Originally from Lancashire but having spent time living in both Ireland and Scotland, Tina Jordan Rees is extremely well-versed in the musical traditions of each. A multi-instrumentalist, she plays flute, whistle and piano as well as being a qualified Irish dance teacher. Having released several albums of Irish dance music, Beatha represents her first album of flute and whistle.
Tina Jordan Rees:“In 2018, having not long turned 30, I was diagnosed with bowel cancer. Thankfully, it was found early and I had an operation which cured it. My outlook on life has changed somewhat since then. I want to enjoy like more, take in the small moments and breathe.”
“It was important to me to be creative once again after the majority of music had stopped during the pandemic. Making music brings me so much happiness and makes me feel alive. I have enjoyed pouring my heart and soul into this album and playing with the fantastic musicians who joined me for it.”
“I decided to name the album Beatha as a nod to this journey we are all on. As ‘beatha’ means life in bot Scottish and Irish Gaelic, I feel it reflects my time spent in Ireland and Scotland where I now call home.”
The result is a beautiful, life-affirming album featuring ten tracks of self-composed Gaelic-inspired tunes. Tina Jordan Rees plays flute, whistles and piano, and is joined by guest musicians, Séan Gray (guitar), Lea Larsen (Bodhran) and James Lindsay (double bass).
From sweet and poignant to dramatic and fast-paced, Jordan Rees’ thoughtful compositions and inspired playing takes us on a journey that invokes a fulsome range of emotions. Beatha is an album that followers of Gaelic folk would do well to seek out, whether they are familiar with her previous work or not.
Beatha was released on June 24th and is available on CD and all the major musical platforms.
Following publication of my recent book on Suzi Quatro, I was delighted to be interviewed by the force of nature that is Plastic EP. He’s had a huge range of guests from big-name musical stars to dedicated music lovers like myself. We talked Suzi, The Sweet, my love of the 70s glam era and the two books I’ve had published for Sonicbond’s ‘Decades’ series (with a third on the way!)
You can catch the full interview with Plastic EP here:
Among the 800 guests he’s had on so far, Plastic EP has interviewed Suzi, herself, of course. You can catch one of his interviews with Suzi here, where he’s joined by co-host, Sabine Brignell.
Plastic EP and Sabine also interviewed Don Powell recently, which you can catch here:
Gaelic singer, Kim Carnie, launched her solo career in 2018 with the release of her EP, In Her Company. Since then she’s worked with the bands, Mànran and Staran, been much in demand as a session vocalist and in 2021 won the Gaelic Singer of The Year prize at the MG Alba Trad Awards.
In June this year she released her debut album, And So We Gather.
As well as Carnie’s own standout vocals the album features a stellar line-up of the brightest and the best from the Scottish folk scene, including vocalists, Julie Fowlis, Karen Matheson, Kathleen MacInnes, Megan Henderson and Calum MacCrimmon.
The album was written and arranged during lockdown on the Isle of Skye and features five of Carnie’s original songs, some sung in English and others Gaelic, alongside five of her own interpretations of traditional Gaelic songs and texts.
Kim Carnie:“Over the last two years, we have spent too much time apart from the people we care most about. We have had to learn how to show love through our physical absence and find calm in our isolation. This album is a celebration of where we are now: gathering loving and putting ourselves back together.”
“I spent the first few months of lockdown in Glenlyon. I would regularly walk a six-mile round-trip, sneak into our beautiful local church and play the baby grand piano – it was where I wrote most of the album.”
“The album brings together some of my favourite musicians, but most importantly some of my favourite hearts and minds. It’s been a real privilege putting this music together and hearing what others hear in both my songs and the songs of our ancestors.”
Musicians: Kim Carnie – Vocals Donald Shaw – Piano and harmonium Innes White – Guitar, mandolin and vocals James Lindsay – Double bass James MacIntosh – Percussion
Encompassing jazz, classical and folk influences, Chasing Sakura is a crossover album from classically-trained and award-winning jazz musician, Seonaid Aitken, her first album of entirely original material.
There have been no shortage of albums conceived during the recent pandemic that have been released over the last couple of years, across all genres. Aitken’s is a lockdown album with a difference, however, as it came about while she was recovering from a riding accident. Inspired by the cherry blossoms she would see on her daily exercise walks and with a commission to produce new music for the Edinburgh Jazz & Blues Festival, Aitken was prompted to create Chasing Sakura.
“In the Spring of 2021, I was recovering from a serious horse-riding accident where I broke my pelvis, ankle, small vertebrae and ribs. I would go for walks around Glasgow chasing cherry blossoms and it reminded me of my time in Japan and how I was inspired by the way they celebrate the beauty and symbolism of the Sakura season with Hanami – the traditional custom of enjoying the beauty of flowers. The record draws inspiration from the lifespan of the cherry blossom to symbolise overall themes of hope, optimism and impermanence.”
