Tag Archives: album review

Rock/singer songwriter: album review – Craig Finn ‘I Need A New War’

Album reviews, Rock music, , , , , ,

This review was originally published by Get Ready To Rock here

Brooklyn-based band The Hold Steady had already made quite a name for themselves with their lyrical storytelling and classic rock influences when their front-man, Craig Finn, began a parallel solo career back in 2012. The classic riffs and catchy melodies of The Hold Steady had given way to a more mellow musical approach in a Johnny-Cash-meets-indie-rock sort of way but, clearly, Finn had happened upon something that many were looking for. Finn’s last solo album We All Want The Same Things, released in 2017, received no shortage of plaudits and he will be hoping to make a similar impact with I Need A New War. Again, Finn’s rich narratives, world-weary characters and laid-back, seen-it-all-before delivery take centre-stage on this new album.

“I saw this record as the third part of a trilogy,” says Finn. “Thematically, this was the third group of songs that I had written about smaller moments – people trying to stay afloat in modern times, attempting to find connection, achieving tiny triumphs and frustrating let downs in their day to day lives. Also, this was the third record in a row that I’d made with these musicians, along with engineer D. James Goodwin, following Faith in the Future (2015) and We All Want The Same Things (2017).”

Finn has moved effortlessly from twenty-first century rocker to timeless singer-songwriter and the musicians he has brought together evidently have a natural feel for what the artist is working to achieve. Horns, piano and sensitive guitar work fill out the sound and give the release the vibe of an album you instinctively know is trying to tell you something. I Need A New War will certainly help cement Craig Finn’s reputation of a modern-day singer-songwriter of some note.

Released: 26/4/19 Partisan Records

https://craigfinn.net/

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Folk: album review – Dan Rauchwerk ‘We Are More Than What We Leave Behind’

Album reviews, Folk music, , , ,

This review was published in the Summer 2019 issue of fRoots magazine

Part of New York-base folk band The Lords of Liechtenstein, the harmony vocals of Dan Rauchwerk, in tandem with his brother Noah, have hitherto drawn comparisons with the Everlys. Now he’s doing a Don (or is it a Phil?) and branching out into a solo career. We Are More Than We Leave Behind represents Rauchwerk’s first album released under his own name.

Witty, quick-fire, thought-provoking lyrics reveal a real gift for storytelling. Whether real or imagined we are introduced to some intriguing and compelling characters in Rachwerk’s quirky ten-song alternative history lesson. Mrs McLaughlin is cautionary tale about war and young men signing up but rather than ending in death and mourning like so many folk songs it finishes with the would-be soldier’s mother visiting the recruiting sergeant to give him a piece of her mind. Victoria, meanwhile, “a devil to the Irish, grandmother to the Czar” is a wry look at the legacy of empire.

There is an attractive quirkiness to the music, too, with Rauchwerk’s collection of old instruments including a vintage parlour guitar, an oversized mandola and an Irish button accordeon all being heard on the album. Kyle Joseph on bass guitars and keyboards, Sam Kestenbaum on keyboards, and Spencer Inch on bodhran and assorted percussion assist Rauchwerk, along with Caitlin Mahoney on additional vocals.

Strong melodies and captivating lyrics, We Are More Than What We Leave Behind provides a modern and endearing take on traditional folk storytelling.

Released: December 2018

https://danrauchwerk.com/

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

Album reviews, Folk music, , , , ,

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

Folk: album review – Julie Felix ‘Rock Me Goddess’

Album reviews, Folk music, , , , ,

Although born and brought up in the US Julie Felix made the UK at home and established herself as a folk singer of repute in the mid 1960s, embracing the hippy scene and being a regular fixture on TV screens. Now aged 80, Felix is still singing and recording.

A personal message in the album’s sleeve-notes is all star signs, goddesses and mother earth, accompanied by a picture, of course, of a serene-looking Felix in the lotus position. You suspect her spiritual home, in time and in place, will forever be located somewhere equidistant between Woodstock and Greenham Common. No-one but no-one, however, should doubt the sincerity of Felix’s message nor the importance of the themes she tackles. Songs about ecological destruction, war, peace, power and love loom large, the anger and the hope embodied in the lyrics more relevant and certainly more urgent than ever before.

