brooding, angry and full with that sharp taste of despair, Show Me Your Tears even more memorably still, has the fortitude to get beyond all this Twenty-First Century isolation and destructiveness to deliver a succinct four-letter rebuke on the subject of death and divorce in 'Horrible Day'. There's plenty of passion and desire too. An opening and sexually charged 'Nadine' musically couples that unrelenting beat of man's desire to lyrics which seem to stalk this black-clad, whiteskinned girl whose perfume puts them under an endorphin induced spell. Recorded live to two track and without edits, the Ray Staff mastered LP enhances these images further through an innate sense of immediacy that can be felt within the bite and urgency which surrounds wiry guitar notes bent by Black and fellow band members David Philips and Rich Gjlbert.
Supplier: www.diverserecords.com Tel: 01633 263526

Heather Nova - Storm
Saltwater Ltd ABB 205 Reviewed by RP
Vocals stretched through with emotion, notes wavering as her passion rises, quivering lyrical intensity and the sweet double-tracking of a gorgeous voice as the counterpoint to these drama-filled highs are classic Heather Nova moments. The pared back to nothing simplicity of arrangements for little more than bass, piano, Hammond B3 and guitar allows for an even deeper experience of her telling insights on the human condition which rightly concludes during the title track that we sometimes need a little pain in our lives. Behind this assertion lies a belief that to truly enjoy love's finer points, those joys of companionship and a profoundly uplifting and fulfilling bond with another person you should have first suffered its flip side - the heart-piercing loss of someone you love, the betrayal, abandonment and emptiness. It typifies the piquant qualities heard throughout all eleven of the songs on Storm. Echoes of this inner turmoil ripple across 'Fool For You', 'Drink It In', 'Let's Not Talk About Love', 'All I Need' and 'Everytime'. A rare, notably intelligent and imaginative slant on the kind of themes that everyone sings about but few are capable of carrying off with such delicious turbulence.

Blackmore's Night - Ghost Of A Rose
SPV Records SPV08574992 Reviewed by AH
Anyone who has followed Richie Blackmore's career after he left Rainbow will be well aware of what's on offer here. For the uninitiated, Blackmore's Night have little in common with Rainbow or Deep Purple. Yes, there is some of that trademark guitar playing on show (check out the fluid solo at the end of 'Way To Mandalay'), But what they really specialise in as a form of updated medieval folk. Lead vocals are handled by Richie's partner Candice Night, a golden voiced beauty with a touch of the Stevie Nicks about her. As well as contributing fine vocals Candice plays all manner of unusual instruments: Shawms, Cornamuse, Chanters, Pennywhistles and the charmingly named Rauchpfeife (whatever the hell that is). As well as handling guitar Blackmore weighs in on the Hhurdy Gurdy and Renaissance drum. Sandwiched in amongst band originals are two covers, Jethro Tull's 'Rainbow Blues' and a highly moving rendition of John Baez' 'Diamonds And Rust', which comes mighty close to eclipsing the original. Of self-penned material 'Queen For A Day Parts 1 and 2' is a highlight. Part 1 is a gentle folk song which melts into part 2, a full on jig complete with handclaps, dancing violins and amazing fluid acoustic guitar solo - It's a highly intoxicating brew. If you go down to a record store and purchase this you're definitely sure of a big surprise!

Dido - Life For Rent
Arista 82876545982 Reviewed by RP
For the eleven songs penned largely by Dido and Rollo Armstrong, the direction taken for their supporting instrumental packages differs greatly to those uncluttered and simply focused arrangements on Heather Nova's Storm. Dido's predictable contemporary sounds bristle with keyboard and booming drum programming, while the mixes add layer upon layer of musical confectionery. She does air some interesting views on meaningless sex through that drink and drug induced haze of 'Stoned' and the return home after a two-week holiday romance in 'Sand In My Shoe' will be a familiar story for many teenage and twenty something fans. But this grit underfoot is ultimately little more than an irritation. She could and probably should have probed much further into the raw emotions, the uncertainty and vulnerability present within this summer of hedonism. Instead we are compelled to listen to adolescent diary entries as she longs for those days and nights with her beau. Perhaps I'm being too critical. She is a diva for that generation and this album reflects the shallowness of their concerns. The singing too is very Dido - syrupy warm, naggingly catchy, flat and quite monotonous.

