Back Up To Zero is the third album from acoustic singer-songwriter duo Adam Amos & Noel Rocks. It comes after quite some gap since the first two though. Adam Amos and Noel Rocks recorded two albums together in the 1980s and toured around the UK and Europe. Their endeavours as a duo came to a premature end, however, when Amos relocated abroad. Two sell-out reunion shows at the Edinburgh Fringe in 2015 evidently encouraged them to rekindle their working partnership as a permanent set-up once more and they began working on Back Up To Zero in 2019, on Amos’s return to live in Scotland.
The album comprises eight original songs along with one traditional number and one cover. The duo (Amos guitar/vocals and Rocks guitar/banjo/vocals) say the songs are mainly drawn from their personal observations, with influences from Scotland, Ireland and North America.
They are joined by a number of guest musicians: renowned Korean born Su-a Lee (Scottish Chamber Orchestra, Mr McFall’s Chamber, La Banda Europa) on cello, David Paton (Pilot, Elton John, Albert Hammond) on bass and Kenny Hutchison on accordion and piano, who was also the album’s producer.
Both Amos and Rocks are each accomplished song-writers and their reflective, thoughtful but easy-on-the-ear lyrics align nicely with some gentle, catchy melodies. The Americana as well as the Celtic influences shine through and it makes for a very pleasing mix. An engaging and likeable album from this duo let’s hope there’s a good few more gigs and a few more albums in them yet.
After making quite an impact and scooping up tons of praise with her debut She & I, an album which paid tribute to inspirational women in history, Kirsty Merryn is back with a follow-up. In her own words Our Bright Night is about “tales of the supernatural, the dying of the light and the land.”
“It’s a reflection of the world we live in, both real and imagined, and the way in which ignorance to social issues can result in devastating results,” says Merryn.”After She & I I wanted yo strip everything back and make this album a more intimate affair.”
The result is a cool, classy album of contemporary folk with Merryn’s crystal clear vocals and gently captivating piano taking centre stage. There are guest appearances from Phil Beer who contributes violin on opening track ‘Twilight/Banks of Sweet Primroses’ and Sam Kelly whose vocals also grace a track ‘Shanklin Chine’.
The eleven tracks are mostly original material written in a folk vein but there are a couple of Merryn’s interpretations of traditional standards, too. Captivating vocals combined with intimate delivery and enigmatic songwriting makes Our Bright Night a worthy follow-up to Merryn’s well-received debut.
From Hound Dog to Always On My Mind the original versions of six classic Elvis songs
1. Hound Dog
Written by songwriting team Jerry Leiber and Mike Stoller when they were both still in their teens, ‘Hound Dog’ was created specifically for blues singer Big Mama Thornton. It was recorded in 1952 and released in 1953. Rather than being seen as just a rough early prototype of a tune Elvis would later make famous, Thornton’s version of Hound Dog is rightly regarded as iconic in its own right, helping lay the foundations of black R&B in rock music. The song has cemented Thornton’s place in rock ‘n’ roll history, even if she never made more than a few hundred dollars from it. Presley’s version was released three years later in 1956.
2. Are You Lonesome Tonight?
We go right back with this one. ‘Are You Lonesome Tonight?’ was written by Vaudeville songwriters Roy Turk and Lou Handman in 1926. Numerous versions were recorded in the late 1920s but the first was by Charles Hart, in 1927. In 1950, the Blue Barron Orchestra recorded a version and the song became a staple of crooners of the era. In his final months of national service with the US Army, Elvis began considering new material for his return to a recording career. Presley’s manager, Colonel Tom Parker, suggested ‘Are You Lonesome Tonight?’ – the song being a favourite of Parker’s wife. Presley’s version was released in November 1960.
3. Suspicious Minds
‘Suspicious Minds’ was first written and recorded in 1968 by Mark James. Here we hear it taking shape as a soulful pop ballad. While the arrangements on the James version are virtually identical to those on the Elvis version recorded a year later. the magic is somewhat lacking. After spending much of the 60s churning out B movies, ‘Suspicious Minds’ was one of the songs recorded by Elvis in the Memphis recording sessions following the success of his televised 68 Comeback Special. Recorded in January 1969 it was released in August 1969 and became Elvis’s first number one in several years.