Woman, with its heartfelt message of female empowerment, is Felix’s perspective on the rise #MeToo movement. Tiger Eyes, meanwhile, takes on modern consumer culture and includes some amazing guitar soloing from guest guitarist, Doug Nofsinger. Amongst the other guests, Peter Knight (Steeleye Span, Gigspanner) provides some beautiful violin on three tracks, including a cover of Knight’s own Lullaby Kiss.

The protest singer personified, today’s world has not left Julie Felix any shortage of issues to protest about. Rock Me Goddess sees her in fine voice continuing to speak (or at least sing) truth to power.

Released: October 2018 by Talking Elephant

https://www.juliefelix.co.uk/

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Americana: album review – Elles Bailey ‘Road I Call Home’

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

This review was originally published by Get Ready To Rock here

After attracting a slew of favourable reviews with her debut album, 2017’s Wildfire, the Bristol-based singer-songwriter Elles Bailey is back with a follow-up. Like its predecessor, recorded primarily in Nashville Road I Call Home is a slice of soulful, classy, bluesy Americana. With her husky, emotive vocals and a definite ear for a good song it’s not difficult to see why Bailey has been picking up fans and rave reviews across a range of genres – from rock to folk to country to blues.

Backed by some top class musicians from the Nashville recording scene the album just oozes professionalism and quality. ‘Hell Or High Water’ is a suitably dramatic slice of country rock to open the album, while songs like ‘Little Piece Of Heaven’ and ‘Miss Me When I’m Gone’ perfectly capture the spirit of modern Americana. Some of the tracks, like ‘Deeper’ and ‘Foolish Hearts’ with their deliciously soulful organ and bags and bags of brass give an impression of being recorded not in Nashville but some 200 miles away and a several decades ago in Memphis’s Stax studio. But it’s that skilful yet instinctive blend of influences that has helped Bailey build a solid fan-base. ‘What’s The Matter With You’ meanwhile is a slow, smoky, heartfelt blues while the rock influences come more to the fore in the title track ‘Road I Call Home’ with its superb guitar solo.

Co-writing credits include renowned UK hit songwriter Roger Cook, these days firmly part of the Nashville music scene, along with Nashville’s own Bobby Wood who has written for Elvis Presley and Dusty Springfield among others. Bailey explains the process as follows: “Road I Call Home is a year’s snapshot of being on the road. Eight of the 11 songs were written in two months. I’m very honest to what I write, and right now that’s what I know. I live in that constant state of tiredness, but I love it. I feel so blessed to live this life.”

An incredible voice, some great songwriting and some seriously good musicianship, with Road I Call Home Elles Bailey and her friends in Nashville have given us an impressive album.

Released by Outlaw Music March 8th 2019

https://www.ellesbailey.com/

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Metal: album review – Spirits Of Fire ‘Spirits Of Fire’

Album reviews, Rock music, , , , , ,

This review was originally published by Get Ready To Rock here

Spirits Of Fire is the new outfit fronted by ex-Judas Priest singer Tim ‘Ripper’ Owens.

A supergroup of sorts the project brings together Owens (ex-Judas Priest, Iced Earth), guitarist Chris Caffery (Savatage, Trans-Siberian Orchestra), bassist Steve DiGiorgio (Testament, Death) and drummer Mark Zonder (ex-Fates Warning, Warlord).

Hailed as “classic Priest meets Savatage” guitarist, Chris Caffery, says: “My influences for writing on this record were the bands that we were and are still in! I wanted to write songs that Priest, Savatage, Testament, and Fates Warning fans would like. But, I wanted them to have a personality of their own as well. To give it a vibe that was Spirits of Fire.”

