Raw Ramp Music Mag Steady Eddie Edition OCT 2015 by NEIL MACH

RAW RAMP

The Spirit of Music EXCITE Your Ears

STEADY EDDIE EDITION

The Best-Selling Albums of the Year — Reviewed

ED SHEERAN

SAM SMITH GEORGE EZRA HOZIER ETC. PLUS: JOE BONAMASSA MICHAEL SCHENKER JOEL HOEKSTRA THE LIBERTINES BUFFY SAINTE-MARIE JETHRO TULL TOUCHSTONE

Mercury rising? Joe Payne â&#x20AC;&#x201D; Page 9

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RAW RAMP MUSIC MAG

STEADY EDDIE EDITION The Libertines Page 4-5 Jethro Tull Page 6-7 Chantel McGregor Page 10-11 Touchstone Page 14-15 Arc Iris Page 16-17 Buffy Sainte-Marie Page 18-19 Joel Hoekstra Pages 20-21 Michael Schenker Page 22-23 Sam Smith Page 24-25 Ed Sheeran Page 26-27 George Ezra Page 28-29 Taylor Swift Page 30-31 Hozier Page 32-33 James Bay Page 34-35 Noel Gallagher Page 36-37 Paloma Faith Page 38-39 Leslie West - Page 13 DeQn Sue - Page 13 Soundcloud Choices - Page 12 Are These Singers As Good as Mercury? Pages 8-9

Touchstone

— End of an era? Page 14

Sam Smith — Review Page 25

Noel Gallagher — Review Page 37 Taylor Swift — Review Page 31

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Libertines â&#x20AC;&#x201D; Gutter-baby pop...

THE LIBERTINES Anthems for Doomed Youth Words & Images : @neilmach ©

UNIQUELY GRUBBY URBAN JIGS The new Libertines album is finally with us. The first product in eleven years… The band have rehabilitated, they have beaten distress and fled domination, they have turned around addictions and they have cursed damnation… In fact, they have survived long enough to find peace and forgiveness. The album was gonna be called ‘Hallelujah Day‘ — In January 2015 it was announced that Doherty had successfully completed his rehab treatment at the Hope Rehabilitation Centre in Thailand. He joined his companions (The Libertines) in the recording process for their third studio album. The album was crowd-funded on PledgeMusic. In July, the group announced to their fans that the album would be titled ‘Anthems for Doomed Youth.’

We had a listen: ‘Barbarians’ lumbers like a Port of London longshoreman after a long day of heaving and pulling. So acute is the waddle that you cannot stop yourself stooping whilst you listen. A stringy bass, with meshy drums, is loaded onto the vocal. There is a glimmer, though, amid the beat — but hope is often obscured by fuzzy darkness. My Oh my! What an expressive start to a brilliant recording. The darker voice on ‘Gunga Din’ — the first single taken from the album — loafs on the inside. The percussion streams at you like a scattering of hail hitting freeway concrete… And the hook on the barbed-wire vocal (“Couldn’t find a vein...”) is so sharp that it claws at your outer being like a mad jackal. The title track ‘Anthem For Doomed Youth ’ is sparsely sparkled and evenly speckled. The lyrics are artfully nostalgic: “Life could be so handsome...” And the sad-heart reminds us that this record is made in memory of Alan Wass, Amy Winehouse and Robyn Whithead. Lost. But not forgotten. We are the tribe that loved them.

‘Heart Of The Matter ’ takes the chortle and the briskly industrious activity of Weller (the short-tight guitar strokes, the darkened bass riffs and the singalong chorus) — then mixes it all with a shot of skapunk and some dark introspection. It reminds us, very much, of Morrissey. It’s perfect in every way! If you like uniquely grubby urban jigs, gutter-baby pop twinklings and modern folklore poems that seem to be lifted from finger-painted daubs on shit-house walls… And if you like punk that spikes the bastions of your soul — the soulful nature of The Jam, the cheerful invention of The Kinks and the dapper reggae beats of The Clash all rolled into one —Then this is most definitely for you. Impeccable pop-punk! Words: @neilmach 2015 © Link: https://www.facebook.com/thelibertines Anthems For Doomed Youth was produced by Jake Gosling and recorded at Karma Sound Studios, Thailand, over 6 weeks during April and May 2015

IAN ANDERSON Jethro Tull — Rock Opera

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ANDERSON IS NOW HEISENBERG

Oh no! We can almost hear you grumble as you read this… Another jukebox musical… Yes, it is true — here’s another ‘National Treasure’ — this time an old “Prog Rock God” — contorting some of his best-loved songs to make them fit a new stage show. It’s like squeezing square-shaped musical objects through round-shaped holes. The results are almost always going to be grotesque. But at least the good thing about this particular jukebox musical is that it is a reasonable concept. Ian Anderson, the singer / flutist / guitarist and front-man of the Brit band Jethro Tull is as creative and accomplished as his historical predecessor — the English farming pioneer who brought about the agricultural revolution. And this stage-show is, more-or-less, about that historical figure also named Jethro Tull. The history of prog-rock Anderson can be traced back to the late 1960’s, when the rock band that he fronted played the London club circuit under a variety of aliases. In the end, though, they got re-booked under a name given to them by a booker — “Jethro Tull.” The name stuck. Anderson, who, back in the Sixties, looked like Catweazle, was famous for wearing a big dirty coat, had verminous hair and played a magic flute. He soon became a well-known (if not a slightly eccentric) public figure. And from the album titled Aqualung onwards (1971) his band became a respected and successful presence on the ever-evolving British progressive rock scene. The ‘other’ Jethro Tull (as, once, every schoolchild could explain) was the 18th century gentleman farmer who invented agricultural machinery (such as the seed drill in 1701.)

This, along with other innovations, launched the second great revolution in British agriculture. Yields increased significantly, and in turn, the extra rations allowed populations to grow. So, his work nurtured and re-fueled a thriving British workforce, leading to the Empire’s dominant industrial position. Anderson’s new stage-show, comprising songs from the ‘Best of Jethro Tull’ songbook, re-tells the story of this famous farmer — though he translates the tale through modern eyes and he even dares to look at the future of agriculture and the challenges still to be faced: (Feeding the world’s 9 billion souls, for example). We saw the show at the superb Anvil Theatre in Basingstoke, UK. The show started with a huge ‘backcloth’ screen and, immediately, we were left in no doubt that this was to be an epic audio-visual experience. The musicians strode onto the stage. John O’Hara on keys, David Goodier on bass guitar, Florian Opahle on lead guitar and Scott Hammond on percussion. Last to arrive was the man himself. No longer a shabby panhandling beggarman… Now Anderson is Heisenberg. Baron of the music industry and kingpin supreme. After the video intro we were taken straight into the excellent ‘Heavy Horses’ and a wistful look at rural life before Tull’s revolution. Here the Reykjavik-based violinist and singer Unnur Birna Björnsdóttir was introduced. She, along with other cast members: David Goodier (who looked far too much like British UKIP politician Nigel Farage for comfort) and Ryan O’Donnell (who played the ‘young’ Jethro) with John O’Hara who later played the scientist — provided the supplementary vocals on the main songs. Of course, the main lines of the songs belonged to Anderson. Whose Sylvester sounding lisps and inclined vocalizations were perfectly pronounced with that strangely antagonistic attitude that we still admire.

That said, Ian Anderson is no Jon Anderson. So, while the magical voice could hold your attention on recordings, it is less suited to large, elegant auditoriums. Operatic it ain’t! And there was another problem too… We waited, like patient citizens, for the “magicians reveal”. You know, that moment when the curtain falls back… And the ‘true’ singers are exposed… But, unfortunately, there was no ‘Prestige’. The characters remained on the screen. Filmed onto a rather amateurish back-drop. The band merely played in front of this. This led to one member of the audience wondering out-loud if Anderson was “Actually playing the flute…” The second half of the show was much stronger. The story focused on Tull’s seduction by some of the ideologies of lowimpact farming and ‘Jack-in-the-Green’ was stalwart and enjoyable. ‘The Witch’s Promise’ was really excellent — as well as being nostalgic. With beautiful harmonies from Björnsdóttir. Like all Anderson’s compositions, the lyrics are somewhat puzzling. The songs have been rewritten (with new wording) to meet the requirements of the stage-show. This would be an album worth buying — if only to concentrate on that beautiful poetry. Anderson has not lost his touch. But does this piece really stand up as a work of art in its own right? Probably not. Is it enteraining? Oh Yes, you’ll like it… Especially if you have bought into the last 40+ years of the band history (like we have.) UK Europe and Worldwide Dates Have been announced: Link: jethrotull.com/jethro-tull-the-rock-opera

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Is Joe Payne the new Mercury?

