Tag Archives: album review

Singer-songwriter: album review – Lorraine Jordan ‘Send My Soul’

Send My Soul is the fifth studio album from singer song-writer Lorraine Jordan. Memorably described as ‘Celtic soul’ her music builds on her family’s Irish roots while also embracing more contemporary influences.

It’s a combination that works fantastically well and from the moment you put it on the album oozes soulful sophistication and captivating musicality. Indeed, such is the powerfully understated beauty of the title track that I had to double-check that this was a brand new song and not a modern interpretation of a long lost gospel soul classic.

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Not only is Jordan is a talented songwriter with a passionate soulful voice she’s succeeded in assembling a suitably talented line-up of musicians for the album. Jordan’s own guitar and bouzouki playing is complimented by a sensitive yet wondrous accompaniment of mandolin, piano, strings, whistle and percussion that help give these songs such a unique Celtic-inspired flavour.

If Celtic soul is truly a thing then ‘Send My Soul’ is surely a classic of the genre. Jordan has delivered an exquisitely appealing album here.

Released: October 2019 by Hazellville Music

https://www.lorrainejordan.net/

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Hard rock: album review – Burnt Out Wreck ‘This Is Hell’

This review was originally published by Get Ready To Rock here

After an extremely well-received 2017 debut ‘Swallow’, some barnstorming festival appearances and support slots for the likes of Anvil, Burnt Out Wreck – the band created by former Heavy Pettin’ drummer Gary Moat – ratchet up their impact with a second album.

While Heavy Pettin’ in the 80s (who had their back catalogue re-released recently) took their musical cues from the more polished classic rock albums of the previous decade, Burnt Out Wreck channel the down-n-dirty spirit of Bon Scott and early AC/DC.

As Moat says when I interviewed him for GRTR recently, “At 15/16 AC/DC were just the best thing in the world and Bon Scott was amazing. And so that’s why I sing like that, not because I wanted to copy what he was doing but just because that’s the way that my voice developed.”

As well as Moat on lead vocals the band are: Alex Carmichael on bass, Paul Gray on drums, Adrian Dunn on lead guitar and backing vocals, and Miles Goodman on rhythm Guitar and backing vocals. Moat’s vocal style developed in Mother’s Ruin, the band he put together in the early 90s following the demise of Heavy Pettin’. However, around five years ago he put Mother’s Ruin to bed in order to concentrate on songwriting. A number of songs that had lain half-written were finally completed for this album.

From the faux-dramatic introduction and killer riff on ‘Positive’ to the relentless boogie and tongue-in-cheek lyrics of ‘Paddywack’ to the seen-it-all-done-it-all-tales of rock ‘n’ roll life in ‘Guitars Electrified’ it blasts out the speakers like some long lost AC/DC album circa 1976. But the guys deliver with passion and conviction, Moat proves himself a very able songwriter and vocalist and Burnt Out Wreck easily demonstrate that they are far more than a poor man’s pastiche.

This Is Hell is a perfect album of sleazy, hard-hitting, in-your-face bluesy hard rock. Sure, it sounds like AC/DC but even if Angus and co. do release another album it’s not going to sound like this. Buy it!

https://www.burntoutwreck.com/

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Related posts:

Interview with Gary Moat

Heavy Pettin Reissues

Anvil / Burnt Out Wreck / VOiD at The Underworld, Camden 2018

Burnt Out Wreck at Classic Rock Weekender 2018

Burnt Out Wreck at Classic Rock All Dayer 2018

 

Heavy metal: album review – Quiet Riot ‘Hollywood Cowboys’

This review was originally published by Get Ready To Rock here

“After nearly ten years since the loss of his friend and co-founding member and bandmate Kevin DuBrow, and with careful consideration, soul searching and with the blessings and support of Kevin DuBrow’s family, Frankie has moved forward with the band to bring the fans a new record!” announce Quiet Riot as they release their latest album Hollywood Cowboys.

Always best known for their 1983 smash album Metal Health which included the hit cover of ‘Cum On Feel The Noize’ a song that finally brought the delights of Slade to an American audience, the band is now led by drummer and long-term member Frankie Banali who was part of the Metal Health line-up and has played on every subsequent Quiet Riot release since. Banali is joined by bassist, Chuck Wright, who’s been part of the band, on and off, since the early 80s and guitarist, Alex Grossi, who has been with Quiet Riot since 2004. Vocals are, once again, handled by James Durbin, who also sang on the band’s last studio album (2017′s Road Rage).

With a smoother and more melodic feel than the raunch of DuBrow’s vocals, Durbin a former American Idol frontrunner, has himself now left the band it’s been reported. There are some decent songs on this album and some powerful but hummable fast-paced hard rock. It includes one or two surprises as well. The slower, smouldering, bluesy feel of ‘Roll On’ is actually one of the real treats on the album.

