Tag Archives: acoustic

Interview: Darren talks Fag Ash and Beer with guitarist/singer-songwriter Jake Aaron

Guitarist and singer-songwriter Jake Aaron released his debut EP in 2016 to plaudits from folk and indie reviewers. His debut album Fag Ash and Beer was released in September 2019, again to favourable reviews. I caught up up with him recently to discuss the album, some of the musicians he’s worked with, his choice of cover artwork and his teenage love for Iron Maiden.

You have managed to pull together a great line-up of musicians for your debut album? How did they get involved?

I was very lucky! My first songs in 2015 were just on acoustic guitar, but I had an idea last year for a jazzy piece “Give Me Your Horse” which needed a great Hammond player and trumpeter. I made some inquires in the jazz world and the names that came back were Steve Lodder for Hammond and Steve Waterman for trumpet. I contacted them and they both seemed to like the piece – maybe it was the time signature – and luckily they both agreed. I found the bassist Davide Mantovani and drummer Marc Parnell through Steve L. When I was recording the album this year, I felt some tracks needed building up so I asked the musicians if they’d come back in. They’re brilliant players. A couple of the tracks on the album are live takes, “Elvis Has Left The Building” and “New Mexico”, and you can hear how good they are.

Have you been taken aback by the positive response to the album or did you always know you had something special on your hands as soon as you began putting it together?

I’m not sure the album has mainstream appeal, but it does seem to have found a niche in certain music circles which is nice. It’s had some play on BBC Jazz Nights as well as Genevieve Tudor’s Folk Show. My biggest uncertainty was how the album would all hang together as it’s quite a mix of ideas. I just hoped it would somehow. I’ve had a small audience since my EP who seem to like what I’m doing, and it was good they stuck with me, too.

And given the response how come you waited so long to make your first album?

It’s quite a task writing a whole album, and partly it just took a long time to finish the pieces once I’d started. I wrote some of the pieces quickly, whilst others were like watching paint dry, waiting for missing bits of music or words. A couple of the tracks were quite fiddly.

In terms of the album title it absolutely does what it says on the tin – but do talk us through that album cover!

I was working on a very different cover but didn’t feel it was working and was pretty fed up with the whole thing. An old friend then texted me a picture of us playing guitar in his folks’ kitchen when we were about sixteen, smoking and drinking and I thought that’ll do. It tied in with the track “Fag Ash and Beer” and the acoustic aspect of the music. On reflection it possibly wasn’t my greatest idea of all time, and I don’t think it helped promote the music at all. I’m not sure it’s up there with Physical Graffiti. Then again it had personal resonance for me.

fagashandbeer-jake-aaron

Heavy metal clearly had a big impact on you when you were a teenager. That was what got me hooked on music, too, and I still love it alongside the more acoustic stuff. Are you still a fan?

I don’t put Run to the Hills on any more, but I still remember why I liked it. Maybe it’s a guitar thing and if I didn’t play guitar I possibly wouldn’t have got as much out of it as I did. Some of the guitarists are technical wizards. Eddie Van Halen was just mind boggling. Heavy metal aside I’ve always liked different styles of music, and I like a lot more styles than I dislike. A solitary bagpipe, African drums, a hillbilly picking a banjo … they can all do it for me as long as it’s got a groove.

Name some of the artists that have particularly influenced you as a singer-songwriter.

There are lots of artists I love, but I am not sure which ones influenced me the most. Some of them are pretty inimitable. I also think it’s easier and more enjoyable trying to to play in your own way. I probably got bits and pieces from all over though, from every song and riff I learnt to play. You can’t play the intro to Hey Joe a thousand times and not be influenced a bit.

You have Guy Pratt contributing on one track on the album. How did that come about, and did he share any Pink Floyd tales with you?

No tales of Floyd, though I do know some of Guy’s great tales from my “My Bass and Other Animals”. I’ve known Guy for a long time through one of my best friends. I had an interesting cover for “Give Me Your Horse” of Pancho Villa and his gang holding instruments instead of rifles. The bass player looked particularly cool, like he was some legendary bassist, so Guy came to mind. I emailed him the piece, he liked it and quite remarkably he agreed. A massive honour.

What’s your favourite track on the album and tell us how it came about?

I’ve got a few but I think the instrumental “Elvis Has Left The Building” has a good vibe. It was originally an acoustic song but the band sounded so good I left it as is, like we were Elvis’s warm up band. After we recorded it, I was downstairs in the studio making a coffee and Kenny Jones, the engineer, and the others were playing it back upstairs. We had a busy schedule and when I heard it I thought “Why are they listening to that funk track on the radio? We should be getting on with my stuff!” I liked “New Mexico”, too. I was downstairs again when it was played back and Marc’s beat came pounding through the ceiling – it sounded like approaching Apaches. I was quite pleased lyrically with “Jonah Part 1”, too. It took a while to get it into a shape where it sounded colloquial without being too flip, and I could tell the story in a way I found engaging.

Give Me Your Horse Cover

The single cover art for 'Give Me Your Horse'

And, finally, given the positive reaction to this have you got plans for a follow-up?

I think I’d keep plodding on regardless of the reaction, but it’s good that some people like the music too. I’ll possibly release singles or an EP next if another album is too daunting. I’m quite interested in music for film. A couple of reviewers thought the music was quite cinematic and would fit a Tarantino movie. Clearly if Quentin wants to use a piece that would not be a problem!