The Sweetest Singers Since Mercury Here’s Our List of Singers Sweet as Freddie Words : @neilmach © I

Here we introduce you to some outrageously beautiful rock singers, who each have a vocal range of four octaves. In other words — they sing like “Mercury”. The vocalists on this list are all diva-like and majestic. They are the male equivalents of Liza Minelli, if you wish. To be compared to Freddie, we thought the singers needed to possess genuine grace, style and elegance. They had to be self-consciously wonderful and ingenuously theatrical...

6: Mika

3: Freddie Nelson

Queen and Mr. Big.

Singer, performer, writer and guitarist Freddie Nelson has been working a lot with Mr.Big/Racer X guitarist Paul Gilbert.

The British singersongwriter and pianist Michael Holbrook Penniman, Jr (thus MIKA) is back on the scene.

Their collaborations have been described as a cross between

His new release ‘No Place In Heaven’ is groovy-fun.

His voice is a thing of rare of beauty.

1: Olly Alexander English actor and screenwriter Olly Alexander is the lead singer of British synth-pop band Years & Years. Thousands have been singing along to his ballads and dancetracks all summer long. His voice has been favourably compared to Nina Simone. The band’s 2015 single, “King” went straight to number one in March. You have probably heard it. Because it’s everywhere. 2: Charlie Puth No doubt you have heard Charlie singing on Wiz Khalifa’s single “See You Again.” The song is taken taken from the Furious 7 soundtrack, as a tribute to the late Paul Walker. Charlie is an American singer, songwriter and record producer from Rumson, New Jersey. He came to prominence when ‘discovered’ on the Ellen DeGeneres show. In addition to ‘See You Again’ he released single “Marvin Gaye” with vocals from Meghan Trainor.

The vocals are part Nina Simone, and part ‘Bennie and the Jets’ Elton. Like Freddie, he was born abroad (Mika was born in Beirut) but he grew up in the ‘posh’ part of London.

4: Joe Payne

British musician Joe Payne is the lead singer (and EWI player) for the You will probably know him best from his 2007 single “Grace Kelly” which got to prog band The Enid. number one. And stayed there for weeks. It was formed from the skeletal remains of 7: Marc Martel Barclay James Harvest back in 1973. In September 2011, Christian rock musiHe is simply sensational. cian Marc Martel (from Montreal, And is probably the most technically proficient Canada) entered a vocalist on this list. competition to join Roger Taylor onJoe has an incredible range, a gift for songstage for the Queen writing & arrangement and more theatrical Extravaganza Live drama in his bones than Dame Shirley. Tour. His performances are always delivered with intense passion… And also huge dollops of humour. 5: Luke Spiller The Struts cover of Lorde’s song “Royals” always has the crowds yelping for more and gleefully singing along “Let me live that fantasy…” Go to a Struts show and you’ll leave happy. And you will hear, over-and-over the words “The lead singer is just like Freddie. ” The Struts are a British rock band from Derby, England. Front man Luke doesn’t just sound like Freddie he “Lives that fantasy…”

He submitted “Somebody to Love” on tape. It generated more than a million views on YouTube after just a few days. His recent ‘Impersonator’ release has been described as Police-meets-Muse-meetsQueen. He gets to the bottom of our list because, although his vocals are absolutely perfect (quite extraordinary, actually) he doesn’t quite possess the glamour that we see in our other choices. Words: @neilmach 2015 © Agree? Missed anyone off? Let us know @rawrampmag

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Chantel McGregor 窶認lies away...

CHANTEL MCGREGOR Lose Control Words & Images by @neilmach ©

OOZING SENSUALITY AND CURIOSITY

Those who have seen the British guitarist and songwriter Chantel McGregor in concert will know that she has a gushy personality.

Immersion in this strange place allows the committed musician to experience what it must be like to lose control.

She is extremely amiable — her shows are often scattered with reflections, meanderings and curiosities.

Chantel is a full-time music professional. She spends all her days dealing with the business of music. She is constantly working, “Dealing with emails, dealing with contracts, sending out invoices and chasing things…”

She tends to bubble with enthusiasm. Her shows offer her a rare opportunity, it seems, to enjoy a good talk with her neighbours and friends. She just wants to have a genial gossip. It’s because she’s a Yorkshire working-girl. Tattle and over-the-garden-fence chatter is part of her make up. Chantel comes from the wool capital of the world — Bradford. It was once an intensely industrial area. The spinners from the wool factories were legendary chatterblabs. But for such a friendly and home-loving girl — Chantel lives a long-way away from her Pennine origins while she is on the road. Relentlessly gigging, she regularly puts in 15 hour days. And it’s hard for her to find experiences worth re-telling. “I write songs about television programs or books that I’ve read — because that’s when I’ve experienced the most pain…” She once told us. Like many of us, the only real ‘drama’ in her busy life is experienced through television. So, it’s no surprise, really, that “Lose Control” — the new album by Chantel McGregor (out October 9, 2015) — is largely inspired by TV shows like True Detective or True Blood. She says she likes to plunge herself into this “Sinister dark world of depravation, magic [and] voodoo, writing from the perspective of the disturbed, flawed characters…”

So she becomes cut-off from real-life. Almost puritanically abstemious. She freely admits that she has never sampled the delights or dangers of boundless self-gratification and ill discipline. The new disc begins with ‘Take the Power ’ which is about losing oneself to a cult or some higher power. This is an alternative rock track. Perhaps taking influence from one of her favorite bands, Soundgarden. Threatening bass-heavy notes take us into dark territory. The “Control them… ” lyric is particularly powerful — coming across like a howl. A strong, piercing cry that creeps through the bones. The eruption of guitar, when it arrives, is agitated, steaming and fiery. Sharp, biting, and pungent. The next track ‘Your Fever ’ is the musical equivalent of experiencing the noonday sweats in the Pearl River lagoons.

A sullen cello sound winds through the expository guitar-work whose tangle and weave seems to suggest break down. Then freedom is alluded to — as the melody extricates itself from the increasingly converging danger. So here’s country music, hard rock and even pop jangle. Offered up by the award-winning artist who is most closely identified with the blues guitar. But Chantel does not consider herself just a blues artist. “I play Chantel music…” She once told us. “A bit of pop, a bit of rock, a bit of blues […] It’s got everything, all mushed together... ” And so, on her final track ‘Walk on Land ’ we get the first foray into progressive rock. She admits to loving Steven Wilson (of UK’s Porcupine Tree) and she enjoys experimenting with different time signatures and interesting instrumentation / vocal textures. This track is sluggish and melancholy. The carefully collected acoustic notes seem disturbing. Dark, they create tension — especially when coupled with the shady piano. Then comes the payoff. A drawn-out ribbon of guitar. It wriggles free from the song architecture. It draws breath before finding its own life. Then flies away.

‘Lose Control ’ is a treasure-chest of rewardRunnels of gloopy guitar run like rivulets ing, bright and clever songs. down the sodden back of this song. And, all the while, the atmosphere is thick with tension A mix of heavy riffs, scorching blues and hard and stickily moist. rock celebrations. Oozing sensuality and curiosity… ‘Anaesthetize ’ explores the guilt and despair caused by substance abuse. And, of course, all pleasantly punctuated by the perky talebearing gossipry that is the This song allows Chantel to express herself essence of Chantel. through her polished vocals (uncontaminated Chantel has lots of live shows this Autumn and Winter. but sensitive and empathetic.) Check: https://www.facebook.com/chantelmcgregor.co.uk/

SOUNDCLOUD CHOICE Andra Day is an American soul, R&B, jazz and blues singer. She released an album in August produced by Adrian Gurvitz (yes, he) and with Raphael Saadiq. She issued Rise Up on Souncloud as a free stream. Here’s a voice worth seeking out. It reminds us of Adele and the song makes us shiver... absolutely beautiful. Melanie Martinez is American singer-songwriter of Puerto Rican and Dominican descent. She appeared in the 3rd season of The Voice. She was on Adam’s team. She has issued “Pity Party” based around the 1963 hit “It’s My Party” from her new album ‘Cry Baby.’ Out now on Soundcloud. It’s a new spin on the golden oldie, with shaky vocals and freezing synth chips. Swedish synth-pop singer and songwriter Tove Lo says she was influenced by Robyn (understandable) and Courtney Love (less so.) Her “Habits (Stay High)” has been a huge single taken from her debut studio album ‘Queen of the Clouds.’ Now “Moments” has been released as a free stream on Soundcloud. Expect cool vocal drops and synth so cold it sounds like an ice chisel cutting through a glacier. Miley Cyrus announed she would release, for free, her independently produced & labelled fifth studio album, “Miley Cyrus & Her Dead Petz.” It’s an experimental album with lots of psychedelia and space-rock influences. It can seem haphazard. “I Get So Scared” is one of the tracks that’s doing well. It’s bold and colourful. Like a glitter ball (this time) spinning around at a lonely disco.. Berkshire singer-songwriter Sophie Cooke aka ‘Frances’ creates some lovely ballads with soulful vocals. She has released ‘Let It Out’ to stream free on Soundcloud. It’s incredible down-tempo softsong with a voice so healing that it allows all your voltages to be released at once Words: @neilmach © 2015

