Tag Archives: album review

Classic rock: album review – Peter Goalby ‘Don’t Think This Is Over’

Album reviews, Rock music, , , , , , , ,

I’ve always had a bit of a soft spot for early ‘80s Uriah Heep. Even though I would become totally besotted with the Hammond-pounding Hensley/Byron era, my entry point into the music of Uriah Heep was not through demons, wizards or magicians but rather through the Abominog album in 1982. And it was the Peter Goalby-fronted version of the band which I first saw live as a teenager.

Accordingly, I was delighted when two albums of archive solo material finally saw the light of day several decades after Goalby retired from the music business. These being Easy With the Heartaches (reviewed here) in 2021 and I Will Come Running in 2022.

Just as we might have thought the archives were now well and truly empty, a third solo album has also just been released. Goalby originally recorded the album not long after leaving Uriah Heep. However, it was only when a poorly labelled DAT was spotted at a storage facility over 30 years later, that the lost album was rediscovered.

Peter Goalby: “In 1987 I was offered a recording and publishing contract with RAK Records just after I’d left Uriah Heep.  I thought these songs would be very commercial in the 1980s and Smokie recorded Fallin’ Apart. I later found out the master tapes had been lost and I silently carried the disappointment that music I’d put my heart and soul into was gone forever.  Never say never!”

The nine-track album was personally overseen (from tape transfer, mastering and artwork) by Goalby. What will be of particular fascination for Heep fans is that this lost album was only finally completed in 2025 when Goalby’s former Uriah Heep bandmates, Mick Box (guitar) and John Sinclair (keyboards), added the final overdubs to the tracks. 

While it’s immediately obvious that this is an album that could only have been made in the 80s and contains many sonic motifs of the era, production-wise Don’t Think This Is Over is a very polished affair. It comes over as a fully-rounded album in every sense, not simply a collection of archive material. Songs like ‘I’ll Be The One’, ‘It’s Just My Heart Breakin’’ and the title track are all instantly catchy yet satisfyingly muscular AOR containing some great guitar licks and showcasing Goalby in very fine voice. Meanwhile, ‘Another Paper Moon’ and ‘Fallin’ Apart’ underscore his knack for turning out some great lighter-in-the-air (not phones – it’s still the ‘80s remember!) anthemic rock ballads.

Don’t Think This Is Over is essential listening for any fans of Peter Goalby / ‘80s Uriah Heep and is a very worthy companion both to his recently-released solo albums and to Abominog, Head First and Equator.

Released: 5th December 2025

Related posts:

Album reviews: four solo releases from the extended Uriah Heep family

July Morning – a fifty-year-old British rock song and an annual celebration of summer in Bulgaria

Uriah Heep, Bexhill 2025

Uriah Heep, Bexhill 2019

Uriah Heep at Giants of Rock 2018

Uriah Heep, London 2014

This week’s featured artists: The Metagama Ensemble – new album ‘Metagama: An Atlantic Odyssey’

Album reviews, Folk music, , , , , , ,

The exotically-titled Metagama Ensemble take their name from the SS Metagama, a ship whose voyage across the Atlantic in the 1920s, marked the beginning of a mass emigration scheme from the Hebrides to Canada.

The Metagama Ensemble explain the aim of Metagama: An Atlantic Odyssey as follows:

“Movingly commemorating and celebrating the lives of the young emigrants, from the heartache of homesickness and separation, the emotional poignancy of tragedy and loss, to the lively fun of cèilidh tunes on the dance floors of North America, this album gives voice to the experiences of those who left and those who were left behind, telling the story of an important but little-known period in Hebridean history, the devastating impact of which is still felt in the islands today.”

Originally conceived as a live show, Atlantic Odyssey began life as a Creative Scotland-supported tour of the Highlands and Islands in 2023. Since then, the Metagama Ensemble project has grown exponentially. Interest in the project and the stories around the mass emigration, has been widespread, with capacity audiences throughout the tour, followed by a sell-out show at Celtic Connections in 2024.

Countless requests for a recording of the concert prompted the Ensemble to release an album. It was recorded in Black Bay Studio on Great Bernera and in The Wee Studio on the Isle of Lewis, while also including several live tracks from Celtic Connections and Eden Court Theatre.

Across thirty-six tracks, a mixture of traditional Gaelic songs, brand-new songs performed by the ensemble in English, original instrumental pieces and spoken-word segments, the album features writer and poet, Donald S Murray; pianist/singer-songwriter, Liza Mulholland; Gaelic actor and 7:84 Theatre Company co-founding performer, Dolina MacLennan; Gaelic singer and piper, Calum Alex Macmillan; fiddler, Charlie Mackerron; singer-songwriter, Willie Campbell; and cellist Christine Hanson.