Former lead singer Kevin DuBrow was such an essential component of Quiet Riot that debate will always be a matter of debate among classic-era fans as to whether, without him, it’s really Quiet Riot or not. Nevertheless, this latest release to bear the band’s imprint is an album of likeable, if somewhat generic, 80s-influenced heavy metal.

Released: Frontiers 8th November 2019

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https://quietriot.band/

Folk: album review – TMSA ‘Young Trad Tour 2018’

A simple, slightly quirky but effective idea, every year the Traditional Music & Song Association of Scotland (TMSA) run the Young Trad Tour project where they offer young musicians the opportunity to record an album with their contemporaries and tour their home towns. TMSA launched the project back in 2004 when the six finalists from BBC Scotland’s Young Traditional Musician Of The Year awards were brought together to tour and make an album and its been repeated each year since.

This year’s CD features the six finalists of the 2018 competition along with the winner of the 2017 competition and the full lone-up is as follows: Hannah Rarity (vocals and 2018 winner), Charlie Stewart (fiddle and 2017 winner), Ali Levack (whistles/pipes), Rory Matheson (piano), Luc MacNally (guitar/vocals), Amy Papiransky (vocals) and David Shedden (bagpipes).

The album contains a nice mix of original material and arrangements of traditional tunes. There’s a real maturity to both the playing and the writing but one of the undoubted highlights of the album is the wonderful voice of 2018 competition winner Hannah Rarity. Rarity’s talent had already come to my notice when I reviewed her debut release for the sadly now-defunct fRoots magazine back in 2017. It’s certainly encouraging to see her getting the recognition she deserves, not that the CD is merely a showcase for the winner. There’s some fine fiddle playing and bagpipes on this album and it is impressive to see this ad-hoc ensemble coming together with something as cohesive as this.

A wonderfully creative project and one that has delivered a fine album.

Released: 6th August 2019 by TMSA

https://www.tmsa.scot/

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Related review:

EP review – Hannah Rarity – Beginings

Singer-songwriter: album review – Gary Fulton ‘Blood and Dust’

Blood and Dust is the fifth album from Cheshire-based singer songwriter, Gary Fulton. Branded in the acoustic folk category, comparisons have been made with Nick Harper and Rory McLeod and his music has been championed by the likes of Fatea. To be honest, however, there’s so much zestful energy in his songs I heard everything in there, from George Thorogood to 80s/90s indie a la The Las to 60s flower-power era Status Quo. Fulton’s talent is undoubtedly an ability to combine engaging lyrics with unforgettably catchy melodies.

For one who creates music so appealing and with a comparatively weighty back catalogue Fulton has a fairly low-key presence online and there’s not a huge amount of information about the artist to be found either on his reverb-nation site or in the press release that accompanied the album. However, Fulton is certainly deserving of wider attention and, hopefully, the excellent Blood and Dust will go some way to achieving that.

Released: 8th September 2019

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Metal: album review – Sascha Paeth’s Masters of Ceremony ‘Signs of Wings’

This review was originally published by Get ready To Rock here

UK audiences may not be too familiar with German-born Sascha Paeth but the multi-instrumentalist and producer has had a hand in many, many dozens of albums for an extensive roster of bands over the past three decades. These include the likes of Avantasia, Kamelot, Rhapsody and Epica.

Now Paeth has put together his own band: “Finally, I am putting my energy into a metal project of my own. It is the sum of my experiences over the years and a bit of a revival of what I was doing in the past.”

The musicians that he’s recruited are Felix Bohnke on drums, André Neygenfind on bass, Corvin Bahn on keyboards and American singer Adrienne Cowan. Style-wise it explores a variety of different textures from the melodic to the more straight-ahead metal. Cowan’s powerful range certainly suits the mix of styles on the album from the full-frontal assault of ‘The Time Has Come’ to the symphonic Blackmore-esque ‘Weight of the World’ to the delicate piano-driven ballad ‘The Path’. All of the album’s eleven tracks are either written by Paeth alone or co-written with lead singer, Cowan, and demonstrate a good ear for creating catchy but powerful songs.

Production-wise it’s as polished as anything you’d expect from the Frontiers stable and Paeth and the record label seem perfectly suited to one another.

Powerful, melodic and inventive Signs of Wings is a piece of well-crafted European metal that’s worth seeking out.

Released: Frontiers 13th September 2019

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https://www.facebook.com/saschapaethsmastersofceremony/

News: Scottish folk band Skipinnish celebrate twentieth anniversary

Scottish folk band Skipinnish celebrate their twentieth anniversary this year. The band’s origins may have been modest, gigging in pubs and bars and village halls but their rise in recent years has been phenomenal – with prestigious venues selling out, many millions of streams on Spotify and other platforms and their latest album Steer By The Stars reaching number 4 in the charts. And that was not some obscure specialist folk chart but the actual official UK mainstream charts .