LESLIE WEST MOUNTAIN Guitarist to Release New Album The founding member of the New York hard rockers Mountain — Leslie West — will release his stunning new album ‘Soundcheck’ on November 20 via Provogue/Mascot Label Group. Mountain was one of the bands considered a precursor of the heavy metal genre… Nowadays the sounds of Mountain have become closely associated with the sampled drum breaks in hip hop — with moments of mountain cropping up in mixes by EPMD, Beastie Boys, A Tribe Called Quest, Nas and Kanye West to name but a few. Martin Barre, the extraordinarily talented Jethro Tull guitarist has said in interviews that Leslie West had a direct influence on his own style of playing. The larger-than- life “King of Tone” had his lower right leg amputated due to complications from diabetes in 2011… Yet still got up on stage to perform during the same year ‘Soundcheck’ is the sixteenth solo album from legendary rock guitarist, and it sees him lay down some of his most inspired music to date with the assistance of some true rock royalty. The eminent British guitarists Peter Frampton and Brian May, the former Jeff Beck keyboard virtuoso Max Middleton, the superlative vocalist Bonnie Bramlett (Delaney & Bonnie) and the late great Cream bassist Jack Bruce — a longtime friend of West — all contributed to the new record. The album is co-produced and engineered by West’s collaborator Mike “Metal” Goldberg. The new album can be pre-ordered right now.

DeQn Sue Exciting Ideas for a Snack DeQn Sue is an eccentric dreamer and an intelligent songwriter from Huntsville, Alabama. Her new EP ‘Snack’ written & produced by Deqn Sue with Kelvin Wooten starts with ‘Bloody Monster.’ This has a swarm of locust-like “ShimmySchmeees …” jetting-out irrelevantly, with feminist words and crazy-hearted extravagances… Ideas spurt-out so fast that it’s hard to get them all cornered to corral them in your mind... There is also juicy horn and jaunty piano to contend with. It will take a couple of plays to get on top of this, but it is very effective, all the same. And the song helps illustrate the fact that DeQn Sue has a voice that is red as ruby and more velvety than a pair of alpaca gloves. We start the next track ‘Calimazoo’ in a bad mood — then we arrive at an addictive acoustic guitar riff that offers us the luminous voice. Soon it begins to lord over us.

This song is casual and smooth. Like a cashmere throw of sounds. It embraces you warmly. Reminding us of Nancy Sinatra, perhaps, or filled with the dark, exciting bitterness of Kelis. ‘Aspire’ starts theatrically. Then begins the inquisition… It’s a bit like an interrogative & surreal version of “My Favorite Things” after which — Maria concludes that you must be an empty shell. Devoid of any sense and substance. It’s a great idea. It works extremely well. You are left with certain optimism. Because DeQn Sue rams home the message: time is running out so you might as well take all the opportunities (good or bad) when they present themselves. This is experimental hip hop, made with good heart and fun loving attitude. With funk, soul, psychedelia, gospel and jazz all making appearances, you are sure to find something in this Magpie’s Nest of ideas to entertain you. Words @neilmach © Image Provided by Artist’s Representative

Image: @neilmach 2015 ©

Kim Seviour —Sweet departure...

TOUCHSTONE

Oceans Of Time Words & Images : @neilmach ©

POIGNANT AND PORTENTOUS

The UK (Hemel Hempstead) five-piece prog rock band Touchstone was formed by keyboardist Rob Cottingham in 2002. Singer Kim “Elkie” Seviour along with bassist Paul ‘Moo’ Moorghen and drummer Henry Rogers joined the original players (Rob and guitarist Adam Hodgson) in 2006 — which is also when the group tried their hand at studio recording — they released an EP titled “Mad Hatters.” [In fact, this release featured vocalist Liz Clayden.] Classic Rock Magazine once described Touchstone as “A band who combine the prog sensibilities of Yes with the hard rocking aptitudes of Van Halen...” In the Spring of 2015 the band announced to fans that Kim Seviour would depart from Touchstone due to ongoing medical issues. Kim said “The condition and the lifestyle changes that it (M.E.) has resulted in, including a move cross-country, have made it impossible for me to commit to Touchstone in the way that it truly deserves. I need to take time to concentrate on my health and getting myself back to peak condition...” As a result, the band said they would go into hiatus after their final performance at Hard Rock Hell — HRH Prog — (North Wales) in March 2015. The support from fans was overwhelming —so the band added (at least) two more final dates. We were lucky enough to catch them at Hard Rock Hell and we re-listened to their fourth studio album ‘Oceans Of Time’ to prepare ourselves for their final shows. ‘Oceans Of Time’ continues their ‘Wintercoast’ story that started life as the title track of their “Wintercoast” Album in 2009. So here, then, are vertiginous cliff-faces of sound. And flurries of white-plumed guitars that soar and crest within crags. A narrow aural wind has been constructed by keys. And the sweet voice nods gently, like a feather dandelion caught in a cross- breeze. The melody is cold and salty –

harsh as the salt crust left glistening on the rocks at low tide. Otherwise, it is a sweet aria. Lifted by the beautifully crystallized voice of Kim. The clarity reminded us of Annie Haslam. But, like the sands of the Wintercoast, the topography of the Progressive Rock cliff face is also constantly shifting. And so, with ‘Oceans Of Time’ (the final track on the album) we get a lumpy, thorny thing. A spiny sea urchin of sounds. There is certainly an Eastern influence. And some ‘80s sounding bumps and burps. The voice of Kim descends lower than we can remember. And the symmetry of the male/female vocals is superbly successful. After the line “Take my hand to a better place…” A hard-nosed guitar snorts powerfully. And then a certain amount of silvery jazziness is present. But don’t worry. Because the translucent majesty of the sharpest guitar solo you’ve heard for a while is yet to come (courtesy of Adam Hodgson —pictured above, left.) This is a magnificent and impressive piece of work. Another familiar theme comes with ‘Shadows End’ the final part of the ‘Shadow Trilogy’ which started out on ‘Discordant Dreams’ in 2007. ‘Shadows End’ starts with an appetizer of engine-wheezing noises that kick over the delicate flurry of keys. A bass note groans in the background. Kim‘s voice takes control. But soon, a set of space-age of beeps and gloops introduces the voice of Rob. This vocal is glued against the framework – and then the whole edifice comes to a halt. The female voice is reintroduced. And it is then that the song settles down to a chugging rhythm – before the beautifully spooky finale. Back in 2009 there was a fair amount of criticism about ‘Solace’ the least-loved track on the ‘Wintercoast’ album. Many thought it was just plain daft. It was certainly mushy. So Touchstone updated the song on ‘Oceans Of Time’.

Now, it seems, the fears of the protagonist (the child) are seen through adult eyes. Thus, the theme is more poignant. Maybe even portentous. There is a deep sense of foreboding. We could not help wondering where these monsters actually were. Were they just “ghosts in [her] head” or were they horror-of-horrors – the very people that she relied on for her own security? “Look after me… I’m your little girl...” She implores. But can we? And do we? Now the song ignites the whole debate about how (little) we take care of the vulnerable young people within our society. If you prefer your prog-rock to be devoid of histrionics and theatrical pomp – but you have a passion for something great, inspiring and eloquent – then this should be for you. Recorded and produced at Outhouse Studios, with producer John Mitchell (You Me at Six, Lower Than Atlantis, Funeral For A Friend) this album is passionate and inspiring – with enough metal weight to please fans of prog-metal – while still pleasing melodic-rock aficionados. Go seek. The Touchstone Final Shows: Friday 20th November 2015 Boston Music Room - London Saturday 21st November 2015 The Assembly - Leamington Spa

“Solace” is now moody and smoky. Thin blue lines of gauzy synth swirl around the recognizable melody. 15

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Jocie Adams —Eloquent...