And do they achieve that? There’s a satisfyingly Judas Priest-like vibe to the Spirits Of Fire album and it’s a great slice of classic heavy metal: well-written songs, powerful vocals, dynamic riffs and a thunderous rhythm section. Opening with a furious ‘Light Speed Marching’ it nicely sets the template for the album as a whole and showcases Owen’s considerable vocal range. Title track ‘Spirits Of Fire’, which ended up also providing a name for the band itself, is another furious assault with some nice soloing from Caffery.

Just like on a classic Priest album where you will typically find the odd slower number, here we get the excellent ‘A Game’ and the anthemic ‘Alone in the Darkness’ the latter of which closes the album, both tracks taking the tempo down while sacrificing none of the heaviness.

The whole Spirits Of Fire project has been masterminded by LA-based producer Roy Z who has worked with the likes Bruce Dickinson, Halford and Tribe Of Gypsies and does a sterling job on production duties here. Eleven tracks of classic, polished heavy metal – this debut from Spirits Of Fire is well worth checking out.

Released: 22.2.19 by Frontiers

https://www.facebook.com/SpiritsOfFireBand/

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Folk: album review – Gerry O’Connor ‘Last Night’s Joy’

Album reviews, Folk music, , , , ,

This review was originally published by Bright Young Folk here

Acclaimed County Louth musician Gerry ’Fiddle’ O’Connor is a fourth-generation fiddle-player, has several decades of playing behind him and has worked with Irish folk outfits Lá Lugh and Skylark, releasing albums with both, besides a range of other collaborations. Last Night’s Joy is O’Connor’s second solo album, following up 2004’s Journeyman.

Across the album’s eleven instrumental tracks O’Connor displays his incredible versatility and virtuosity. The majority of the tunes forming each set are traditional, although there are a handful that have been composed in more modern times. Together, they each take us on a journey through a wonderfully spirited mix of styles, tempos, moods and emotions.

Meticulously sourced, the detailed sleeve-notes for Last Night’s Joy give a fascinating insight into the background to each of the tunes, The listener is therefore provided with little gems like the following, for the delicious tune-set The Old Dash Churn: “The collector Brendan Breathnach recorded County Louth fiddler Peter McArdle in Mark McLoughlin’s Bar in Dundalk in 1971. Apparently, due to time and resource constraints, he asked Peter to play only his more unusual tunes and these double jigs were learned from that recording.”

The haunting Bádaí na Scadáín with gentle piano accompaniment from O’Connor’s son Dónal, originates from the song of the same name telling the story of a father searching for his three fisherman sons lost at sea. Even without words none of the sadness is lost in this beautiful, mournful rendition which is one of the album’s real highlights.

Along with O’Connor’s son, the album also features luminaries of the Irish music scene including Séamie O’Dowd, Niall Hanna, Neil Martin and Seán Óg Graham among others. O’Connor’s namesake Gerry ’Banjo’ O’Connor also appears on one track, the punningly titled StereO Connor, for a set of gloriously energetic American polkas.

Anyone with a love for Irish traditional music and for vibrant, expressive fiddle-playing will, indeed, find this album a joy.

Released on Lughnasa Music on 1 October 2018

https://www.gerryoconnor.net/

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Hard rock: album review – John Diva & The Rockets of Love ‘Mama Said Rock Is Dead’

Album reviews, Rock music, , , , ,

This review was originally published by Get Ready To Rock here

Bouncy anthemic keyboards, smooth melodic riffs and catchy sing-along choruses John Diva & The Rockets of Love celebrate and take their cues from that mid-80s era of rock when the likes of Van Halen, Whitesnake (the rebooted American version) and Bon Jovi ruled.

Neither the band nor the album wear their influences lightly so when you listen to these guys there is absolutely nothing, and I mean nothing, to suggest the past thirty-five years have actually happened. The sound, the songs, the riffs, the lyrics, even the names of the band members (I give you guitarists Snake Rocket and J.J. Love) all suggest we are somewhere midway through 1984. This is good in many ways. After all, it was a much-celebrated period for hard rock where a number of bands became absolutely huge. However, some acknowledgement that life had moved on just a bit would not have have gone amiss either. In this post-Jimmy Savile, post-#MeToo era does the world really need a new song called ‘Lolita’ (the band’s single from the album)?