4. The Wonder of You
Written by Thomas Baker Knight Jr. ‘The Wonder of You’ was first recorded by film actor/singer Vince Edwards in 1958 but never released. A year later a version was released by Ray Peterson who had a Top 30 hit with it in both the US and the UK. It would be 1970, however, before Presley took Peterson’s sugary, sentimental teen ballad and transformed it into the bold, dramatic and unforgettable version that we know today. Presley recorded a live version of the song in Las Vegas in February 1970 and it is this live version of the song that was released as a single in April 1970.
5. An American Trilogy
‘An American Trilogy’ is actually three songs. The “Oh I wish I was in the land of cotton” bit is from ‘Dixie’ which became an anthem of the confederacy in the Civil War. The “Glory, Glory Hallelujah” bit is from a song called ‘Battle Hymn for the Republic’ which was the marching anthem of the opposing federal anti-slavery Union Army. And the “Oh, hush little baby don’t you cry” bit is from ‘All My Trials’ said to have emerged out of African American spirituals. Country musician and composer Mickey Newbury had the idea of bringing the three together, representing three strands in America’s troubled history, for his 1971 album and a subsequent single. Presley introduced ‘An American Trilogy’ to his concert set-list in January 1972. A live recording was made the following month which was released as a single but although it became a staple of Presley’s live shows, paradoxically, the single didn’t do as well in the US charts as Newbury’s original.
6. Always On My Mind
A love song expressing deep regret to a departing lover ‘Always On My Mind’ was written by Wayne Carson, Johnny Christopher and Mark James. Mark James, of course, we already know as the writer and original singer of ‘Suspicious Minds’. ‘Always On My Mind’ was first recorded by BJ Thomas in 1970 but the first version to be released was by Gwen McCrae in 1972. Presley recorded his version shortly after separating from his wife, Priscilla, and it was released in November 1972. Here we can hear both the BJ Thomas and the Gwen McCrae versions.
This review was originally published by Get Ready To Rock here
The ‘On Track’ series by publishers Sonic Bond provides an album by album, track by track overview of a number of artists. The latest in the series to get this treatment are British folk-rock legends Fairport Convention. Author, Kevan Furbank, takes us on a fascinating journey through each of the band’s thirty studio album’s, from 1968’s self-titled debut to this year’s Shuffle and Go.
Each entry begins with a factual summary of personnel, recording information and release dates, followed by a brief potted history the album’s genesis and the band’s fortunes at the time it was recorded. That is then followed by Furbank’s review of each track. Having read a fair few books on folk-rock, Fairport and some of their leading personnel, most of the history was familiar to me. However, Furbank really comes into his own with his pithy and usually very insightful track by track reviews. And what he’s superb at doing is capturing the familiar styles of different Fairport personnel as well as some of the band’s most used external songwriters. ‘Tale In Hard Time’ one of Richard Thompson’s early songs on 1969’s What We Did On Our Holiday, for example, is thus introduced as “another of Richard’s gloomy/jaunty songs, an upbeat rhythmic number with slit-your-wrists lyrics” beautifully summing up a whole canon of classic Thompson output.
Furbank is also meticulous at pointing out where the band have returned to a song, as they have done on frequent occasions, and making comparisons with the earlier versions – or highlighting where the band have returned to a similar lyrical theme or musical arrangement in a different song. So if, like me, you were thinking I’m sure they’ve recycled that Eddie Cochran riff for one of those fifties rock n roll – meets trad folk song mash-ups just once too often, this book will tell you exactly which song and which album they tried it on first and where (perhaps unwisely) they thought it was a good idea to try it again.
I read the book over a single weekend, often playing the relevant albums as I turned the pages. I thoroughly enjoyed the author’s critical insights even if I did not always agree them. For those familiar with Fairport Convention’s history this will be a fascinating sit-down read, as well as a really useful reference for the future. However, if you are a Fairport fan looking to learn more this shouldn’t be the first book you read on the band. Start with Clinton Heylin’s ‘What We Did Instead Of Holidays’ or Mark Eden’s ‘Electric Eden’ or the band’s own authorised biography first and you will enjoy what this book has to offer all the more.