ARC IRIS

Long Time Coming

Words & Images : @neilmach ©

ANGELIC BUT STRONG

Arc Iris is a wonderful folk-pop group from Providence, Rhode Island, USA. They started in 2012 as a solo project for multi-instrumentalist Jocie Adams (vocals, guitar, composer) — previously a member of indie-folk band The Low Anthem. Their sounds include clever combinations of many styles, including musical references that range from the chamber music of the 19th century to 1970’s pop… And the band have many influences that are excitingly wideranging and eclectic enough to entice lots of new fans… These include Joni Mitchell, Genesis, Crosby, Stills and Nash and Alison Krauss amongst many others. Currently, you can see the band on their “Long Time Coming” 2015 Tour. We listened to their self-titled new album. The Swiss bankers, international traders, stock marketeers, dollar merchants and all their cashgrabbing friends, those who sit gloomily in secret hidden bunkers counting bright gilts and shiny gold-bonds…

They’re not real humans are they? NO! They are the “Money Gnomes” according to the song title from the album. This wonderfully convincing percussion-led ditty has plenty of rich innovation and experimental energy. Recalling for us, certainly, the township music brought to us by Paul Simon on his Graceland LP. But pungent banjo also helps to remind us that this is — at heart — a country-barn folksong. Thus we can jig-away happily with that frame of reference in our minds… Well, at least until an incredibly elegant piano trickles in, and, with that, a calming cello. “Money Gnomes” may be about about the challenges that await those hidden creatures who are constantly chasing the dollar, (and so it’s modern in approach) yet it still comes across as a vintage folk-song. This is an incredible artwork: Filled with imagination, jaunty verve, and — of course — humour. “Lost On Me” is gentler. But no less sweaty or productive.

And the single from the album—“Whisky Man” brings us sighing cello together with finely picked guitar.This harmony-anthem is filled with intelligent lyrical ideas. The voice of Jocie is angelic but strong. With small flashes of low-pitched trill, especially towards the end of the rhymes. She is eloquent and unflappable. The lilting mezzo-alto voice is, perhaps, a bit too much on “Canadian Cowboy’ and this track may not be to everyone’s taste. But “Might I Deserve to Have a Dream” has wobbly, chilly, metallic guitar and a lamenting cello that stands like a dark cloud in an empty sky. The album ends with the brisk jingle “Swimming”. It’s yet another track that — although poppy — breaks with the conventions of popular music. With its melodic embellishments —this is a high-rolling Russian romance song. With sepia-tinted epiphanies and avant-garde instrumentation, the inspirational folk songs from Arc Iris have many hidden depths. It is multi-layered perfection.

Buffy Sainte-Marie â&#x20AC;&#x201D; Poetic...

Spirituality And LIGHT

The native Canadian folk rock singer and talented songwriter Buffy Sainte-Marie was a feature of the folk scene in the mid-1960’s. She emerged at about the same time as her luminary Canadian contemporaries Leonard Cohen, Neil Young and Joni Mitchell.

This September, the legendary performer was the big winner at the 2015 Polaris Music Prize awards.

The title track is a cover of Alabama 3’s famous 2002 protest song “Power in the Blood.”

At the ceremony, her latest album Power in the Blood was named as the best Canadian album of 2015. We had a listen:

In 1963 she saw wounded soldiers returning from Vietnam... This inspired her to write a protest song titled “Universal Soldier.” The song became a big hit for Donovan in 1965.

Recorded in Toronto, SainteMarie enlisted three different producers for the disc: Michael Phillip Wojewoda (Barenaked Ladies), Jon Levine (Nelly Furtado) and Chris Birkett (Sinéad O’Connor.)

The original always did sound like an authentic dance-song with rattle-pots and stone percussions. This new version is full of hardwood clacks and monophonic expressionism. It’s also filled with spirituality and light.

In the UK she is probably best known for writing and performing the theme song for the revisionist Western “Soldier Blue” (1970.) She also co-wrote the Grammywinning song “Up Where We Belong” (for the 1982 movie ‘An Officer and a Gentleman’) with Jack Nitzsche and Will Jennings. The number went on to become a big hit for Joe Cocker and Jennifer Warnes.

‘Love Charms’ has that irresistible thump you would expect. Maybe this is a Ghost Dance or an incantation to help protect us against the loss of our love The recording begins with the inside. That voice trembles like twangy and slightly Easterna leaf on a stem. This is a wonsounding ‘It’s My Way’ which was the last track on her very first derful thing. album. “Ke Sakihitin Awasis (I Love You Baby)” has incredible This evocative revision has words. Lovely imagery. And impressive eagles gliding overbeautiful symmetry. It’s an head and rust and dust in every corner. And, even though it looks incredibly rich painting, with hypnotic rhythms and a back over more than 50 years cleverly worded subtext. of protest, there is still strong resolution in that gritty voice. Perhaps, now, it is a song of hope Drums, chants and poetic and liberation as much as a song notions — important issues dealt with in every shaky about revolution. breath… Yes, Buffy is now more relevant than ever! 19

Joel Hoekstra â&#x20AC;&#x201D; Substance & torment...

JOEL HOEKSTRA

DYING TO LOVE

BENEATH THE FIRE GROANS DWELL Joel Hoekstra — best known to rock fans around the world as the current guitarist for Whitesnake, and for his work with Night Ranger, the Trans Siberian Orchestra and the hit show Rock of Ages — will release his new studio album “Dying To Live” with his side-project — The Joel Hoekstra’s 13 on October 16th 2015 — via Frontiers Music SRL. The recording features a stellar cast of rock musicians who are all at the top of their game. The list includes Jeff Scott Soto (Talisman) vocals, Russell Allen (Symphony X) vocals on Long For the Days, Tony Franklin (Kenny Wayne Shepherd) on bass guitar, Vinny Appice (Hollywood Monsters) on drums and Derek Sherinian (Black Country Communion) on keys, as well as many other very special guests. Hoekstra has taken on the role of creative director with enthusiasm and gusto, and the result is an album filled with encouraging, emblematic rock. It has an overall sound that will be familiar to Foreigner fans. The general theme is about our stumble through life, experiencing all the struggles and disadvantages that seem so distressing at the time — yet finally we emerge as individuals, completed.

‘Dying to Live’ was conceived before Hoekstra joined Whitesnake, with David Coverdale giving the album his blessings. This impressive disc begins with “Say Goodbye To The Sun” which is a furious whirl of guitars and punctilious percussion. Beneath the fire, groans dwell and temperaments are barely controlled. The voice is fiercely aggressive, but also proud. As a prolonged parting, it doesn’t get much more indignant than this! Of course, the guitars are a notable high point of the song. Generous yet deliberately expeditious.

We enjoyed the dirty buzz of ‘Scream’ which — although bullish and lively — still contained an element of disheartening mortification. ‘What We Believe’ resonates with emotion.When the voice of Chloe Lowery (of the Trans Siberian Orchestra) breaks through the interlocking elements, it is a grand moment. The chemistry between singers is magical. It is a fitting conclusion to a brilliant album that is never short of ideas, beliefs and impulses. Yet the songs never resort to whimsy or caprice. The excellence and attention to detail shines in every moment.

‘Anymore’ has some wonderful harmonies. It is a singalong number, infused with a rumbling rhythm and This finale allows each listener to bundled with excitement in every come to their own conclusions. May corner. they be happy. Or, at the very least, objective. The breakdown whistles cold, like a cruel wind that sweeps across soliIntelligent, melodic hard rock that tary cliffs. does not compromise on creative imagination and never stops giving. ‘Until I Left You’ features the Words: @neilmach 2015 © amazing voice of Jeff Scott Soto. Link: https://www.facebook.com/JoelHoekstra13 Available for pre-order now This is a slow burner with an attractive hook. It’s filled with substance and torment. Here, the misery seems real. The voice of JSS is authoritative, and will restore any lack of vitality in body and mind.

Michael Schenker â&#x20AC;&#x201D; If anything, now extra-hard...