What they do, they do well though and there’s lots to like in tracks like ‘Whiplash’, ‘Wild Life’ and ‘Rocket of Love’ (even if the lyrics of the latter deploy every rock ‘n’ roll cliché known to man). We should also mention the obligatory power ballad ‘Just A Night Away’ – it is the 80s after all!

Frontman, John Diva, describes the album as follows: “It’s a trip for those who have lived and loved Rock ‘N’ Roll, for all those who still do so and for all the millions of people who up to now didn’t even know what they’ve been missing. We’re having a party as big as the eighties and you’re invited to let your imagination take flight by my wild and wonderful life.”

Personally, I think if I was going to travel back in time and permanently inhabit a past era of music, I’d be opting for the mid-60s British R&B scene or the late 70s NWOBHM scene – but if you love that mid-80s American rock scene you will no doubt absolutely love this album.

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Released: SPV/Steamhammer 8th February 2019

https://johndiva.com/

Folk: album review – John Smith ‘Hummingbird’

Album reviews, Folk music, , , ,

This review was originally published in the Winter 2018 issue of fRoots magazine

Two years after recording the album Headlong in Sam Lakeman’s Somerset studio, John Smith returned to lay down another new album. Unlike the former, however, which was built around Smith’s song-writing, Hummingbird is very much about celebrating traditional songs and paying tribute to the artists like John Renbourn, John Martyn and Bert Jansch who inspired Smith in the first place. Six of the album’s ten tracks are traditional songs with one cover version and three original numbers.

Less is more was the motto that Smith and Lakeman adopted while making the album. “A folk song’s clarity of purpose is exactly the reason why it has been played in pubs, living rooms and concert halls for hundreds of years,” says Smith. Indeed, this approach has absolutely paid off. Shorn of the typical embellishments we might have come to expect on a modern-day folk album there is beauty and simplicity in the the delivery that gives the lyrics in songs like Hares On The Mountain and Lord Franklin a real resonance.

The lone cover is Anna Briggs’ The Time Has Come which Smith first heard, like many readers will have done, on a Bert Jansch and John Renbourn album. Smith’s three original songs, like the beautiful title track, stand sympathetically alongside the much older material.

A gifted guitarist, a unique vocalist and an impassioned interpreter of traditional material, if John Smith has made this album for his musical heroes then he’s done them proud.

Released: October 2018

https://www.johnsmithjohnsmith.com/

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Folk/indie: album review – Trevor Moss & Hannah Lou ‘Fair Lady London’

Album reviews, Folk music, Hastings music scene, , , , ,

This review was originally published in the Winter 2018 issue of fRoots magazine

An integral part of London’s emerging indie folk scene for a number of years, Trevor Moss and Hannah-Lou left the capital for Hastings and are now firmly ensconced in the Sussex seaside town’s thriving local music scene. Three years on from their last album, Fair Lady London is the product of their changed setting and changed priorities.

There is still plenty to showcase the duo’s talent as songwriters here, however. The poignantly bitter-sweet We Should’ve Gone Dancing is immediately and utterly unforgettable while the guitar line on Everything You Need is as beautifully infectious as something that Bert Jansch might have come up with.

For their previous album the duo worked with renowned producer Ethan Johns but now they are back with the trusty 4-track recorder they used on their 2012 album, this time setting up in a castle in the East Sussex countryside. “I’ve never really liked studios,” confesses Moss. “The first one we ever stepped foot in was Olympic as teenagers, the same room as Hendrix, Zeppelin, Stones. I didn’t like it. It felt like a spaceship.”

The lo-fi approach works extremely well and gives the album exactly the kind of understated intimacy the duo’s songs warrant.

Now five albums into their career as a duo Fair Lady London sees Trevor Moss and Hannah-Lou continuing to make music that in its own delicate, gentle and thoughtful way continues to demand your attention.

Released: November 2018

http://www.trevormossandhannahlou.com/

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