Ian Parker - Inside
RUF Records RUF 1094 Reviewed by AH
Head Honcho of RUF Records, Thomas Ruf, has amassed a glittering array of talent on his fabulous label: Walter Trout, Candy Kane, Aynsley Lister and Michael Hill, to name but a few. Although his roster is blues based he's not afraid to put his money into artists who stray outside of the genre and Ian Parker definitely falls into this category. Parker's a 25 year old from Birmingham who's got it all in his locker. He's a riveting guitar player with a throaty, soulful voice and a stack of great songs, and having just witnessed him live I can attest to his talents as a stage performer too. Inside is a ripper of a debut, absolutely bristling with confidence and assurity, an album where Parker and his first class band produce one killer song after another in a rich tapestry of musical styles. 'Misfits and Fools' opens with a fluid, earthy solo and develops into a real bump n' grind rocker, whilst the tender ballad 'Burden of Pain' (which could have been lifted from Sign o' the Times) contains Parkers most passionate vocal. Most artists would take 3 or 4 albums to produce something this good; that Parker's done it at the first attempt is testament to his talents. I perish to think how far this kid can go.

Rob Cowen - The Other
Stubborn Records STUCD001 Reviewed by AH
It's refreshing when you discover an artist from this country who can move you with his songs and lyrics. It makes you realise that talent does exist in this fair island of ours, and that we still have much to offer to the ears of our long suffering music lovers. Rob Cowen is a Northern lad who began his career singing in bands, but swiftly realised that what he really wanted was to be a solo artist. He hauled himself off to America where he played to appreciative crowds in the cafes of Greenwich Village and the West Coast of Seattle. Upon returning home, he linked up with producer Richard Dover and set to work on this little treasure of an album. Quintessentially English and with a masterful approach to song-writing that would make Ray Davies a proud man, The Other weaves its way into your subconscious. Skip to any song you like and discover this man's lovely way with words. "I wish I was a fisherman with steely eyes and cartoon hands" he sings on 'Utopia', before adding later in the song "I wish I was a millionaire with fancy clothes and coiffured hair". The Other is a tumble across the English landscape seen through a keen eye and a poet's heart, and it's about bloody time we produced a talent that gave us something to shout about.

Michael Weston King - A Decent Man
Floating World FW016 Reviewed by RG
Erstwhile front-man and songsmith in chief for the highly rated but perennially undersold Good Sons rises, phoenix-like from the ashes of that experience. It's not his first solo outing, but it's his first since the status became permanent and he uses the opportunity to spread his compositional wings. The nine self penned tracks (plus covers of Neil Young's 'Love In Mind' and Pete Townshend's 'Blue, Red & Grey') are somehow more intimate and personal than his group work. There's a nice line in sardonic self-parody (the title track and 'When You Leave The Spotlight') and human fragility ('Celestial City' and 'The Wooden Hill') that reminds you just what a great song-writer MWK is. Underpin that with the musical genius of Jackie Leven at the controls (and on guitar) and it's a powerful brew. Even more so live, so catch them if you can. The recording here is excellent although devoid of audiophile pretensions: It's clean, open and direct, making the most of the telling lyrics with driving instrumental arrangements and subtle musical asides. There's intelligence and a sense of humour at work here. It's a wonderfully adult riposte to the banal drivel that constitutes the charts these days. Tie up the kids and make them listen!