MICHAEL SCHENKER SPIRIT on a MISSION Words: @neilmach ©

PLACE DUTY AND PURPOSE Michael Schenker has always been a man with a mission. His goal? To deliver the joy of music... From a place of pure expression. The German grand-master of rock guitar is one of the most important figures in the world of melodic hard rock. His neoclassical guitar experimentation and his vibrant, ever-changing and imaginative output means that he is one of the most interesting guitarists on the planet. Schenker rose to fame as one of the first members of his brother Rudolf’s band — the Scorpions (1969-1973). The Scorpions had been opening for the British band UFO on their 1972/3 tour. At the end of tour, Phil Mogg offered Michael, who was then just 18 years old, a role in the band, playing lead guitar. This led to the temporary rupture of Scorpions, until Uli Jon Roth was recruited. During his time with UFO, Schenker took the band from their “space rock” beginnings, bringing them courageously into a new world of surprisingly landscaped hard rock numbers. He co-wrote, with Mogg, a series of impressively ornate compositions for the album “Phenomenon”, including the muchloved “Doctor Doctor”. In 1978 Schenker left UFO. He made a brief return to Scorpions before venturing on alone. He formed the guitar-oriented hard rock band The Michael Schenker Group in 1979. Over the years, Schenker has woked with the cream of hard rock royalty including vocalists Doogie White and Graham Bonnet, keyboard players Don Airey and Paul Raymond, bass players Billy Sheehan and Chris Glen and drummers Cozy Powell and Carmine Appice. To name just a few.

His main instrument, during much of his career, has been the Gibson Flying V, invariably played through a wah-wah pedal and Marshall amplifiers. In recent years, though, he switched to using a signature Dean V painted in his usual white and black livery. Schenker is a reliable and conscientious artist who feels a sense of place, duty and purpose. So it is no surprise that allegiances drew him to record the new album ‘Spirit On a Mission’ at the Kidroom Studios in Münster, Germany. The same place where ‘Bridge The Gap’ was recorded. He assembled some of his most trusted friends and talent to help record the album, including (‘Lovedrive’ era ex-Scorpions members) Herman Rarebell and Francis Buchholz on drums and bass, ex-Rainbow man Doogie White on vocals and Wayne Findlay on keys. Apparently Schenker began working on songs for the new album directly after the Bridge the Gap tour. But, during the studio process, original recordings and precious guitars were stolen. Although the robbery was a set-back, it only made the band grow fiercer and stronger. The experience unified them and helped them to create an experience for the listener, that is, if anything, extra-hard. Beginning with the extremely satisfying ‘Live and Let Live’ with it’s interesting chords, and compelling flow, the percussion is fast and invincible. The guitar work is filled with expression. And will cause shivers to run down your spine. It is consistently elegant. With a chorus that’s dangerously addictive. And the kind of voice that will lead your heart astray. We loved the inspired introductory riff on ‘Communion.’ This is a slow-paced blues number with some naughty guitar licks that dribble through the cracks like blood.

But, overall, this is a manly strutter and a cultivated celebration of hard rock. ‘Saviour Machine’ has deep growling bass notes and a howl that is reminiscent of Zakk Wylde. The pace struts like a stripper making a beeline for the richest player in the club. Yes, this is proud, prowling and purring. Then, at about the three-minute mark, the horizons open up and pastoral salvation is reached. But peace does not last long, because the number becomes torn and stabbed by razorsharp guitars. What a show! You will be reminded of the tempestuous vagaries of ‘Rainbow’ on “Something Of the Night.” This has the darkness of storm clouds brewing. And knowing nods to various classic hard-rock numbers from Deep Purple to Whitesnake. The composition will cause goose bumps to work their way up arms and force bolts of electricity to jolt through columns. The guitar-work is fascinating but never too experimental to enjoy. This is an incredibly accomplished piece. For lovers of Blackmore’s Rainbow — your needs shall be met. This album has more dash and polish than a Buick Wildcat and more energy than one hundred horses on a charge. It has more abundant versatility and unbridled excitement than Vienna’s Royal Court Theatre on opening night. You don’t have to be sentimental to like this, even though it’s touched with 1970’s enchantment. No, you just have to love rock! MICHAEL SCHENKER’S TEMPLE OF ROCK JANUARY 2016 UK TOUR: 24 HOUR BOX OFFICE – 0844 478 0898 BOOK ONLINE - www.thegigcartel.com Words: @neilmach 2015 © Main Image: R Laurence Harvey Smaller Image: Steve Brinkman 23

Sam Smith â&#x20AC;&#x201D; Generous healing

SAM SMITH

IN THE LONELY HOUR

Words: @neilmach ©

SADLY BEAUTIFUL

Sometimes you wake up feeling bad inside. Perhaps a disturbing dream seemed so vividly real that it left you left shocked and confused. Or maybe it’s because you simply do not want to face the day ahead. You know, in that moment of waking, that it is going to be too much to bear. It’s at times like these that the generously healing songs of Sam Smith will come to your emotional rescue. Suffering from inconsolable heartache ? Let Sam takes you by the hand and treat you... The 2015 Album Charts has been penetrated by British artists, and none have invaded our hearts more so than the Grammy Award winning singer and English composer Sam Smith. He first came to public attention with the Brit producer Naughty Boy’s annoyingly fresh and deliberately breezy “La La La” the first single to feature his remarkable voice. You will notice that Sam Smith is always walking along crowded streets in his music videos. Why? A solution to that puzzle is that the busy streets are filled, literally, with conflicts and obstacles. These need to be addressed with caution and compromise. So to walk along a busy road is a metaphor for leading a life full of obstacles Sam suffers the normal obstacles that we all face (plus, perhaps, a few more, I’ll come to those in a moment). He is a gay person. (In fact, he publicly thanked the man who he “fell in love with” and who broke his heart, because that man freed the intense passions that lay in his heart and led to the creation of this album.) His sexual orientation means that he is presented with extra obstacles to overcome. One of these appears to be the curious expectation (of many) that talented people deserve respect. That’s not the case... He doesn’t deserve respect because he is talented. Or he is gay. No, respect is something that should freely given to all our fellows... No matter what the race, colour, religion, sexuality,or rank is. Or, indeed, what rare talents they possess. This theme often seems to through Sam’s songs. Going down an unfamiliar street is a pretty unpleasant for many people. But when you suffer from an anxiety disorder such as OCD (Sam struggles with the disorder) imagine how difficult it can be.

OCD sufferers like Sam experience this kind of anxiety everyday. They hate to be in unfamiliar places, shopping malls, city streets, etc. The simple act of walking along a sidewalk can be traumatic.

Can his music ouch my soul? I like music to move me. I do not like my music to become a series of background sounds.... Or magnolia , pasty washes that I hardly notice.

Of course, anxiety caused by crowds of is not compatible with being an entertainer. So Sam has found that he needs to push himself into uncomfortable places in a determined way. He chooses to walk those mean streets (both metaphorically and literally) because exposure will do him good. This is a rather radical therapy. But it works.

But, the songs of Sam are determined and palpable. They offer enough passion to make a difference. They get into the head of me. And I start thinking. Taking stock of my motivations. And soon I realize how lucky I am.

For all these reasons, Sam Smith’s debut album ‘In The Lonely Hour’ is incredibly moving. The pace and the feel is kind, forgiving and tolerant. Oddly enough, the title track ‘In The Lonely Hour’ is not available on the disc, or on Spotify. This is song of heartbreaking, bautiful pleading. The opening line “I need someone... That I’ll look to...” Seems fatally torn from Sam’s abdomen like a honey bee sting. ‘Good Thing’ is a dream/panic song. The lush orchestration recalls the exuberance of musical theatre. But in reality, this is a simply strummed folk number (much like the acoustic pop of Ed Sheeran.) The beat develops gradually. And with it, the emotional pain. Sam has been accused of using ‘obviously’ straight people in his music videos... One theory is that he does not want to be accused of bashing straight people. Even though (evidently) they love to bash him! But I don’t think that can be right, can it? Every straight person loves Sam Smith (especially the girls) so I think it is far more likely that he uses straight looking actors and actresses because he is level-headed, good-natured and sensible. And anyhow, does the sexual identity of a person make any difference? If the images are attractive, and the acting is good, why is it so important? The songs of Sam are sadly beautiful. The compositions produce rhythms that are soft, with pliant articulations and chilled out vibes. But sometimes I wonder if his music is so sweet that it is almost clammy!