In spite of being something of a regular fixture on the UK folk circuit, over two decades of writing songs ever since his teenage years and a long-term collaboration with violinist Ian Pearson, Irish-born singer-songwriter Kevin Hunt has waited until now before releasing his debut album. Devil’s Daughter comprises ten tracks of self-composed. In addition to Hunt (vocals, acoustic guitar and harmonica) and Pearson (violin) it includes an impressive line-up of session musicians: double bassist John Parker (better known as one half of the acoustic duo Nizlopi), Dan Wilde on guitars, piano and organ, Jamie Welsted on drums and singer-songwriter Anna Hester providing backing vocals.
It’s apparent that the years Hunt has spent honing his craft as a songwriter have not been wasted and he delivers an impressive debut here.
“One of the first songs I wrote was about the troubles in Northern Ireland and I discovered I could more effectively express how I felt about complex subjects in song than I could any other way so I guess that’s when song-writing started for me, “ he notes.
”I’ve realised that the meaning of songs is in who hears them and over time those songs change and what the listener takes from them will change too. As long as they are written from a genuine place – good, bad or ugly – then they will carry in some shape or form. What a song might be about is not really up to me to define even if I’ve written it. That’s for someone else to decide for themselves. That’s what makes music pretty special as an art form. Songs are just moments, that’s all. Not definitions or dogmas.”
A gift for lyrical storytelling combines with a warmly satisfying voice and some deft musical interplay between the assembled musicians to make this an album that you get more and more from with each repeated listen. No-one could ever accuse Hunt of rushing himself in bringing his songs to the recording studio but it has certainly been worth the wait. Devil’s Daughter is a very welcome debut. Like many musicians the world over any gigs that Hunt had lined up in support of this album will now be completely up in the air. However, whether you have seen him live previously or just looking for something new as you contemplate what is likely to be many weeks without any gigs to out to this album is well worth seeking out.
A Choir of Ghosts is the alter-ego of Swedish singer-songwriter James Auger and An Ounce of Ghosts is his debut album. Written over a three -year period this highly personal album is influenced by both the thick forests of the Scandinavian landscape and the experiences and feelings he went through over that time.
Right from your first listen of the album a number of things become immediately apparent. First, Auger has a fantastic voice – with that slight Americana vibe that makes for perfect singer-songwriter territory. Secondly, he’s really got a good ear for catchy memorable melodies – even after an initial couple of plays this album feels like it’s been a much-loved part of your collection. And finally, this is a really well-constructed, beautifully-produced debut album – from the epic orchestral soundscapes that dominate tracks like the grandly-titled ‘Sinner In Rapture’ (also released as a single) to the warm, introspective feel of stripped-back acoustic numbers like ‘Driving Home’.
Beautiful melodies, thought-provoking lyrics and gorgeous production An Ounce of Gold is an extremely impressive debut album and one well worth seeking out.
All Is Not Forgotten is the fourth solo album from Scottish folk singer Siobhan Miller, three times winner of MG Alba Scots Trad Music Awards and a 2018 BBC Folk Awards recipient. Featuring a mixture of new arrangements of traditional songs and newly-composed original material, Miller has drawn together a stellar team of supporting musicians from across the Scottish folk scene. Lau’s Kris Drever plays guitar, Miller’s husband and musician/producer Euan Burton plays bass (both of whom also collaborate in the song-writing), while Braebach’s Megan Henderson plays fiddle, Innes White plays acoustic guitar, John Lowrie plays piano and Kim Carnie contributes backing vocals.
A more stripped-back slightly less commercial affair than her 2018 album, Miller reflects:
“After releasing Mercury I really wanted to create something reflective of our live shows, mixing original songs with new arrangements of traditional songs I’ve learned and making it as raw and as honest as possible.”
A beautifully pure voice that is just made for Scottish folk along with some exquisitely lovely musical arrangements and some instantly appealing songwriting ‘All Is Not Forgotten’ commends itself to you as a stand-out album as soon as you put it on.