Poignantly commemorating the lives of the Hebridean migrants and of those left behind, Metagama: An Atlantic Odyssey is a gripping collection of beautifully-performed music and compelling storytelling.

Released: 19th July 2025

https://metagamaensemble.bandcamp.com/album/metagama-an-atlantic-odyssey

Folk: album review – Ninebarrow ‘The Hour of the Blackbird’

Album reviews, Folk music, , , , , , ,

After twelve years performing together and five extremely well-received studio albums, the folk duo Ninebarrow revisit some favourite songs with reworkings of material from their back catalogue. All of the key components you would expect from a Ninebarrow release are present and correct here: the lovely vocal harmonies of Jon Whitley and Jay LaBouchardiere, the intuitive connection to the natural world around us and the innovative adaptation of traditional material combined with compelling original songwriting.

However, the extra magical ingredient that is sprinkled throughout this collection are the stunning choral accompaniments, with Whitley’s and LaBouchardiere’s own harmony vocals joined by over forty others, courtesy of two locally-based choirs: Hart Voices from Hampshire and Chantry Singers from Surrey.

The genesis of the project can be traced back to the Covid lockdown, when the moratorium on live performances gave rise to a plethora of online concerts, Zoom choirs and sundry charity fundraising singles, the latter ranging in quality from the genuinely breath-taking to the frankly bizarre. But while we can safely assume that few people now sit at home listening to Captain Tom’s rendition of ‘You’ll Never Walk Alone’, Ninebarrow’s own charity single for MIND, ‘The Hour of the Blackbird’, certainly does stand  up artistically. What’s more, it convinced the duo that there was further mileage yet in such an approach.

Jay LaBouchardiere: “The response to that blew us away with people making donations from all over the world and we thought if one song can sound this good recorded through phones and laptops imagine what a studio collaboration could sound like.”

The result is simply stunning, with the thirteen tracks on The Hour of the Blackbird showcasing some truly spellbinding choral arrangements which take Ninebarrow’s elegant, understated, trademark magic to new heights. From the ethereal qualities of ‘Names In The Sky’ to the heart-warming optimism of the title track to the jaunty defiance of live favourite ‘The Weeds’, to the fresh take on folk perennial ‘John Barleycorn’, there’s plenty to marvel at here. A wonderfully uplifting album.

Released: 3 October 2025 https://www.ninebarrow.co.uk/

Related posts:

Album review: Ninebarrow – The Colour of Night

Album review – Ninebarrow ‘A Pocket Full of Acorns’

This week’s featured artist: singer-songwriter Jim Borrows – debut album ‘Carry Me Back to My Old Front Door’

Album reviews, Folk music, Rock music, , , , , , , , , ,

Jim Borrows will not be a name many people will have heard of but back in July, after a lifetime of playing piano primarily for his own amusement, he fulfilled a long-held ambition of releasing his debut album. Of course, many musicians have trodden a similar path and while many aspects of the modern-day music industry may be broken, technology has made it easier than ever for emerging artists to record and release new music these days.

What immediately marks Borrows’ venture out from many others, however, is the friends he’s been able to call upon to bring his dream to fruition. Firstly, it’s produced by experienced multi-instrumentalist and highly talented producer, James Wood, who also contributes guitars, keyboards, percussion and backing vocals to the album.

James wood, Jim Borrows and Dave Pegg

Moreover, and of particular interest to any fans of folk rock legends Fairport Convention, it features the band’s veteran bass-player, Dave Pegg, who contributes bass, mandolin and electric guitar. And just to underline the Fairport connections even further, the album also features an additional guest appearance from the band’s fiddle supremo, Ric Sanders, who contributes electric violin on one track, a cover of Dylan’s ‘Seven Days’.

As Sanders recollects in this summer’s Cropredy festival programme, Borrows’ and Fairport’s paths first crossed when the band were doing some of their European riverboat cruises and they performed various themed karaoke nights together. “Jim was without doubt the star performer,” noted Sanders. “Not only a great singer but also a fine pianist.”

Anyone who has seen Fairport on stage with guest artists will know that Peggy and co. can turn their hand to a whole panoply of musical styles, far beyond the folk rock canon with which they are most closely associated. Carry Me Back To My Old Front Door is no exception.