‘Money On My Mind’ is such sweet nourishment. You will not be able to get the tune outta your mind once it’s in there. If there is any real criticism of this number it is that it meets fully our expectations... Like an X-factor competitor lured onto stage by the promise of a chequebook and pen. It delivers handsomely. But, luckily, the song also triumphs over the triviality of humdrum because Sam’s voice is so uniquely mollifying, and so realistically sentimental. An unpleasant and intrusive image commonly experienced by many OCD sufferers is the thought of someone close to them dying. ‘Lay Me Down’ might address those fears. “Can I Lay By Your Side Next To You.... And make sure you are alright...” Is consoling after someone has just suffered a terrible loss. But, also, it is the act of comforting oneself ( “I am missing you like crazy...”) It’s almost spiritual. And when this ramps itself up, it gets stubborn and powerful. It’s as if Sam is saying to himself “I need to get through this.... But I need energy and determination... To overcome my pain ...” And that’s why this is such a sensational song. Just when you thought that loss & misery had knocked you down-and-out, Sam pulls you out of bed, and gets you to face life again. Lovesickness, broken relationships, facing the unbearable consequences of loss etc. The only way to calm and soothe those waking fears is to face them and deal with them head on. Work on them. So, Sam takes away the dreads of the night for you. Just sit back and let the songs do their job. 25

Ed Sheeran â&#x20AC;&#x201D; Dance things out...

ED SHEERAN

Words: @neilmach © Image provided by the artist or their representative

STOMACHS SYMBOLIZE SOULS

If there was any doubt in this rotten old world that our lives revolve around love (not hate, even though our masters and our media would have us believe such an awful thing) then the success of the English singer-songwriter Ed Sheeran certainly testifies to it. His new work ‘X’ — when you say out loud, you are supposed to say “multiply” — is probably one of the most-streamed albums in the world. Our Ed is certainly the best-selling iTunes artist in the UK. The third single from the album “Thinking Out Loud” achieved about three million views within the first 24 hours of its release. Yet it’s all about love. Those who have been lucky enough to have seen his melting heart live performances will know that he is more than just an exceptional recording artists. If anything, the songs are even better when they areplayed live. He can capture an entire stadium or captivate an open field... or bewitch a wine bar. The size of the audience does not concern him. He just gives his all. No matter how big or small the stage. “One” was the first song Sheeran wrote for the album and it is soothing in inexplicable ways. It’s the link-song between the two albums... The last song of + and the first song of x. They share. They consolidate.

‘I’m A Mess’ was produced by Jake Gosling at Sticky Studios, an independent music recording studio located in Windlesham, Surrey. The lyric includes the rather curious notion of putting one’s faith in one’s stomach! What is that all about? Well, in many cultures, stomachs are used to symbolize souls. People say they feel fear in their ‘pits’. Unpleasant feelings, anxiety and fears can make you feel unwell. So you ‘feel’ the symptoms deep in your stomach. And we also experience the nerves of excitement (butterflies), as well as getting an ‘instinct’ about someone, then we call it a ‘gut feeling.’ This song allows you to think about those connections.. A lot of people have told me that they prefer “Sing” over all the other Sheeran songs. This number was written with Pharrell Williams. Perhaps it’s the mezzo-soprano voice or the swishing sasha-swerve of the rhythm, or the infectious hook of the flawless production. I like to think pople like this the most because Ed just let go. He forgot about survival and ambition, caution and creativity. He just wanted to dance things out. And he wants us to get involved. “Don’t” was originally going to be the lead single for the album. It was produced by Benny Blanco, then again with Rick Rubin, and finally by both of them together. The ‘girl’ mentioned in the song was most probably Taylor Swift.

Ed was in two minds about even releasing this song because he genuinely thought that it was far too personal. In some ways it’s about Ed’s rise to fame. It’s about how fame has lead him into strangeness. This is influenced by hip-hop, yet is sung in the lyrical tenor range of a rock ‘n’ roll singer. This incredible mixing of styles earns new friends and increases audiences. Sheeran’s gift for bending genres is a real strength. Overall, the songs on this multilayered album deal with the notion that we are independent beings and our feelings and emotions cannot be controlled by an on/off switch. We could and should try to contain things. And attempt to manage ourselves. But sometimes, it’s obvious, we can not. Some of the song-lines are melodically simple, but then lyrics clatter out like dangerous projectiles. Some themes are immediately attractive. Others less so, but they grow on you.What is always on display here, though, is honesty and commitment. Sheeran is acutely aware that the horrible nibbling in our broken hearts won’t go away overnight. It’ll take time to repair the damage. So our hearts will go on hurting long after the healing process begins. Oh my god, how lucky are we to have Ed here to help us though it!

George Ezra â&#x20AC;&#x201D; From Darkest Peru?

GEORGE EZRA

An INTRUDER IN OUR MIDST

A lone teddy bear named Paddington was found by a kindly family at a London railway station. He was sitting on a suitcase that had been marked with a label. “Wanted on Voyage,” it said. Paddington Bear, the hero of the children’s stories written by Michael Bond, was a migrant. An asylum seeker who had arrived in London as a stowaway. Bond admitted he was influenced by his childhood memories of displaced persons (during World War II) forced to leave their homes during the Blitz. Evacuated children wore tags around their necks and kept their possessions (such as a favourite toy or a sandwich for the trip) neatly packed into small suitcases. Paddington Bear comes from “Darkest Peru.” The place is probably a metaphor for any figure other than ourselves. Punk, goth, brother from the ghetto, tramp, bag-lady, the lonely. Figures from “Darkest Peru” are all around us. They are villains, the unholy, the unusual or simply the unloved. The “Darkest Peru” is a stranger in our midst. The more ‘alien’ the intruder is, the more they begin to question our sense of freedom. Because, you see, even though we might want freedom for ourselves, and freedom for our families, we’re not so sure we want ‘our’ freedom to extend to others. We don’t want our freedom to go to those of “Darkest Peru” because our hard won freedom has boundaries. Boundaries such as our streets, our homes, our lives, our cities...

These are all off-limits to foreigners. We do not want “swarms” coming into our country (the words of Prime Minister Cameron, not mine) and we certainly don’t want a strange looking spectacled bear to stay in our house. Thank you very much. We are uncomfortable with the idea that ‘freedom is for all’. So we defend the overwhelming logic of it by focusing, instead, on the cost. We think that, perhaps, Ezra thinks he is a stranger. He certainly wears the ‘luggage’ label on his new album ‘Did You Hear the Rain?’ reminds us of Johnny Cash. Dark, mysterious, dejected. But when George hits the high “wooo OOO’S...” it sends the sound somewhere else entirely. Most likely, into your glands, lobes and fissures. This sinks in real deep. The song has a galloping rhythm (you will be yee-hawing to it). And it is dark, rich and even slightly sinister. But as addictive as yayo powder and glass. ‘Budapest’ is twee in a folksy way. Certainly, you must have it heard during the summer, blasting out of a radio speaker (any speaker) near you... But you may have thought it was a song performed by a veteran from the Delta Flats. But you’d be wrong! It’s our boy Ezra from Hertford (England) humming & strumming. And, at time of writing this, he is just 22 years of age. I think I had a crappy Casio wristwatch (and a calculator) but I never owned a keyboard. It’s about time an ode was written for this affordable junk.

‘Cassy O’ is jangled fun and filled with hand-clappy roots rockabilly. As a piece of contemporary folk, it’s fine. But not outstanding. But when you focus on the text, the magic happens. It’s not necessarily about ‘Cassy’ who says she needs to have a break... It’s actually about trying to control time. We lose time with each other. And we cannot go back to the beginning. Or can we? Maybe we’re all trying to control time. And it is more malleable than we might think! ‘Blame It on Me’ is softly strummed but has a huge heart. As usual, the young and dreamy presentation belies that wonderful ashen voice with its barrel-aged, charcoal filtered sourness. It’s like sipping Jim Beam from a bralette cup. Even better when savoured through lace and ruffles. So is Ezra from Darkest Peru? Does he feel like an stranger? Well, the songs are often breezy. And the production is always neat and finely balanced. So he is no stranger to commercial success. But some say his output is throwaway trash (I don’t agree) and some are very unkind about his voice. So, it is true, he does not meet our expectations. No, rather he exceeds them. And that is why he is an intruder in our midst. If Morgan Freeman was a folk singer, this is what he would sound like. If you like Nick Cave and Ed Sheeran, you will love this. 29

Taylor Swift â&#x20AC;&#x201D; The lure of bright lights...

TAYLOR SWIFT 1989

THE SLUR AND THE DRIFT

Taylor Alison Swift is from Pennsylvania. Though she was made in Nashville. Tennessee has been her home State since the age of 14. She was named after the singer James Taylor and born in 1989 — the year Rick Astley, Milli Vanilli and Roxette dominated the charts. Some people say that chart music has gone downhill. But when you compare Taylor Swift to the hit-makers of ‘89 you have to think again. 1989 is the title of her fifth studio album. The new album has been described by Swift as her first official “pop album.” The fine members of the Country Music Association must have been sobbing into their Consolidation Coal Company mugs when they heard that news... not least because even Loretta Lynn couldn’t make them so much money. But also because they could do with a new supply of young blood. Swift has sold 170 million units, to date, certified. Even Garth Brooks can’t match that action. Probably the next biggest (cross-over) act of all time were The Eagles. And they are way behind this little girl from Reading. In fact, Taylor Swift has earned a cool $220 million to date, making her the third most commercially successful country artist ever. (After Dolly Parton and Toby Keith.) But she’s catching up with them too!

