Tag Archives: album review

Blues rock: album review – King King ‘Maverick’

Album reviews, Rock music, , , ,

This review was originally published by Get Ready To Rock here

With a second lockdown, miserable British weather and little sign of something vaguely resembling normality returning any time soon a new King King album is probably just the antidote we need. Driving rhythms, fat riffs, soulful vocals and big choruses, Maverick takes us right back to the classic era of blues rock.

King King’s fifth album, there’s been some adjustments to the line-up since their last offering, Exile & Grace back in 2017. Joining Alan Nimmo (vocals/guitar) are Nimmo’s brother Steve (guitar) – the two toured together for a couple of decades as the Nimmo Brothers, of course – alongside Jonny Dyke (organ/piano), Zander Greenshields (bass) and Andrew Scott (drums).

“Recording the new album with the new line-up has been a whole lot of fun and very interesting,” says Alan Nimmo. “It’s great watching the guys using the great talent they have bringing the songs to life.”

From the bombastic swagger of opening track ‘Never Give In’ to the anthemic balladry of closing song ‘End of the Line’ Maverick has all the ingredients you’d expect from a great blues rock album, including some gorgeous guitar solos and lush soulful keys. Lyrically challenging? Not particularly. It’s mainly tales of childhood dreams, love, togetherness and sunshine – exactly the sort of thing you’d have expected Paul Rodgers to be singing about forty-odd years ago.

Will it change the world? No – but it certainly cheered me up on a wet and miserable day. Welcome back King King. Another album of well-written, nicely-polished and superbly-executed blues rock. Just what we needed.

Released: Channel 9 Music 6th November 2020

https://www.kingking.co.uk/

Related review:

King King at Hastings 2018

Folk-rock: album review – Merry Hell ‘Emergency Lullabies’

Album reviews, Folk music, Rock music, , ,

Never a band afraid of speaking its mind, committing pen to paper and pulling out some rousing anthems, for their latest album Emergency Lullabies Lancashire folk-rockers Merry Hell turn their attention to the climate crisis, lockdown and the NHS.

The climate-themed songs ‘Leave It In the Ground’, ‘Sister Atlas’ and Emergency Lullaby’ were originally released earlier in the year as singles.  Having spent three decades active in the green movement there are few issues as close to my heart as this one and I was delighted to hear the band were taking on the climate mantle. With subject matter such as this, however, there is sometimes a danger that the songs either end up a bit twee and preachy on the one hand or that they are so ethereal and other-worldly that they fail to really communicate the scale and terrifying urgency of the task in hand on the other. However, with these three songs Merry Hell pull it off magnificently. They don’t tamper with their formula: it’s classic Merry Hell, sung with that same mix of fiery passion and down to earth humility that rings out from all of their best recordings.

Emergency Lullabies is Merry Hell’s sixth album. Not only did they overcome the challenges of completing Emergency it during lockdown but the extraordinary events of 2020 would, of course, provide no shortage of inspiration. If ever a band were going to rise to the challenge of celebrating togetherness and mutual support during tough times as well as paying tribute to our key workers going the extra mile it was going to be Merry Hell. ‘Beyond The Call’ was written the night the UK went into lockdown in celebration of the NHS. ‘The Green Hill of Home’ and ‘We Are Different, We Are One’ meanwhile are typically anthemic sing-alongs on the theme of solidarity and community.

‘Violet’ takes a somewhat different approach, adopting that lighter, tongue in cheek, slightly music hall, slightly Victoria Wood-esque tone that can be found on Virginia Kettle’s recent solo album.

My absolute favourite track on the album though is another Victoria Kettle song, ‘Three Little Lions’, an epic, brooding, slice of folk rock that really put me in mind of classic period Steeleye Span. Just an absolute joy to listen to.

From poignant ballads to rousing anthems Merry Hell are just tailor-made for times like these and the musicianship remains as top-notch as ever.

Released: 8th November 2020

http://www.merryhell.co.uk/

Related posts:

Album review – Virginia Kettle ‘No Place Like Tomorrow’

‘Sister Atlas’ new single Merry Hell salutes those taking climate action

‘Leave It In The Ground’ – Merry Hell release climate call to action

DVD review: Merry Hell ‘A Year In The Life’

Album review: Merry Hell ‘Anthems To The Wind’

EP review: Merry Hell ‘Bury Me Naked’

EP review: Merry Hell ‘Come On England!’