Featuring seven of Borrows’ own compositions and alongside six Bob Dylan covers and a couple of further covers of Neil Young and Sandy Denny songs, it’s an entertaining album. Borrows own compositions are highly personal chronicles of a range of his experiences and thoughts on themes including time, life and love; and they reflect his multiple influences, including The Beatles and Bob Dylan. Sleeve notes and lyrics for the self-penned compositions are contained in the detailed twelve-page CD liner notes.

With Borrows’ piano and vocals front and centre, ably assisted by the hugely talented Pegg and Wood, Carry Me Back To My Old Front Door creates a jazzy, bluesy singer-song-writer vibe with some compelling rock elements. It’s well worth checking out.

As Fairport Convention’s own Chris Leslie sums it up: “A lovely album with some fab song writing from Jim.”

Released: 18 July 2025 – Available to stream and download from all major platforms. For CDs, contact jimborrows@yahoo.co.uk

Related posts:

Interview with Fairport Convention’s Dave Pegg

Interview with Fairport Convention’s Ric Sanders

Live review: Fairport’s Cropredy Convention August 2025

Folk: Album review – Amelia Hogan ‘Burnished’

Album reviews, Folk music, , , , , , ,

I really enjoyed Taking Flight, the 2023 album by San Francisco-based folk singer, Amelia Hogan, praising her distinctive vocal style and the album’s beautiful musical accompaniment when I reviewed it two years ago. It wasn’t just me who thought that either. The album picked up many favourable reviews and made the top ten of the Folk Alliance International chart in the month it was released. Now Hogan is back with a brand-new album, Burnished.

Like Taking Flight there’s one song that’s a self-composed original which is written in a traditional style, with the remaining thirteen tracks being a mixture of traditional numbers and Hogan’s own interpretations of songs by more contemporary songwriters.

Amelia Hogan: “The album highlights familiar, often overlooked folklore about real places, sharing the hidden magic found in connecting with the natural world and its spirits of place, or Genius Loci. It also reflects on the emotional impact of remembering an animist perspective (what happens when we act as if everything around us is conscious?), where we share our space with everything around us-both seen and unseen. Through this, I encourage us to approach our relationships mindfully – with people, nature, and the world we co-inhabit.”

Highlights include the self-composed opening track, ‘Rolling in the Gold’ – a lovely song with both Americana and Celtic influences and described as ‘a love-song to California’. The traditional material includes a poignant version of ‘Wayfaring Stranger’ a seventeenth century American spiritual with roots back in England; as well as a lively, uplifting version of ‘Dh’eirich Mi Moch Madainn Chetein’ – a traditional Gaelic song originally sung by textile workers in the Scottish highlands as they treated wool in the process of making tweed.

Other material on the album includes a heartfelt rendition of the Irish singer, Dominic Behan’s ‘Patriot Game’. Originally written in the 1950s reflecting on the Troubles in Ireland, Hogan gives it renewed potency as a warning of the dangers of blind patriotism and manipulation by unscrupulous political leaders.

With Hogan’s characteristically distinctive vocals, intuitive feel for emotive story-telling and gorgeous instrumentation, Burnished is a worthy follow-up to Taking Flight.

Released: 1 April 2025 https://ameliahogan.com/

Related post:

Latest folk reviews: Amelia Hogan, RURA, Milton Hide, Joy Dunlop and Megson

This week’s featured artists: folk trio Curmudgeon – new album Travelling North

Album reviews, Folk music, Uncategorized, , , , , , ,

Travelling North is the debut album from this Edinburgh-based folk trio. Curmudgeon is made up of Donald Gorman, Laurie Brett, Donald Gorman and Andrew Macintyre

Donald Gorman is a highly rated Edinburgh-based fiddle player specialising in traditional Scottish music. He also plays mandola and adds accompanying vocals on the album.

Laurie Brett, meanwhile, is the band’s lead singer and guitarist and although originally from Essex, he’s spent the last four decades based in Scotland.

The third member of the trio, Andrew Macintyre, is a familiar figure on the Edinburgh folk session scene and a teacher of small pipes and highland pipes. In the band he plays Scottish small pipes and various whistles as well as providing vocals.

Photo: Caitlynn Neil

The ten-track album features five songs interspersed with five tune-sets. The songs are drawn from the trad. arr. canon with a couple of contemporary folk-scene favourites thrown in, including a reworking of the Richard Thompson classic ‘Beeswing’. Meanwhile the tune-sets feature a charming array of traditional  jigs, airs, reels and hornpipes originating from Scotland and the north of England.