And let’s not forget Swift is just 25. She has only been recording since 2004. (She was the youngest songwriter on the Sony/ATV Music books that year. ) “Shake It Off”, “Empty Space” and “Bad Blood” reached number one on the American Billboard Hot 100, while “Style” peaked at number six and “Wildest Dreams” got to number twelve. It’s time we listened to the album: The disc opens with “Welcome to New York” written with the OneRepublic front-man Ryan Tedder. This synthpop anthem was released as the second promotional single. The song gave rise to the idea that Swift had become the tourism advocate for the Big Apple. You might enjoy the harmonizing, the shrill voice and the synthy chips, but otherwise this is somewhat generic. (Wow! Would you believe she is talking about the lure of the bright lights?) Nevermind, we quickly get to “Blank Space” which was the album’s second single. Written with the Swedes Max Martin and Shellback, the song mocks the perception that Swift is a survivor of gazillions of failed relationships. It has a rock beat and synth-pop accompaniment. Strangely, it is almost a carbon copy of Katy Perry’s “Roar.” (And, guess what? Max Martin is on the credits for that one too!) But where ‘Roar’ was a song about self-empowerment, “Blank Space” is about — er? — not being as much of a slut as people might think!

“Style” is probably the most under-rated song on the album. It has a dense beat that pulses like a speedboat engine, penetrating deep within the capillaries. And the starry “James Dean...” chorus is crystalline and energy restoring. “Out of the Woods” is created from an anxiety-driven relationship and co-written with the Fun lead guitarist Jack Antonoff. This has a deep, fleshy outercoating and sweet, watery vocals. Here, there is more evidence that the 1980’s are back with us, this time with anthemic pretensions. It’s a shame, though, that she had to report the snowmobile incident with One Direction’s Harry Styles... Otherwise, this is a refreshing number. 1989 bursts with hit singles (if not any magic or intrigue) so it was always gonna be a sure-fire winner in the eyes of the faithful Swifties out there. If you like Katy Perry style that is sung with the slur and drift of, perhaps, Stevie Nicks — then come fly with Swift.

Hozier â&#x20AC;&#x201D; The new Van Morrison?

HOZIER

DEEP DISTURBING UNDER-CURRENTS

Hozier (Andrew Hozier-Byrne) is an Irish singer/songwriter from Bray, County Wicklow. He released his debut EP, featuring the hit single “Take Me to Church” in 2013 and his second EP “From Eden” — in 2014. His debut self-titled studio album was released in Ireland last September and globally in October 2014. Since then it has performed incredibly well. Hozier wrote the mid-tempo soul song ‘Take Me to the Church’, when he was a struggling musician. He was struggling to make ends meet, struggling to make himself heard and struggling to get his head around the Catholic Church’s position on homosexuality. It’s polite and refined. With drummer Fiachra Kinder acting as Hozier’s sole chaperon. Yet it is tremendously deep, with moments of darkest sorrow and doubt. And expressive vocals that will speak so much to your inner heart. When the break-through occurs (at about the one minute mark) it’s like an angel opening a door to let heaven’s golden light leak out.

It’s not an anti-religious or sacrilegious song, in any way (as some people might think) — but just politely asks why the Church has created prejudicial traditions over the years which, at best, are anti-Christian and at worst, anti-human. This is extraordinary. Haunting, refreshing. And Unstoppable. ‘Someone New’ is about wanting to re-live the transient delight of falling in love with someone new each day. The song pattern skips lightly, like a butterfly from meadow-flower to meadowflower. Of course, society frowns on such darting love-habits. The consensus is that one must settle down with a chosen partner. The system frowns upon dalliance. And the singer asks why? The firetips on the edge of this song illuminate the whole thing perfectly. And the holy-waterand-oil vocal works it’s magic magnificently. In the accompanying music video for ‘From Eden’ a pair of outlaws take care of an abandoned boy. It ends with the police arresting the odd do-gooders. Maybe it’s about dwelling on the past and considering one’s wrongdoings.

More importantly, though, it offers the hint of salvation and mercy even though what one is doing can be, at best, described as dereliction and will probably be thought of (by the authorities) as a misdeed. The rhythm is suitably awkward. With a flow that may remind you of a faulty tap. There’s also a yawing cellosound. But it envelopes that yellow-gold vocal in a very special way. This is soul that is not too far removed from Ben E. King in terms of sweet drifting. But, as with all of Hozier’s numbers, there’s a deep and disturbing under-current. And it won’t give way to happiness. Clever and dark takes on acoustic ballads, dry blues and heartfelt souI. If you like Jack Savoretti or James Bay, give this a try. Hozier is the new Van Morrison — for a confused generation.

James Bay â&#x20AC;&#x201D; Will make your toes flicker...

JAMES BAY

LIKE A STALLION ON FIRE

Discovered in a pub in London’s Kentish-town, half man and half hat, the articulate and successful English singer-songwriter James Bay was brought up in Hitchin, Hertfordshire, not far from the town of Hatfield, where, no doubt, he found his first bonnet. Aged 11, Bay was, apparently, inspired to play classical guitar after listening to Eric Clapton. When he moved to the seaside resort of Brighton to study, seven years later, he began to gain a reputation for his fresh open mic concerts. His career, from those days, has been whirlwind-fast. He caught the ear/ eye of Republic Records after a fan uploaded a video of him on YouTube, performing in the aforementioned Kentish Town hostelry. Within a week of that, he was signed to the label. His first EP —The Dark of the Morning — was released in 2013 and completed at Blackbird Studios in Nashville. Producer Jacquire King (Kings of Leon) worked on it. The uncertainty about the status of “Rock Star Bay” continues, however. His soft acoustic balladry is often watered down so much that his audiences may miss any of his true and sweet emotion. And his penchant to topple into pop, without giving proper notice, only makes him seem like a frustrated wannabe.

But, although his output is more often Paolo Nutini, than Mick Jagger — remember that he is not yet a finished product. He’s only 24 years old and he still needs to find his feet (and his audience.) And while his sweet voice will sometimes make your toes flicker with pleasure, there are other times too (maybe many) where there is hardly any substance in there at all. Not enough oomph, if you ask me. But then again, do not ask me, because Bay is already one of the best selling artists of the year. So what do I know?

“Let It Go” was written with the Ivor Novello Award winner Paul Barry ( he wrote Cher’s “Believe” with Jeff Lynne.) It’s true that despair, anguish and sadness are all lurking here. But the selfinspired energy of those high vocals will take you beyond all that. This is transcendent.

The album begins with “Craving” a song written with the Irish singer– songwriter and producer Iain Archer (Snow Patrol.) The juniper-berry vocal trembles. And Bay’s guitar is hoarse. These distinguishing features mean that the song is not excessively sweet... It’s just sentimental enough — arousing feelings of sadness and wistful affection for days past — without becoming a pathetic whinge.

The accompaniment is sparse, barely perceptible (actually) but it allows you to focus on the amiable and graceful voice. On this, he is not unlike Mr.Big (Eric Martin.)

“Hold Back the River” is a really great pop song. This alone guarantees the future of Bay. It has a calm and ultra-memorable finger-picked riff, a low and cocky bass line that takes us on an adventure — and a soaring chorus that rides into your heart like a stallion on fire. The immortal line: “ Lonely water... let us wander..” Will continue to haunt you when you sleep.

“Scars” has a warm indie sound and demonstrates that you do not need a million dollar budget, halfnaked women or profanity every fifth word... To make good pop songs.

This album is sweet and juicy. Perhaps there could have been more blues guitar solos (Bay is a mean player!) And sometimes the voice is so creaky that it wears you down. But, just when you feel defeated by the blues, those heartbreaking drupelets of song pick you up and hug you again. Marvellous! Beautiful indie-folk for fans of ‘The Head and The Heart’ or even ‘The Decemberists.’

Noel Gallagher â&#x20AC;&#x201D; Mancunian Scally Bunk?