Now the album has been nominated for Album of the Year at the Scottish Trad Music Awards. Fans of the band can vote for the album here: https://projects.handsupfortrad.scot/scotstradmusicawards/voting/

Visiting familiar themes for the band of ocean, island, landscape, love, hope, mortality, friendship and the pull of home the album was officially launched to a packed house at Edinburgh’s Usher Hall back in May this year and has gone on to attract many enthusiastic reviews.

The band’s twentieth anniversary is officially marked with a special performance at the Glasgow Royal Concert Hall on October 25th and that will be followed by a short tour of Scottish venues in December.

https://www.skipinnish.com/

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Folk: album review – Bird In The Belly ‘Neighbours and Sisters’

Sifting through a stack of new folk CDs that arrived in the post for review over recent weeks, this one immediately stood out.

Bird in the Belly are a Brighton-based traditional four-piece and their debut album The Crowing, which was released in Spring 2018, caused something of a stir – picking up numerous plaudits including the Sunday Express’s album of the year.

Neighbours and Sisters immediately impressed the moment I put it on, putting me in mind of a pre-amped up, early Steeleye Span in some ways. The collective is made up of Ben ‘Jinnwoo’ Webb (vocals), Laura Ward (vocals, flute), Adam Ronchetti (percussion, acoustic guitar, shruti) and multi-instrumentalist Tom Pryor (violin, guitars, organ, banjo, bass, additional vocals). With eight traditional songs and two originals they’ve delved deep into the folk song index and unearthed some wonderful, but not particularly well-known, nineteenth century ballads and applied some breathtakingly good arrangements. Webb’s voice is as gravelly and full of character as Ward’s is pure and enchanting. Together they are a perfect fit. This sounds like an album I’ve been playing for years and fell in love with a long, long time ago – and I’ve only had it on twice so far…

An album of character, presence and purpose combined with superb vocals, effortlessly brilliant instrumentation and excellent song choices, Neighbours & Sisters is set to be one of the stand-out folk albums of 2019.

Released: 18th October 2019 by GF*M Records

https://www.birdinthebelly.com/

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Hard rock: album review – Big River ‘Redemption’

It’s been a long time coming and they’ve whetted our appetite with a handful of singles along the way but Kent-based hard rock outfit Big River have finally released their debut album.

Meaty guitar, soulful vocals, catchy hooks, great solos and chugging rhythm, not to mention some nice touches of harmonica, Redemption has a pleasingly retro feel to it with echoes of some of the great hard rock albums of the early to mid 70s.

Recorded over a two-year period at Rochester’s Ranscombe Studios in Kent under the guidance of producer Jim Riley, close to thirty songs were written for the album but they’ve narrowed it down to nine (ten if you buy the CD which includes a bonus track). Stand-out tracks include Blues Blood Baby, ‘Hometown Hustler’ and ‘Blackened Rain’ – all previously released as singles – alongside the anthemic ‘You Are My Sun’ and the soulful ‘Who Do You Want Me to Be’.

Big River are: Adam Bartholomew (vocals), Damo Fawsett (guitar), Ant Wellman (bass) and Joe Martin (drums). Guitarist, Damo Fawsett, comments: “To capture the energy and chemistry in every track, we record it live, we’re all in the same room playing the songs & that really does make for something special, no click tracks, no gimmicks and very minimal overdubs. What you hear on the recordings is how we sound live on stage.”

Redemption is available in two formats: 10-track CD which includes a CD-only bonus track and as a 9-track album on all digital platforms.

Fans of genuinely classic-era classic rock will find plenty to like on this album.

Released: 16th August 2019 on Trouserphonic

www.facebook.com/bigriverblues

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Related review:

Dave “Bucket” Colwell at Leo’s Red Lion, Gravesend 2016

Singer-songwriter: album review – Sheila K Cameron ‘River to Sea’

River To Sea is a collaboration by singer song-writer Sheila K Cameron and Johns Saich and Mags Russell of Wild Biscuit.

The project began life as seven tracks released in 2016 under the title More Like a River Than a Road, inspired by the Tlell River on one of the Haida Gwaii islands off the coast of British Columbia. The collaboration continued and another five tracks were recorded, this time with the inspiration moving to the the Tiree island, off the west coast of Scotland. Together both sets of songs form this album River to Sea.

There’s a depth and a maturity to Cameron’s lyrics and singing and in her biography she describes herself as being at the third stage of her work as a singer and performer. Some gentle and appealing musical accompaniment from Saich and Russell, particularly some beautiful piano playing, serves to make this a very appealing album.

I’ve previously championed the work of another singer-songwriter Marina Florance, another artist who emerged as a singer-songwriter later in life, and in their abilities to deliver heartfelt, passionate, authentic songs borne of lifetime’s experiences there are some obvious parallels. I am more than happy to recommend this album.

Released: 17th June 2019 by Glalell

https://sheilakcameron.com

http://www.wildbiscuit.com/

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