There’s a quiet, gentle dignity about the trio’s music but no shortage of creativity. The arrangements are built around the wonderful musical interplay between the three musicians. The warm, engaging vocals of  both Brett and Macintyre bring empathy and sincerity to the storytelling in each of the songs and informative liner-notes provide insightful background information on the origins of each of the compositions.

Regardless of the name, it’s clear the trio have been anything but curmudgeonly in the way they’ve approached the making of Travelling North. A lovely debut.  

Released: 1 June 2025 https://www.curmudgeonfolk.co.uk/

Alt-rock: album review – Revolution Rabbit Deluxe ‘Rise’

Album reviews, Rock music, Uncategorized, , , , ,

Formed in Blackwood, South Wales in 2019 the deliciously-named Revolution Rabbit Deluxe are Ant Gingell (vocals/guitar), Max Perera (vocals/guitar), Tim Lawley (bass) and Lee Titterrell (drums). The band-name was  inspired by Gingell’s lifelong love of said furry friends with the random thought of one of them appearing on an iconic Che Guevara-style poster coming to him during a car journey discussing potential names one day. The ‘Deluxe’ part was then added to give a bit of extra sparkle.

The Pixies, Smashing Pumpkins and Feeder are all cited as influences, alongside the Beatles and XTC.

https://revolutionrabbitdeluxe.bandcamp.com/track/parabellum

As the name might imply, Revolution Rabbit Deluxe are a band that certainly don’t shy away from strident political commentary in their music. The new album Rise addresses such themes as Elon Musk and Jeff Bezoz blowing money on their pet space projects while children die of hunger (‘Chapter 9’); the fashion for cheap, easy virtue-signalling while failing to address fundamental issues of corporate power and economic inequality (‘We’re So Woke – We Haven’t Slept in Years’); and standing up and being counted (‘Rise’).

While there’s certainly anger and angst (and why shouldn’t there be!), there’s also plenty of joy, optimism and bags and bags of catchy melodies to be found on this album. The shared male/female vocals also work extremely well and while Gingell takes the lead vocal on the songs already mentioned, Max Perera provides some light and shade on the album with her lead vocal contributions on tracks like the anthemic ‘Starlight’ and the more mellow, acoustically-driven ‘The Night The Stars Fell’ which closes the album.

With it’s catchy tunes, spiky lyrics and punky attitude, Rise is well worth a listen.

Released: 19 September 2025 by Bad Monkey Records

This week’s featured artist: traditional flute player, Frances Morton – new album ‘Sliocht’

Album reviews, Folk music, , , , , , , , ,

Growing up in Glasgow, Frances Morton is a much celebrated flute-player with familial roots in both Scotland and Ireland. Learning piano at a young age, she later took up whistle and flute, winning several All-Ireland medals and becoming immersed in the session scenes in both Scotland and Ireland.

Since then, Morton has performed at festivals and concerts across Europe and the USA and has appeared in programmes for the BBC and TG4. Now living in Ireland, she has been active in the session scenes in Belfast, Galway and Donegal, playing alongside local musicians.​

Sliocht is Morton’s debut solo album. Meaning ‘trace’ or ‘lineage’, it celebrates Morton’s Scottish and Irish musical heritage where, from her extensive repertoire, she has curated a selection of jigs, reels, strathspeys and marches that have held a particular meaning for her throughout her life, all accompanied by an extensive set of liner notes, tracing the origins of the traditional tunes and explaining where she first learned them.

https://francesmorton.bandcamp.com/track/the-mayo-set-seit-mhaigh-eo

Produced by guitarist, Eamon McElholm, the album features a number of the top-flight traditional musicians Morton has collaborated with over the years, including fiddle-player, Ciarán Tourish; singer, Doimnic Mac Giolla Bhríde, on the one vocal track; Mark Maguire and Seamus O’Kane playing bodhrán on several tracks; and Ryan O’Donnell and Malcolm Stitt on bouzouki. Julie Langan, fiddle player from Mayo, also plays on one track.

From lively jigs to mighty reels to graceful airs, this album is packed full of majestic tunes and equally majestic playing, immediately transporting the listener from wherever they may be to the bars, community halls and timeless rugged landscapes of Scotland and Ireland. Dedicated to the memory of her late father, Sliocht celebrates Frances Morton’s musical heritage in style and does her forebears proud.

Released: 15 March 2025  www.francesmorton.com

Americana: album review – John Jenkins ‘Restless Hearts’

Album reviews, americana, Uncategorized, , , , ,

Singer-songwriter, John Jenkins, was once part of Liverpool’s ‘80s post-punk scene as a member of The Persuaders and Come in Tokio but as the decades rolled on it was as a solo performer and on the Americana scene where he began to really make his mark.