Indie-folk: album review – The Sunny Smiles Three ‘Fireman Spaceman Mermaid’

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

Describing themselves as “vaguely acoustic music for the vaguely thinking person” The Sunny Smiles Three are a new alt-folk trio composed of John Parkes, Alaric Lewis and Simon Smith. All three have spent a good few decades as stalwarts of the UK’s indie music scene. Frontman, John Parkes, has been in the likes of the Greenhouse, Fuzzbird and the Sinister Cleaners. Alaric Lewis has played bass with Breaking the Illusion, Cyanide Pills and Suzi Blu as well as being an in-demand guitar tech for some of rock/pop’s royalty. Drummer, Simon Smith, meanwhile was in the Wedding Present, the Ukranians and Cha Cha Cohen.

Fireman Spaceman Mermaid is the trio’s debut album but also includes bonus songs from a recent EP, giving you a whopping sixteen tracks of delightful indie alt-folk-rock.

Named after the retro ‘Sunny Smiles’ charity booklets back in the 1950s and 60s, the three do a nice line in slightly quirky-but-beautifully-crafted acoustic songs with bitter-sweet lyrics and catchy melodies. Parkes is a gifted singer-songwriter, able to conjure up lyrics that so perfectly capture slices of everyday life – like a Ray Davies for the modern era. And with their impeccable indie pedigrees the three have enough musical clout between them to ensure Fireman Spaceman Mermaid is nothing less than a cracking debut.

Released: The Orchard / FR Records 16th November 2020

http://thesunnysmilesthree.blogspot.com/

Folk: album review – Jenny Sturgeon ‘The Living Mountain’

Album reviews, Folk music, , , ,

“The Living Mountain was written by Aberdonian Nan Shepherd, in the last years of the Second World War and it sat in her desk drawer until it was published in 1977,” writes Jenny Sturgeon in the album sleeve-notes.

Inspired by Shepherd’s memoir, once described by the Guardian as “the finest book ever written on nature and landscape in Britain,” Sturgeon’s album of the same name celebrates Shepherd’s nature writing and the Cairngorms mountain range in the eastern Highlands. Each of the twelve songs on the album take their titles from the chapter headings in Shepherd’s celebrated volume.

From the gentle birdsong and low mournful dulcimer hum of the opening track ‘The Plateau’ to the hypnotic piano and slowly pounding percussion of the final song ‘Being’, Sturgeon uncannily captures a sense of the beauty, bleakness and wonder that this very special landscape instils. Ten of the twelve songs are inspired directly by Shepherd’s writing while the remaining two are Shepherd’s own poems, set to music.

Joining Sturgeon who plays piano, harmonium , dulcimer, whistle and guitar are Mairi Campbell (viola and vocals), Su-a Lee (cello), Grant Anderson (bass and vocals) with additional field recordings from Jez Riley-French and Magnus Robb.

Beautifully sung and exquisitely played The Living Mountain is a captivating celebration of the natural world and timeless and inspirational nature writing.

Released: October 16th 2020

https://www.jennysturgeonmusic.com/

Folk: album review: Pat Walsh ‘Simply Whistle’

Album reviews, Folk music, , , , , ,

Simply Whistle pretty much does what it says on the tin. For the past five decades Pat Walsh has been part of the north-west traditional music scene and across each of its nineteen tracks this album puts Walsh’s tin whistle and her beautiful jigs, reels and flings centre-stage.

Walsh was born to an Irish family in Manchester in the mid 1950s. This beautifully-packaged CD with its informative twelve-page booklet details not only the background to the tunes, both the traditional numbers and original compositions, but also Walsh’s own life story and her abiding love of traditional music.

“I have tried to describe the really important part that Irish traditional music has played in my life,” she says in the sleeve-notes. “And my enduring passion for playing and listening to it. I have often wished that my great grandfather John Ryder, the fiddle player from Longford had done something similar for later generations to read. If my grandchildren or their children get the bug for trad music, I hope they find that this memoir and the tunes fill in the back story, or maybe even it will pique their interest. Either way, this is for them.”

Produced by Mike McGoldrick, who has played alongside Walsh and also features on the album, the production retains a clean and simple feel which works so well. Within seconds of putting the album on Walsh’s evocative playing has immediately transported you to another time and place.

Released: 14th September 2020

https://www.patwalshwhistle.com/

Singer-songwriter: album review – Garnett Betts ‘Highfield’

Album reviews, Folk music, , ,

Canadian singer-songwriter Garnett Betts‘ work springs from a folk/roots sensibility but there is no shortage of other influences, too, from jazz to blues to country to easy listening. With Highfield, his latest album, the result is some compelling story-telling in the best singer-songwriter tradition mixed in with some cool, laid-back jazz-tinged piano.