John Mayall - 70th Birthday Concert
Eagle Records EDGCD246 Reviewed by AH
I recently reviewed John's latest studio album 'Stories' in these very pages, which was a rich return to form. Now hard on its heels comes this double album recorded for his 70th Birthday and bringing together blues breakers past and present. Most music fans are aware that the Bluesbreakers were the band that introduced a young Eric Clapton to the world, but he was just one of many legendary guitarists who went through its revolving doors. Others read like a who's who in rock and blues and include Peter Green, Mick Taylor, Jeff Beck, Walter Trout, Coco Montoya and current Guitarist Buddy Whittington. 70th Birthday reunites Mayall with Mick Taylor and his contributions include some fine slide and lead on classics like 'Blues For Lost Days' and 'Walking On Sunset'. But the biggest cheer of the evening is saved for Clapton, who Mayall introduces as "An old mate who hasn't graced the same stage as him for the best part of 38 years". Claptons recent solo albums have been dull affairs but he really sparkles here, ripping into some old nuggets with a verve and passion that proves he can still cut the proverbial mustard when he puts his mind to it. By the time you read this review there should be a companion DVD on the shelves - Eagle really are spoiling us something rotten!

Karen Matheson - Time To Fall
Vertical Records VRTCD 002 Reviewed by RP
Karen Matheson possesses a lovely voice. She brings elegance, authority, substance and warmth into a dozen pensive songs that wander through love's trials and tribulations. Her gentle expressions of kindness and knowing insights about the brittle nature of romantic entanglements personalise those bittersweet moments when the stabbing pains of indulgence or denial materialise. The acoustic and electric guitarist James Grant wrote half of these wispy folk-pop numbers. Backing the pastoral imagery of 'Morning', 'Time To Fall' and 'All The Flowers Of The Bough' with incandescent arrangements for the BT Scottish (string) Ensemble, their craft also extends to the resonant reworking of the Robert Burns 'Bonnie Jean' and a traditionally sung 'An Ataireachd Ard' (The Surge Of The Sea) which is a song that reveals Matheson's maturity as a performer. Sessions engineered and mixed at the Secret Music and Cava studios in Glasgow draw out the delicacy and poise of the vocals, vibrant guitars, firm-noted piano chords and the enriched midrange where strings reign supreme. A carefully crafted and thoughtful marriage of timeless themes and the musical threads found in the modern crossover genre are fully realised on this album.

Drive By Truckers - Decoration Day
New West NW5047 Reviewed by AH
Much has been written about the Drive By Truckers love of southern rock legends Lynyrd Skynyrd, fuelled in no small part by the sprawling double album Southern Rock Opera, which paid considerable homage to their heroes. They are not, however, carbon copies of Skynyrd. Yes, they have come from America's deep south and yes, they have three lead guitarists, but their sound has an identity all its own. The Truckers are led by Patterson Hood, a man who sings it like he's lived it, and one third of the band's potent guitar strike force. The other two are long term song-writing partner Mike Cooley and newest member Jason Isbell. Isbell joined in the fall of 2001 on just half a day's notice but in a short space of time has become an integral part of the set up, even weighing in with a couple of his compositions, the county tinged 'Outfit' and the epic title track. The Truckers tackle all sorts of issues in their lyrics, from brother/sister incest ('The Deeper In') to life on the road (The spitting 'Hell No, I Ain't Happy') and even a song about being stood up at the altar ('My Sweet Annette'). Decoration Day is the sound of a band with their feet hard on the pedal: it's rootsy, punky, raucous, brash and tender and above all else - undeniably southern.

Eleanor McEvoy - Special Edition
Market Square Records MSMCD 127 Reviewed by RP
Dusting down this eponymous debut disc ten years after it was originally released has not only maintained Eleanor's profile before that promised and quite intriguing change of direction materialises on next year's new CD, but it is also takes another important step on her quest to regain artistic control of these earlier albums. However, this beautifully repackaged digipack has substantially more to offer than just these eye-catching cosmetic changes. There are four additional tracks including: 'Wilderness', 'Cat's Eyes' and 'Et C'est Bien' (the French version of 'It's Mine') and 'Corazon de Mujer' (the Spanish version of 'Only A Woman's Heart'). These generously take the music beyond an hour mark and at the same time remind us of Eleanor's wider appeal within Europe. Tidying up the sound for those sensitively scored and lyrical songs about loneliness and heartbreak has opened out the memorably sweet string arrangements and contrasting chords of Jim Tate's electric bass but still retains that pared back trademark sense of intimacy when Eleanor plays acoustic guitar. In a CD full of high points listen out for the uncompromising 'Apologise', the philosophical and emotional insights heard in 'Breathing Hope' and the inner resolve of 'Go Now'.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