I reviewed his third album, the extremely promising Growing Old (Songs From My Front Porch) back in 2020, noting “Jenkins’ lyrics have a nice turn of phrase to them and he can clearly turn out some really, strong memorable melodies, too.”

A further album, If You Can’t Forgive You Can’t Love followed in 2021. However, it was his next album Tuebrook, that appeared to be something of a gamechanger and cemented his reputation as a critically-acclaimed figure on the UK’s Americana scene. Following a well-received EP, Weary, in 2024, Jenkins is back with a new full-length album.

John Jenkins: “My previous album, Tuebrook, was deeply personal, with most tracks drawing inspiration from significant moments in my own life. For this new album, I aimed to return to storytelling, crafting narratives that were less autobiographical yet still rich in character and emotion. Even while consciously creating fictional personas, I found that elements from my own experiences and the lives of those around me naturally wove their way into the fabric of the songs. The result is a blend of truth and fiction, where distinguishing one from the other is often challenging.”

Drawing inspiration from Bob Dylan’s John Wesley Harding album and Nanci Griffiths’ Last of the True Believers, Restless Hearts explores the theme of restlessness with songs about those who, in one way or another, are searching for more in their lives.

Restless Hearts demonstrates just what a gifted storyteller John Jenkins is. Its twelve tracks hit the sweet spot in capturing that enigmatic blend of sadness, longing and hope, set to some instantly appealing melodies and with a crack squad of A-list musicians, bringing depth, emotion and sheer class to this gorgeous collection songs. Highly recommended.

Released: 4 July 2025 https://www.johnjenkinsmusic.com/

Related Post:

Album review – John Jenkins ‘Growing Old (Songs From My Front Porch)’

Folk: album review – Odette Michell ‘The Queen of the Lowlands’

Album reviews, Folk music, , , , , , , , ,

Reviewing Odette Michell’s debut album for the much-missed fRoots magazine back in 2019, I wrote that The Wildest Rose was “one of the stand-out debuts of 2019”. Lots of commentators expressed similar levels of enthusiasm and she soon found herself on many people’s ‘one to watch’ lists that year.

Since then, Michell has performed alongside the likes of Show of Hands, as well as opening for folk luminaries like Martin Carthy, Phil Beer, Reg Meuross and Ninebarrow amongst others. She’s also recently begun performing with Karen Pfeiffer and Daria Kulesh in a new trio formation: Michell, Pfeiffer & Kulesh. However, it’s been quite some wait for a follow-up solo album – but finally it’s here.

Comprising ten original songs, The Queen of the Lowlands features an impressive line-up of guest musicians, including Chris Leslie, Phil Beer, Lukas Drinkwater, Vicki Swann and Stu Hanna (who also produced); alongside additional vocal contributions from Daria Kulesh, Calum Gilligan and the duo, Ninebarrow.

Reviewing Michell’s debut album I noted she had a “knack for writing songs that could easily have been collected over a hundred years ago”. A similar approach is clearly evident on this latest album, as Michell herself acknowledges.

“My approach to songwriting is to try to be as authentic as possible while keeping a foothold in the folk tradition – it’s a balancing act but every song is personal to me at some level.”

Highlights include the gentle nature-themed opening track ‘The Woodlark and the Fieldfare’ with vocal contributions from the equally nature-loving Ninebarrow; the more contemporary-sounding but no less gorgeous ‘Hourglass’, dedicated to Michell’s father and sung as a duet with Callum Gilligan; and the jaunty fiddle-driven closing track ‘All The Bonny Ships’, written about Michell’s Polish grandparents who got separated during WW2 but were miraculously reunited in Britain at the end of the war.

Title track ‘The Queen of the Lowlands’, meanwhile, (which features some characteristically spell-binding fiddle from Fairport’s Chris Leslie) is not about Queen Wilhelmina, the former Dutch monarch, but rather the ship named after her that played a heroic role in the First World War, transporting US troops safely back home. It’s one of several nautical-themed songs on the album, hence the striking cover art.

Following her hugely-impressive debut album, here Odette Michell has gone on to deliver an absolutely stunning follow-up. Infused with her deep appreciation and obvious knowledge of traditional song, The Queen of the Lowlands is a beautiful album with gripping storytelling, crystal-clear vocals and first-class musicianship.

Released: 13 June 2025 https://www.odettemichell.com/

Related post:

Folk: album review – Odette Michell ‘The Wildest Rose’