Featuring Betts on vocals, guitar and penny whistle, the album also includes Rick May on bass, Karel Roessingh on piano and keys and Alex Campbell on hand percussion.

“I definitely think that an up beat and more energetic feel runs through this album than my past work,” says Betts.

Betts’ story-telling really comes to the fore on ‘Smart Guys Don’t Fade Away’ described as a tale of unsolicited advice from youth through to maturity and one of the stand-out tracks on the album.

‘Farther On’ one of the two instrumentals on the album takes on a more overt folky feel with some atmospheric penny whistle giving the track something of a Celtic touch.

The more upbeat ‘Rendezvous’ meanwhile, with its catchy melody and slightly bluesy feel, immediately puts me in mind of one of those classic, mid 70s albums with that sun-kissed, west coast vibe and is another stand-out track.

A singer-songwriter with plenty to say and a diverse set of musical influences distilled into an interesting and coherent album. Check it out.

https://garnettbetts.com/

Folk: album review – Rura ‘Live At The Old Fruitmarket’

Album reviews, Folk music, , , , , ,

Recorded live at a home-town gig in the month before lock-down commenced, Glasgow’s folk instrumentalists Rura celebrate their tenth anniversary with this brand new live album. Live At The Old Fruitmarket documents Rura’s performance for a 1,200-strong crowd on the final day of the Celtic Connections festival back in February.

The foursome – Steven Blake (pipes and keys), Jack Smedley (fiddle), David Foley (flute and bodhran) and Adam Brown (guitar) are joined by former, past collaborators and long-time musical friends to celebrate the band’s decade of music-making. The concert includes guest slots for the band’s former singer and songwriter Adam Holmes, who contributes two songs, and guitarist Chris Waite in addition to other musicians, including Ali Hutton (Treacherous Orchestra) and James Lindsay (Braebach).

Fiddler, Jack Smedley, reflects: “Over the past ten years we have made incredible friends, made ridiculous memories and played a few tunes along the way! We want to thank everyone who joined us on stage that night at The Old Fruitmarket as well as every single person who has come to see us. We had a blast!”

Capturing some of the magic and atmosphere of what was clearly a very special night, the band and their guests are fizzing with energy as they revisit highlights from their back catalogue.

From fast and furious to melancholy and mournful anyone with a love of Scottish pipes and fiddle is going to love this album. And for anyone who was lucky enough to experience this as one of their last gigs before lock-down they are almost certainly going to want to purchase it as a memento of that evening.

Released 11th September 2020

https://www.rura.co.uk/

Folk: album review: Rakoczy ‘Frontrunner’

Album reviews, Folk music, , , ,

This review was originally published by Bright Young folk here

From traditional horse fairs, to the wooden ’obby ’oss, to the racehorse, to more mystical creatures, the horse has been an enduring fixture in traditional folk song. Racokzy brings such songs together in an inspired and ambitious approach for her debut album.

Rakoczy, full name Fruzsina Zsofia Rakoczy, was born in Budapest but has lived most of her life in Manchester. Coming to folk music via the Euro dance scene and local sessions, she sings and plays recorder, concertina and bagpipes, all of which can be heard on the album.

The album draws together traditional favourites like Skewbald, Poor Old Horse and Creeping Jane along with covers from the likes of US singer-songwriter Tucker Zimmerman and pastoral prog rockers Jethro Tull, in addition to a couple of originals.

In her biography Rakoczy cites influences as diverse as British and European traditional song, early music, classic rock, gothic and steampunk and draws inspiration from artists like Tom Waits, Marilyn Manson, Lady Gaga, David Bowie and Joan Jett. With a versatile vocal delivery and excellent musical accompaniment, the spectrum of emotions, moods and influences the artist and her backing band take us on over the course of this album is an exhilarating ride.

From the powerful bagpipe and drumming arrangements which lend atmosphere to opening track Hooden Horse, a Kentish calling-on song celebrating the parade of the wooden hobby horse through the streets of Broadstairs, to the sparse and mournful guitar and vocal arrangement on Little Dun Dee collected from septuagenarian Gypsy traveller Mary Anne Haynes in the 1970s, there is plenty for the traditional folk enthusiast to fall in love with on this album.