Missing Misery
Elliot Smith dies at 34 by Michael Mercer
Academy Award- nominated writer and performer Elliot Smith seemingly took his own life on Tuesday, October 21st. The final details surrounding his death were not available at the time of this issue's publication. The writer and performer of 'Miss Misery' from Gus Van Sant's 1997 film Good Will Hunting, was found dead at his home in Los Angeles of an apparently self-inflicted knife wound to the chest. He was a mere 34 years old. Statements like "the music world has lost yet another promising artist" detract from the harsh realization that this young man was capable of removing himself from the world so violently. Smith's songs were often melancholic, yet wonderfully orchestrated ballads and while his albums were usually morose to the core, they were carefully crafted bodies of work. A refreshing departure from shelves full of albums with one or two quality tracks aimed at the airwaves and the rest just record filler. There was a wholeness to his writing, and a level of honesty lacking in this generation of musicians and pop stars. In his short music career Smith released a total of six albums, two on major label Dreamworks, XO and Figure 8. Both major albums, while indicative of his somber state, were full of hair- raising, infectious melodies that were his sonic staple. It seemed at times the only voice capable of harmonizing with Smith was his own, as he exuded an emotive quality that was undoubtedly unique to his experiences. His lyrics were often alcoholic (yes indeed he was) tales of addiction and loneliness. Elliot was not shy about his sadness nor did he make any apologies for using the music as a release for the seeming troubles surrounding his life. However, when not in the studio or performing he was known for his significant financial contributions to the homeless and it was rumored that he would occasionally put fans unable to purchase his concert tickets on his personal guest list. As with all great artists, Elliot Smith's words are immortalized in the music that he has left for the world to discover. His passion, talent, musicianship, and goodness will be sorely missed.

Jeffrey Gaines - Toward the Sun
Artemis Records Reviewed by MM
The 1990's spawned a singer/songwriter explosion. There was a sea of artists fitting the category, and unfortunately, many of them sounded basically the same. Not to rob them of their musical virtues, but there were certain commonalities amongst the large group of artists within the genre at the time. Jeffrey Gaines stood out from Jeffrey Gaines the rest. Perhaps it was his love of drawing and painting (which turned to love of music in his teens) that gave him such a unique sound, or, more importantly, a different lyrical style. The view of the world through his eyes was a refreshing departure from the norm. Toward The Sun is appropriately titled. The record is motivational and eye-opening. Certainly well studied in the works of Elvis Costello (or a huge fan), his vocal delivery is quite similar here. He brings a rawness and vulnerability to the songs that spark the deepest of emotions. "Love Me" is a strong ballad, meandering through the solemnity of separation and the desire to be with a loved one. "Without You" is warm, yet lyrically despondent. The song speaks of being lost without his partner, his soul mate. How many of us have been in this position? Claiming to be "no good without you," Gaines gets to the heart of what it means to be in a true partnership. I do not intend to mislead you with regard to the subject matter in Toward The Sun. There is nothing earth shattering within the words themselves. The tracks touch on common feelings, but it is Gaines' uninhibited perspective and the willingness to express it that makes this record, and his others for that matter, so important to folk/rock music. No smoke and mirrors, no political banter (there has been enough of both lately). The sonics are fair. Guitar strings are tight, and the drums are a bit punchy. The greatest part of the album with regard to the sound is Gaines' vocal delivery. It is sharp and the nuances are well captured (they chose the perfect microphone for his style). There is a seeming lack of warmth in some of the tracks which is odd, as this type of music lends itself to warmth by nature. This could have been lost in the mastering process, or at the mixing desk, who knows. These faults do not outweigh the musical merit by any means. We were fortunate enough to catch Gaines last summer. He played a small venue: a room with a bar, a small stage, and some tables. Considering the fact that he had just finished up a tour with the Allman Brothers, we knew we were in for a treat. I look forward to more from him.

© Images and text copyright Absolute Multimedia (UK) Ltd 1999-2008
another fine webwork by Global WebTrader