Among the album’s nine tracks highlights include ‘Selkie’ a lovely arrangement of the traditional song immortalising the Scottish legend of those beasts that are seals in water but human on land. The gentle beauty of ‘While The World Weeps’, co-written by Euan Burton with Findlay Napier, is another real highlight, while a complete contrast comes in the shape of the music hall feel of the wittily tongue-in-cheek ‘Cholesterol’ that closes the album.
A string of tour dates were announced to promote All Is Not Forgotten, sadly and inevitably now all cancelled. So if you want to support Siobhan Miller while at the same time adding some thoughtful songwriting and creative arrangements of traditional Scottish folk to your collection then do visit her website and purchase a copy of this beautiful album.
Released: 3 April 2020 by Songprint Recordings via Proper Music
By way of marking forty years since the emergence of the infamous masked drummer ‘Thunderstick’, who became the iconic figure for the then burgeoning ‘New Wave Of British Heavy Metal’ movement, his eponymously-named band are ready to release their first ever official live album. The limited-edition CD will be released by Roulette Records on 20th March.
Thunderstick’s alter ego and creator Barry Graham Purkis announces:“I am so happy to announce that after 40 years of ‘Thunderstick’ a live album will be released this month to celebrate. Comprising both Thunderstick and Samson material with the odd ‘cover’ thrown in for good measure, there has never been any official recordings of the band in concert before so for us this is pretty damn special..!!”
Lead singer Raven Blackwing adds: “I am really excited about the upcoming release of our live album ‘Something Wicked This Way Came’ Thunderstick live in France. The whole gig was a blast from start to finish with so many new friends made, a beautiful way for me to cherish that memory of that performance. It’s my first album with the band and I’m really hoping that people listening to it will pick up on the enjoyment that I and the guys had on stage that night. Much love Raven xx”
Recorded live in France in November 2019 the album features a full concert with the following track listing:
Riding With The Angels
Go Sleep With the Enemy (I Dare Ya)
Earth Mother
Buried Alive
Dark Night Black Light Monologue Teenage Suicide)
Dark Night Black Light
Vice Versa
Witches Trial
Blackwing …… The Curse
Dark Princess Thunder
Thunder Thunder
Time Warp
Best known for his time with Samson and an early Iron Maiden Barry Graham Purkis (AKA Thunderstick) has been the legendary icon for the NWOBHM (New Wave Of British Heavy Metal) scene since the late 70s. His eponymously named band, renowned for its female fronted power rock and theatricality, have a considerable heritage. The band played live and recorded for six years both in the UK and in the United States until playing their last gig in October 1986.
Then In 2016 former lead vocalist, Jodee Valentine, tragically died. In recognition of her memory Barry decided to record some songs that Jodee had performed live. This became the ‘Something Wicked This Way Comes’ album, the first new Thunderstick product in over thirty years. It was released in July 2017 to enthusiastic reviews worldwide. Following the success of the album Barry put a live band together who have brought the Thunderstick magic to a series of festival dates and live gigs. Now signed to Roulette Records an eagerly-anticipated follow-up studio album is currently being recorded and is scheduled for release in July 2020.
Baz Crowcroft, the band’s resident artist has, once again, delivered spectacular artwork for the album. He was responsible for the artwork on the last album as well as the recent single ‘Go Sleep With The Enemy’. He will, of course, also be creating artwork for the forthcoming new studio album in the summer.
The full Thunderstick band line-up is:
Vocals – Raven Blackwing
Drums – Barry Graham Purkis aka Thunderstick
Guitar – Vinny Konrad
Guitar – Lee Quenby
Bass – Rex Thunderbolt
Initially starting out as a side project from his work with Steeleye Span, Peter Knight’s Gigspanner rapidly began establishing itself as the folk rock fiddle maestro’s main creative outlet. Steeleye Span were consequently left to find a new fiddle player and Gigspanner’s reputation grew with a string of albums and an almost permanent touring presence around the country’s arts centres, village halls, churches, pubs and theatres. It’s not only reputations that have grown, however, but the size of the band, too. Forming first as a violin-guitar-percussion trio creating a wonderful fusion of traditional English folk and a beguiling blend of international influences, the duo of Phillip Henry and Hannah Martin subsequently joined for occasional tours and a live album under the delightful Gigspanner Big Band moniker. Now, the big band has got even bigger – with former Bellowhead legend John Spiers joining.