For their cover of Zimmerman’s Taoist Tale meanwhile, Rakoczy and her band, the Horror Show, channel the spirit of Mancunian indie favourites The Stone Roses. The album ends with a little bit of folk rock – not the late 60s variety but a blast of 1950s rock and roll as the traditional song Dead Horse is repurposed as a vintage electric guitar romp, a glorious and fitting tribute to our equine friends everywhere.

Quirky, inspired and creative Frontrunner is a superb debut and Rakoczy will most definitely be a name to watch out for.

https://www.facebook.com/pages/category/Musician-Band/Rakoczy-Music-101253771590149/

Folk/singer-songwriter: album review – Saskia ‘Are You Listening’

Album reviews, Folk music, , , , ,

Crystal clear vocals and songs that veer between folk and country with just a sprinkling of smooth slightly jazz-influenced pop Are You Listening is the latest release from London-based singer-songwriter, Saskia Griffiths-Moore.

The first of two-album deal with Suzanne Marcus Collins Foundation, it includes re-workings from her back catalogue as well as two brand new songs and a Leonard Cohen cover.

Whether or not you are familiar with her back catalogue Saskia turns in some fine renditions of her older material here, backed by David Ian Roberts (guitar), Thomas Holder (double bass), Ali Petrie (piano) and Gabriella Swallow (cello) giving the whole album a gorgeously mellow acoustic feel. Of the brand new songs both the optimistic and upbeat ‘Best of You’ and the sad and wistful ‘Come Comfort Me’ compliment the older material nicely.

I do like Leonard Cohen’s ‘Hallelujah’ and here Saskia sings it well. However, I’m not sure it’s entirely essential on this album given there are so many Cohen songs that haven’t been covered quite so many times. Never mind, she does sing it superbly.

A beautifully-recorded album and a fine showcase for Saskia’s burgeoning talents as a singer-songwriter – yes: we’re listing. An impressive album.

Released: 31st July 2020

Saskia

https://www.saskiagm.com/

Folk/singer-songwriter: album review – Virginia Kettle ‘No Place Like Tomorrow’

Album reviews, Folk music, , , ,

Virginia Kettle’s vocals have been a key element of of Merry Hell’s sound since the band’s inception a decade ago. Before joining her husband John, brothers-in-law Bob and Andrew, and sundry others in the eight-piece folk-rock outfit, however, she’d established herself as a singer-songwriter in her own right. As Virginia Barrett, she released two solo albums: ‘The Quiet Bridge’ and ‘Sense of Human’ prior to joining the band. No Place Like Tomorrow is her first solo album since Merry Hell began, however.

It’s a more intimate affair than a typical Merry Hell album, both in terms of personnel and in terms of subject matter. The songs have far less of an obvious political tone than many Merry Hell songs and here Kettle tends to touch on more personal matters: love, relationships, family life. ‘Union Jack House’ is the most political song on the album but is structured and delivered in a way that has surprising echoes of Victoria Wood (with a little bit of Are You Being Served thrown in!)

Fans of Merry Hell will already be familiar with the title track, given it appeared on their 2015 album The Ghost in Our House and Other Stories, sung by Andrew, was reworked for their 2018 album Anthems to the Wind, sung by Virginia, and is now reworked once again. A beautifully tender, less anthemic and more delicate rendering than before, this is now the definitive version in my view.

Although Kettle is not backed by the full band she is, at various points, supported by the Hell’s fiddle-player Neil McCartney, bass-player Nick Davies and her guitarist husband John Kettle. Indeed, on a couple of tracks the stripped-back, more intimate feel of the solo album really allows McCartney’s elegant fiddle-playing to take centre-stage: the title track and ‘Valentine’s Waltz’. For me, that tailor-made combination of Kettle’s vocals and McCartney’s fiddle make these two of the real stand-out tracks on the album.

A mellower and more personal offering than a Merry Hell release No Place Like Tomorrow is a charming album that showcases Virginia Kettle’s obvious talents as a singer-songwriter.

Released: 12th July 2020

http://www.vkandthedreamkeepers.com/

http://www.merryhell.co.uk

Related posts:

‘Emergency Lullaby’ Merry Hell’s song for action when we’re mired in apathy

‘Sister Atlas’ new single Merry Hell salutes those taking climate action

‘Leave It In The Ground’ – Merry Hell release climate call to action

DVD review: Merry Hell ‘A Year In The Life’

Album review: Merry Hell ‘Anthems To The Wind’

EP review: Merry Hell ‘Bury Me Naked’

EP review: Merry Hell ‘Come On England!’