As a versatile and much in-demand session musician, Aitken’s CV has included work with the likes of Deacon Blue, Carol Kidd, Hamish Stuart (Average White Band), Blue Rose Code, The GRIT Orchestra, James Grant and Eddi Reader. She also played violin and viola in the 2019-2020 touring production of Disney’s ‘The Lion King’. As a jazz musician and singer, she was awarded ‘Best Vocalist’ at the 2017 and 2018 Scottish Jazz Awards and, specialising in Gypsy Jazz, she performs extensively with her Scottish Jazz Award-winning ‘Best Band’ (2018) Rose Room, and as a guest with the Tim Kliphuis Sextet, Tokyo Django Collective, Swing 2020 and top jazz fingerstyle virtuoso, and former guitarist of Stephane Grappelli, Martin Taylor MBE.
On the album, Aitken (Violin and Vocals) is joined by fellow ensemble members: Katrina Lee (Violin), Patsy Reid (Viola), Alice Allen (Cello), Emma Smith (Bass) and Helena Kay (Tenor Sax and Flute).
The result is a richly evocative album from the lush, classically-inspired, jazz-infused track ‘Awakening’, whose delicate, dancing melody does exactly what it says on the tin, to the jaunty and far more folky ‘Hanami’, to the jazzy 1920s-themed ‘The Walk’. ‘Beauty and Wonder’, with its beautiful jazz-waltz theme is a track Aitken wrote specifically for a string quartet.
An album that will have huge appeal for jazz, classical and folk fans, I’ve come to it rather late to it this year but I can’t wait to put it on as the blossoms start appearing on the trees as I look out of my back window next spring.
UK blues rock band, Big River, release their new 4-track EP ‘Beautiful Trauma’ on all platforms for digital download and CD on 19th August 2022.
The track listing for Beautiful Trauma is:
Don’t Hold Out
The Long Way
Formed in 2016, Big River have been on a journey since their first album, Redemption (released in 2019). The band have been developing new material and new ways of writing, performing and collaborating. With a new singer and bass player Big River have now put together a new EP of fresh material which shows this progression.
Big River are: Adam Barron (vocals), Damo Fawsett (guitar), Simon Gardiner (bass), Joe Martin (drums / backing vocals).
Lead vocalist, Adam Barron came to prominence as a contestant on UK TV show The Voice and went on to secure the lead vocalist position fronting Mick Ralphs’ Blues Band. Sadly, that venture came to an end with Ralphs’ debilitating stroke but Adam teamed up with Big River last year. One of the finest blues rock singers around today, he is the perfect fit for Big River as the band move on to new heights.
Announcing the new EP, drummer, Joe Martin, says:“These songs have been performed live and have gone down a storm with all audiences. Through the changes Big River have maintained their thunderous live sound, but it’s that bit sweeter. The future is bright.”
Big River are currently on the road in the UK promoting the EP until the end of the year when they will head back into the studio to start recording a full album.
Beautiful Trauma is released on 19th August on CD and all the main digital platforms.
Art Club of Paintings is the debut album of The Electric Flea Show. Rather than a band, The Electric Flee Show is actually the pseudonym of an otherwise un-named singer-songwriter. “Unidentified, in the spirit of Banksy perhaps – or maybe just some anonymous bloke,” he writes in the accompanying press blurb.
As an album it’s got a slightly indie/experimental, lo-fi acoustic vibe to it but the songs are accessible, the melodies hummable and the lyrics thought-provoking. It’s another of those albums that was seemingly conceived during the lockdown. However, the lyrical themes were “informed but not constrained by lockdown” according to their author: thoughts of love, heartbreak, life, death and dreams for the future fill the album’s ten tracks.
The vocals have that melancholy edge in the best of that ‘sensitive singer-song-writer’ tradition but he’s got a likeable and highly engaging voice that gently draws you in. The vocals and acoustic guitar are occasionally punctuated by some slightly other-worldly special effects, vintage keyboard sounds and drum samples.
A really interesting album. I enjoyed this one. Thanks Electric Flea Show, whoever you are.
Hot on the heels of Peter Checksfield’sprevious Top Of The Pops book (which covered the show from its inception in 1964 through to 1975) comes this second volume taking us from 1976 through to 1986.
Again, it’s a similar format with a rundown of the acts on each episode and various titbits such as brief pen portraits of each artist, chart history and various reminiscences from some of those who performed on the show. It’s a slightly expanded format this time, including stills from each episode broadcast, resulting in a massive telephone directory -sized tome.
Unlike the first volume, where I was either yet to be born or a very young toddler for a good chunk of the episodes covered, this volume covers the entirety of my teenage years where Top Of The Pops went from something being on in the background to something I avidly watched each week.