Natural Invention is the first studio album of this six-piece collaboration. Of course you’re going to have exquisitely good musicianship with such a line-up. One niggling question for fans who have grown to love the vastly varied yet utterly unique sounds of the trio format, with its perfect interaction between violin, percussion and guitar, is whether having six musicians in the studio starts to over-complicate the unmistakable Gigspanner formula. It absolutely 100% doesn’t. This new album is pure Gigspanner through and through. Spiers’ melodeon, Henry’s slide guitars and Martin banjo and vocals all sound like they were forever destined to be part of the Gigspanner sound. Moreover, with beautifully creative arrangements of ten traditional songs (from the Child ballad ‘Betsy Bell and Mary Grey through to ‘Daddy Fox’ whose origins go back as far as the fifteenth century) the six have produced something absolutely magical.
Obviously, during the unfolding crisis of the pandemic musicians have been finding every gig and every forthcoming tour cancelled and their income rapidly disappearing. Bands will be reliant on album sales now more than ever before and, obviously, if you’re stuck in the house for weeks on end you’ll maybe want some new stuff to listen to. So buy buy buy buy. But don’t just buy to be charitable Natural Invention is a stunningly good album. Even if you’re stingy enough to only buy one folk album this year make sure it’s this one.
London has been getting better at celebrating its rock ‘n’ roll history in recent years. More blue plaques are going up, you’ve got attractions like the Hendrix flat and generally more and more effort is being made to mark some of London’s historic musical legacy. One place you might want to take a look at if you’re in central London is Poppies Fish & Chips restaurant on Old Compton Street in Soho. True, the fish and chips are indeed very tasty but of interest to rock fans is the fact this premises at 59 Old Compton Street was once the legendary 2i’s coffee bar.
The 2i’s name came from the cafe’s original owners, Freddie and Sammy Irani, who ran the venue until 1955. They then leased it out to two wrestling promoters, Paul Lincoln and Ray Hunter, who opened it as a coffee bar in April 1956.
“The proprietor of the 2i’s was happy to have the band playing in his cafe. He’s been trying to draw customers in by employing singer Max Bard… but that wasn’t bringing in the teenagers. These guys seemed to have that young sound, so as they finished up their coffees and headed back out into the rowdy rush of the Fair, he invited them to come back and play any time. They promised to return the following week.”
There’s a nice little Pathé news clip here of the 2i’s in action.
Live music performances took place in the coffee bar’s basement which had room for around twenty people and the Vipers became the resident band there. However, during a break in one of the Vipers sets a young guy named Tommy Hicks took to the stage to sing some rock ‘n’ roll. Hick was soon talent-spotted, renamed Tommy Steele and had his first single out ‘Rock With The Cavemen’.
Numerous future recording stars would go on to perform and be discovered at the 2i’s. These include Cliff Richard and the Shadows, Vince Eager, Adam Faith, Carlo Little, Joe Brown, Clem Cattini, Eden Kane, Tony Sheridan, Albert Lee, Johnny Kidd, Ritchie Blackmore and Big Jim Sullivan.
“When Hank and I came to London at the age of 16 we went to the 2 I’s coffee bar to be discovered, as did Cliff as did lots of other people,” recalled the Shadows’ Bruce Welch in a documentary.
The 2i’s closed towards the end of the 60s, becoming a series of cafe bars and restaurants. A plaque was installed in September 2006 but it was only with the opening of Poppies Fish & Chips restaurant in 2016 that they really went to town in celebrating the venue’s historic legacy. There’s old photos on the walls, part of the old painted plasterwork has been uncovered and there’s a neon sign at the top of the stairs to the basement recreating the coffee bar’s famous logo.
And the basement? Now it’s just the gents and ladies toilets and a narrow corridor with some memorabilia on display but you can pop down there and think about all of those who performed down here and helped shape the course of British rock history.
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