Fag Ash and Beer was independently released on 6th September 2019

https://www.jakeaaron.com/

 

Singer songwriter: album review – Mike Silver ‘Alchemy: Fifty Years In Song’

The independent label Folkstock has had an enviable record in bringing young up and coming artists like Kelly Oliver to wider attention. Here, however, Folkstock give us a 16-track career retrospective of singer-songwriter Mike Silver.

As the press blurb itself notes: “Despite a few brushes with national media, Mike has remained the preserve of the initiated.” Such brief brushes include a session for Bob Harris on Radio 1 in the 70’s and airplay on radio 2 for his 2003 song ‘Not a Matter of Pride’ but I must admit Silver had completely bypassed my radar. It’s to the credit of Helen Meissner’s Folkstock label, therefore, in aiming to redress that.

Learning to play guitar at a young age, successfully auditioning for a place in John ‘Johnny Remember Me’ Leyton’s backing band at 16 but turning it down for the security of the South Eastern Gas Board instead, Silver eventually found his artistic calling and re-invented himself as an acoustic singer-songwriter in 1969.

Mike Silver for BBC profile

This compilation therefore marks Silver’s fifty years in this guise and is a fitting celebration of his undoubted talents as both a songwriter and performer. Some beautifully intricate guitar work, thought-provoking lyrics and a warm and engaging vocal delivery make Alchemy: Fifty Years In Song a pleasure to listen to.

Personally selected by Silver, the tracks span from 1984 through to 2012 (Were there licensing issues with accessing the earlier material or has Silver simply made a personal preference for songs from his later era?) Highlights include the addictively catchy ‘Walk Away’, the self-pitying sing-along drinking song ‘Oh Doctor’ and the poignant and beautifully played ‘Breaking the Silence’ reflecting on the plight of Europe’s Jewish population in the 1930s and 40s.

A fine singer-songwriter and something of an unsung hero these past few decades, Mike Silver and his Alchemy compilation are well worth checking out by anyone with an interest in the acoustic singer-songwriter genre.

Released by Folkstock Records 26th March 2019

http://mikesilver.co.uk/

Alchemy cover art Mike Silver

Photo credit: artist publicity

Blues: album review – King Size Slim ‘Live At The Palace’

This review was originally published by The Stinger here

Proof, if it were needed, of what a dynamic live venue the newly-refurbished Palace in Hastings is turning out to be comes in the form of this new CD from King Size Slim.

Toby Barelli, no stranger to the Hastings live scene, has been gigging for ten years now in his King Size Slim persona. His brand of raw, heartfelt, acoustic blues has picked up many fans along the way.

After spending a couple of years as part of pioneering 2-Tone ska heroes, The Selector, Barelli switched to a rootsy, ballsy, acoustic blues boogie sound. King Size Slim was born.

Spanning ten self-composed tracks ‘Live At The Palace’ captures Toby Barelli on fire with the Hastings crowd earlier this year. A talented guitarist and a naturally charismatic performer this CD positively drips with atmosphere and groove. Playing his trademark battered Tricone Resonator guitar, for this gig he’s also joined by a full band of Rufus Stone on upright bass, and James Gulliver and George Macdonald on percussion.

Songs like ‘Dark Soul’ and ‘Monkey, Where Are You?’ are given a real added potency with the funky bass and infectious percussion. The gig, and the album, ends with a rousing, singalong, rendition of Barelli’s ‘May We Find’ – surely an anthem for these troubled times?

A brand new studio album is promised for 2018 but, in the meantime, this live CD captures the excitement and energy of a King Size Slim gig. Anyone familiar with Toby Barelli’s work will surely want to buy this – particularly if you were at The Palace on that magical night.

http://www.kingsizeslim.com/

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Mick Bolton and Simon Shaw at Gecko, St. Leonards 10/4/16

One of the absolute joys about life in Hastings and St Leonard’s, and a key motivation for relocating here in the first place, is the proliferation of live music venues. There’s an extremely satisfying number of good-sized venues, like The White Rock Theatre, St Mary In The Castle, The Stables Theatre, The Kino Teatre and the nearby Bexhill De La Warr Pavilion. But it’s not just the larger theatre-style venues, live music in pubs and bars throughout the town appears to be as much part of pub life as pints of lager and bags of crisps. So my first actual gig as a bona fide, council-tax paying Hastings resident, as opposed to visiting music tourist, is to see Mick Bolton and Simon Shaw play an early Sunday evening set in the Gecko cafe bar around the corner from me on St Leonard’s seafront.

I’d seen keyboard player, Mick Bolton, who toured as part of Mott The Hoople in the early 70s, at a handful of Mott The Hoople-related events over the years but until tonight I’d never actually seen him perform live. He’s joined by Simon Shaw and Bolton’s pounding honky tonk style-piano and Shaw’s acoustic blues/Americana guitar make for a really nice combination. They give their own treatment to a number of well-known covers, including songs by Georgie Fame, The Beatles, The Band, Thunderclap Newman, Eric Clapton and Chuck Berry. A good few of Bolton’s self-penned originals are thrown in, too, performed in a similar style (mainly) with a couple of slower numbers thrown in towards the end.

So for a couple of hours around thirty-odd of us are entertained for free in this pleasant little seafront cafe bar by two talented musicians who are clearly enjoying playing for us. My first gig as a Hastings local, but certainly not my last, and several more are lined up already.

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