I was ten in 1976 and vaguely starting to become aware of changes in the musical landscape. This book, however, is a timely reminder that for all of punk’s year zero rhetoric, change was gradual rather than something that happened overnight. Slade, Sweet, Mud and Gary Glitter were all still regulars at this point (even if their chart positions were somewhat lower than previously) sharing the Top Of The Pops weekly chart run-down with the likes of The Jam, The Stranglers and The Sex Pistols.
I was a bit too young to get caught up in punk and new romantic was never really my cup of tea either. But the early 1980s also saw a real renaissance for hard rock and heavy metal, which had been in the doldrums a bit in the second half of the 1970s. At the start of that new decade, bands like Motorhead, Judas Priest, Iron Maiden and Saxon became regulars on TOTP – not just making the album charts but making a serious mark on the singles charts, too. The period even saw a big commercial revival for Slade. Their appearance on 29th January 1981 as Checksfield notes, being their first TOTP performance in four years. It was a pivotal moment for me, instantly transforming them from being a group I remembered from my childhood that did that Christmas record to being my number one favourite band.
People will have their own particular highlights but this book, as well as being a useful and well-researched reference work, will trigger many affectionate memories, even though the less we dwell on some of the show’s past presenters the better.
I had the privilege of reviewing Hannah Rarity’s debut EP, Beginnings, for the now defunct fRoots magazine back in 2016. I predicted hers was a name to watch, Rarity’s voice reminding me of a young Cara Dillon, a comparison it seems a few others went on to make along the way. Since then, she went on to pick up BBC Scotland’s Young Traditional Musician of the Year award in 2018 and release her extremely well-received debut full album, Neath The Gloaming Star, that same year.
Four years later she returns with the follow-up, To Have You Near. The vocals are as captivating as ever and the songs, whether originals or Rarity’s interpretations of others’ material, are always both highly engaging and thought-provoking. With this new album, however, she brings in other influences alongside the expected Scottish folk, with touches of jazz and blues.
Hannah Rarity:“A second album is a daunting task for any artist, and To Have You Near has been born out of a turbulent, difficult time in the world. Which I think is reflected in the freshly penned songs and my choice of poignant covers. Artistically and stylistically, I wanted it to be an intimate experience for a listener, tackling more complex subject matters along the way and experimenting further with production techniques and sounds – still grounded in traditional folk song but allowing space for other influences to permeate.”
Rarity’s own songs (whether her solo compositions or collaborations with co-songwriter, Gordon Maclean) explore themes such as home, friendship, insecurity and dementia, the latter taking the form of a touching song called ‘Kaleidoscope, based on Rarity’s work bringing music to residents in care homes through the Live Music Now initiative.
Covers include the 19th century parlour song, ‘Hard Times Come Again No More’, a cover of Tom Waite’s ‘Take It With Me’ and Julie Matthews’ ‘Comes The Hour’, originally written for a BBC Radio Ballads documentary.
To Have You Near is produced by long-time collaborator, Innes White, who also provides acoustic guitar, alongside John Lowrie (keyboards), James Lindsey (bass) and Scott McKay (drums and percussion). Lush strings courtesy of Seonaid Aitken, Katrina Lee, Patsy Reid and Alice Allen give the album additional depth and sensitivity.
Still a name to watch and still as captivating as ever, Hannah Rarity has created a thing of beauty with this, her second album.
It’s been over thirty years since attending my first and only previous Rolling Stones gig, when I went with my dad to Manchester’s Maine Road back in 1990. My dad’s thinking back then was that if I wanted to see them live then 1990’s Urban Jungle tour might be my last chance.
Thirty-two years later and they are still at it, well Mick Jagger, Keith Richards and Ronnie Wood anyway. The set opened with a poignant tribute to Charlie Watts up on the huge screens and Jagger dedicating the concert to him.
Opening up with a wonderfully energetic version of ‘Get Off My Cloud’ to get us all instantly in the mood, the hits keep rolling. Timeless classics all, I was particularly moved by a poignant rendition of ‘Angie’ and a beautiful ‘You Can’t Always Get What You Want’, a song we played at my dad’s funeral back in 2007 so it has special meaning for me.
There was quite a lot of banter with the crowd, a playful Jagger welcoming us to the “American Express British Summer Time Covid super-spreader event” at one point. This is the fifth time the Stones have played Hyde Park, the vocalist reminds us. “The first one was free,” he says, recalling that legendary Hyde Park concert back in July 1969 following the tragic death of Brian Jones. “The following ones were not free,” he says with a wry grin, acknowledging the hefty wads of cash that most of us had forked out for the privilege of being here tonight.