NOEL GALLAGHER CHASING YESTERDAY

HE SHOULD WORK WITH WILSON

Sun Ra and his Space Arkestra played vanguard cosmic-jazz to the “Angel Race” for 37 years. Sun Ra was a magician on the synthesizer, an electronic keyboards genius, an incredible singer, a surreal percussionist, an accomplished band leader, wonderful composer, and amazing talent. But chances are you’ve never heard of him. In 1937 Sun Ra was transported to Saturn. Really transfigured, he was sent back to earth, where he began his ministry. He began to earn his keep as a swing-era musician (during World War II) and continued to meditate on his close encounter. In the mid 1950’s Sun Ra formed an independent record label (with Alton Abraham) so that he could issue his SuperSonic Jazz albums to delighted fans without the obstruction and manipulation of corporate bosses. (And you thought that indie-labels started in the punk rock era!) He worked all the way through the 1960’s, 1970’s and right into the 1980’s. His discography is the world’s largest. He has recorded dozens of singles and over one hundred fulllength albums. In 1990 he suffered a stroke, but even that did not stop him composing and performing. In fact he even found time to open up for Sonic Youth. He contracted pneumonia and died in 1993. Throughout his life, Sun Ra was a tireless innovator, a ground-breaker, an inventor and a pioneer. He was a musical teleporter. I mention Sun Ra because he is the antithesis of Noel Gallagher. Noel began his apprenticeship in the music industry working in the Inspiral Carpets road crew ( (because he failed in a bid to be the new singer once Steve Holt had signaled his intention to leave the band.) His brother Liam became the lead-singer of The Rain (later, Oasis) while Noel was away on Carpet duties. But somehow, on his return, Noel managed to con all the band into taking him on as both a songwriter and proxy manager. He admits that he bullshitted his way through important meetings. He half arsed his way into song writing.

But after finding some success with the band, he walked out on them at a crucial time of need. During their first tour of America. He had to be tracked down and begged to return. So, you could say, he is a bit flaky. When Britpop kicked off, his “rock and roll lifestyle” was pathetic. Buying cars he couldn’t drive, drugs & alcohol that he couldn’t consume and pools that he couldn’t dive into. The title of the fourth Oasis album probably sums him up best: “Standing on the Shoulder of Giants.” He’s been exceedingly lucky. He’s been a tart. He’s been a procrastinator. An imitating charlatan. And a mischievous mountebank. But that’s not stopped millions of people acquiring his records nor buying into the whole mancunian scally bunk that he has devised as his persona. Noel Gallagher’s High Flying Birds were formed in 2011 as his solo project once Oasis broke up. The band consists of former Oasis session pianist Mike Rowe, drummer Jeremy Stacey of The Lemon Trees, The Zutons bassist Russell Pritchard and guitarist Tim Smith. The band name is taken from the song “High Flying Bird” by Jefferson Airplane, which was recorded during their Signe Anderson period . ‘Chasing Yesterday’ is the second studio album by the band (the words are in the track “While the Song Remains the Same.” ) The album was self-produced — Brooklyn’s Dave Sardy was unavailable. Gallagher says that it is space rock! What, like Sun Ra? For real? The opening track shows a surprising lack of originality. “Riverman” is, if anything, a spluttering remake of Wonderwall. Less the good bits. But at least this re-imagining is kinda floaty. Maybe that’s why he thought it was space-rock. It’s as if you are experiencing the number through the veins of a tie-dyed shirt. The dulcet mention of the Beatles “Something” in the opening stanza is not exactly ground-breaking. Perhaps Pink Floyd was also an influence (the album was recorded in Abbey Road, after all.) So the liquid guitar melts like a gummy bear on a radiator grille and that bruising saxophone sits nicely as an endpiece.

The first single from the LP was “In the Heat of the Moment” and was also the last song recorded. It has a mini-beat and some odd bell-chimes. But the the “Nana’s” spoil the mood somewhat. They chortle heartlessly. And the riffs will spill into your guts. But something gets to you, it’s true, even though the chorus is lazy and underwhelming. “Lock All the Doors” is powerful and thrilling. With silver streamers of guitar. But it’s a rip-off of David Essex’s “Rock On.” Def Leppard at least had the courage and integrity to maintain the minimum percussion on their cover, which was the best part of the original number. Perhaps one of the most satisfying numbers on the album is the slow strummer “The Dying Of The Light” which also has some notes of true gemstone quality hidden about the place like Easter eggs on a lawn of gold. Some remarkable wordplay here also helps the song to become significantly better than some of the others. That charming man, the legendary guitarist Johnny Marr, performed on the album’s second single — “Ballad of the Mighty I.” This runs along a dark bass cordline and opens out with a wonderful harmonic and slices of moody synth. Yes, this is imaginative, melodic and monumental. We do not know when (and why) Noel became interested in prog-rock, but this could be the start of something really good. Next, he should work with Steven Wilson! If you like Oasis, Paul McCartney and — oh, I do not know — David Essex? Then you should buy into this. You can buy into this anyway. Whatever I say. Because Noel Gallagher always sells by the bucket-load.

PALOMA FAITH

A PERFECT CONTRADICTION

SMOULDERING SORROWFUL BEAUTY

‘A Perfect Contradiction’ is the third studio album by English artist Paloma Faith. Recorded in 2014, it has sold well throughout 2015. I tried to whip-up some interest for this Hackney lass a few years ago. I remember asking my colleagues if they had heard: “Do You Want the Truth or Something Beautiful?” And feeling dismayed when all I got back from them were blank faces and some very condescending nods. So I, for one, am glad that Faith is finally managing to get the attention she deserves. But it’s telling that she is only becoming recognised now that her songs are coming from the inventive minds of superior composers like Pharrell Williams, Diane Warren and John Legend. Plus production treatment by poeple like the English drum and bass duo ‘Sigma’. Ella Eyre’s song “Changing” got Faith her first Number One. Although it’s right to emphasize that Faith is still listed as co-writer on most of the songs on this new album. Maybe it was her passion for jazz singers like Etta James and Billie Holiday that held her back — (was she considered too traditional to be an effective pop star?) But I thought that her second single, “New York” — published in 2009 — would bring her glorious rewards. Yet the song only found moderate success. Maybe she really is the ‘Perfect Contradiction’ of an artist because her head is way up in the clouds, up in Count Basie’s celestial universe, while her Doc Martens seem firmly attached to East London mud. Till now, she hasn’t been able to get the necessary aerostatic lift to launch herself.

If you like Motown-style succulence, you are bound to love this album. “Can’t Rely on You” is so obviously Pharrell. You can recognize his beat a mile off. Faith’s voice, though, comes through the rhythm, proud and incisive (as it should do.) Because this song is about losing trust in someone you loved. It’s a big dance-floor number, but perhaps it does not let the singer show off her unique upper/lower range. It’s just an assortment of screams and squeaks. Warren’s lyrics on “Only Love Can Hurt Like This” are amazing. This is about missing someone like crazy and knowing that you will never be together. The whole thing is a theatrical outing. With intense passions about to let rip at any moment. When they do, it is truly impressive. Here’s a 1950’s re-brand you are sure to enjoy. Such sweet sorrow! If you liked Duffy and you’re wondering where she is right now, try Faith’s “Trouble with My Baby.” It’s pure Duffy. Except for the large portions of stolen “Rehab” that is! This song was supposed to be on the “Fall to Grace” LP but was left-over because it did not sound right. We really like it, but, but, but ... it’s a pop-jazz standard. You’ve heard it many times before. The Simply Be advert has brought many folk to the track titled “Ready for the Good Life”. Whilst the visceral nasal tones of that amberish voice will send shivers all the way down your Scotch Eggs, this is uplifting and confidence increasing. If you think the melody is reminiscent of something you heard once before, it may be because this song was co-written by the “Shine” (Take That) composer Steve Robson.

“Leave While I’m Not Looking” is the second Diane Warren composition on the Outsiders’ Edition (we recommend that you get this release of A Perfect Contradiction — it also includes “Changing.” ) This is a smouldering, sorrowful ballad. When Faith holds those long notes, you will hold your breath too. It is beautifully sad. But when the release happens, your heart will jump with joy. It is highly effective. This song can be seen as the counterpart of “Only Love Can Hurt Like This.” Too right, Paloma Faith is the perfect contradiction: A young pale curvette from London-town who possesses a million dollar voice that has the power and circumference of a Soul Train star like Sheila Ferguson. Yet Faith’s artistry is also darkly toned and moody. It is flecked with quirks in those lighter passages. She provides atmosphere and interest with every resonant inflection. The percussion on the production is a little brusque and impudent in places and some of the tracks are light on jazz yet heavy on pop... Otherwise this is a good choice... Especially if you’re a fan of Caro Emerald or The Puppini Sisters.

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