Keith Richards is in his element, taking lead vocals for a couple of songs, ‘You Got The Silver’ (from Let It Bleed) and ‘Happy’ (from Exile On Main Street). It also gave Jagger a short rest back stage. But for the rest of the concert he’s bopping and preening and dashing out into the crowd on the famed ‘ego-ramp’, the same as he’s always done in a way that’s just impossible to believe he’s now almost 79.
As Matt, my gig partner for the day points out, it’s not a massive entourage of a backing band. Jagger, Richards and Wood are joined by the ever-present Darryl Jones, who took over from Bill Wyman back in 1994, and Steve Jordan filling in for Charlie Watts since the latter’s shock demise last year. Alongside them are Chuck Leavell and Matt Clifford on keyboards, Bernard Fowler on backing vocals and percussion, Tim Ries and Karl Denson on saxophone, and Sasha Allen on backing vocals. Both the sound and on-stage vibe is perfection.
Jagger’s soon back on stage and the band launch into an extended, super-funked-up version of ‘Miss You’, an opportunity for a mass boogie by the Hyde Park crowd and communal “ooh-ooh ooh-ooh ooh-ooh-ooh” backing vocals before we move straight into a deliciously laid-back ‘Midnight Rambler’, with bags of harmonica from Jagger and Richards and Woods trading country-flavoured guitar licks.
And there’s still time to pack a whole more classics in: ‘Paint It Black’, ‘Start Me Up’, ‘Gimme Shelter’, ‘Jumping Jack Flash’. Another poignant moment comes as the big screens depict an eery tableau of bombed-out buildings during ‘Gimme Shelter’ as the band’s tribute to Ukraine, with backing singer, Sasha Allen, duetting with Jagger on this one and demonstrating what a fantastically soulful voice she’s got as she joins him on the ramp out into the crowd.
Unlike the Eagles last week, who launched straight into their encore set without the hassle of going off stage and coming back on again, we did have to wait a couple minutes for the band to return and conclude with ‘Sympathy For The Devil’ and riotous, life-affirming ‘Satisfaction’.
I probably won’t get to see them again, regardless of the band’s future plans as they reach their sixtieth anniversary milestone. But this was special and something I’ll remember forever.
My first BST Hyde Park festival since Blur in 2015, and I’ve not just got one this year, but two. First the Eagles then the Rolling Stones a week later.
Having long been on my bucket-list of must-see artists, I’d somehow managed to avoid seeing the Eagles until now so today was always going to be really special. It was made even more special by the early evening support slot from none other than Robert Plant and Alison Krauss. It’s a superb fit as their lush bluegrass-soaked Americana perfectly complements the laid-back, west coast, country rock of the headliners. Giving us a selection of tracks from their stunning 2007 Raising Sand album and its recent follow-up, Raise The Roof, the pair also manage to chuck in a couple of Zep covers, too – ‘Rock and Roll’ and a majestic version of ‘The Battle of Evermore’, originally a duet between Plant and Sandy Denny.
The sun continued to shine and the Eagles took to the stage on a lovely warm summer evening in Hyde Park. If there’s one band you don’t want to see performing against a backdrop of typically unreliable British weather, it’s got to be the Eagles. But everything is on their side tonight.
Following the sad passing of Glenn Frey back in 2016, the Eagles these days are Don Henley, Joe Walsh, Timothy B. Schmit and new boy, Vince Gill. It’s a masterclass of a performance and the classics just keep rolling: ‘One Of These Nights’, ‘Witchy Woman’, Take It To The Limit’, Lyin’ Eyes’, They just keep coming.
Glenn Frey’s son, Deacon, who was officially part of the line-up for a time following his father’s death, joins as a special guest for a couple of songs, including a stunning ‘Take It Easy’.
Ever the rock star, and never one to really go for the regulation, trade-mark, laid-back Eagles persona, Joe Walsh brings his flamboyance to the performance and gets to do a couple of his solo numbers, too. He’s still in fine voice and his guitar-playing is just a delight. Drummer and founder, Don Henley, also gives us one of his solo numbers, dedicating ‘The Boys of Summer’ to Taylor Hawkins.
Those Eagles classics keep coming though. They’ll be on for two hours by the end. Probably mindful of Westminster City Council’s ultra-strict curfew policy and given that we are now well past 10pm, “We’re not going to do that walk on and walk off thing,” we’re told. Before we know it, it’s ‘Hotel California’ and it just felt magical being in Hyde Park late on a summer evening watching the Eagles perform the song they’ll always be most famous for. We’re not quite finished yet and there’s time to squeeze in ‘Rocky Mountain Way’, ‘Desperado’ and ‘Already Gone’ before the curfew hits.
A truly magical evening and a chance to finally see one of my bucket-list bands. And next week it’s the Stones!