ALBUMS: General RILEY CATHERALL WHEN I GO Independent
SEAN CHAMBERS THAT’S WHAT I’M TALKIN ABOUT Quarto Valley Records/Planet
crunching riffs power Willie’s ‘Sitting On Top Of The World’, and strings are bent right out of shape on the steamrolling ‘Howlin’ For My Darling’. Like Sumlin, Chambers’ vocals are good without being great, but, hey, that’s not what this is about. As a celebration of one of the greats of electric blues guitar, this comprehensively ticks every box. TREVOR J.LEEDEN
One of the standout features of Melbourne-based singersongwriter Riley Catherall’s debut album is that it is the sound of an artist in consummate control of his craft. Born and raised in Yass Valley (NSW), Catherall’s story includes tenures playing jazz and blues before he attended the CMAA Academy of Country Music and received invaluable writing experience with some of the industry’s best. When I Go has a clear streak of country running through it, but it also has a folk patina - of the wistful, reflective kind. It’s a blend that sounds like Neil Finn, Jason Isbell and Elliott Smith workshopping songs in Laurel Canyon. Most songs are mid-tempo, yet they rarely dissipate into the soft strumming void that many fall prey to. Catherall’s gentle musical approach might initially distract from the depth of reflective writing and poignancy in his lyrics – most of which are self-questioning or dissections of affairs of the heart, yet dig deeper and he’s guilty of many a cutting and memorable turn of phrase, particularly on ‘Germany’. Elsewhere, ’Leave Me Out To Dry’ has a heavenly chorus with a magic chord change, ‘No One’s Saint’ is a shimmering ballad laid bare, like the best of Wilco, while ‘Vacant Lot’, straightens up into a gently shuffling rock beat and some wonderful electric guitar tones. A quietly achieving and impressive debut album. CHRIS FAMILTON 88
Hot shot Florida blues/rock guitarist Sean Chambers’ latest release is sub-titled Tribute To Hubert Sumlin, something he is better qualified than most to perform. Sumlin, of course, needs no introduction to blues afficionados; as Howlin’ Wolf’s guitarist from the mid1950’s until his death, he was instrumental in the Chicago blues sound. From the late 1990’s, Chambers performed a similar role in Sumlin’s touring band and is clearly well versed in the nuances of the Sumlin catalogue. Ten of the songs here formed the backbone of Sumlin’s shows, and the only original, ‘Hubert’s Song’, is a barnstorming nod to the diminutive guitarist “you taught me how to play the blues…..”. Like his mentor, Chambers is an incendiary guitarist, prone to flourishes of cascading, white hot notes, and the tempo rarely drops below full throttle. Whilst numerous songs are from the mighty Willie Dixon and Chester Burnett canon, there are several exemplary Sumlin compositions, kicking off with ‘Chunky’, a churning instrumental with Chambers trading licks with keyboard ace Bruce Katz. ‘Do The Do’ is a floor stomper with vocals closely emulating Howlin’ Wolf, Chambers blitzkrieg notes pour down over a swirling B3 on ‘Goin’ Down Slow’, gut
KUTCHA EDWARDS CIRCLING TIME Wantok Musik/Planet
Just occasionally, coming across an album without any pre-conceived idea of what is enclosed or even who the artist is, has its own rewards. On first listening to Circling Time, one is completely immersed in the beauty of Kutcha Edwards voice. On second listening whilst perusing the booklet, the depth and meaning within Kutcha’s lyrics ignite a cultural awakening. Listening for the third time, the gracefully subdued ensemble imbues the music with rhythmic spirituality; it is glorious. These are songs that reflect upon the highs and lows of Kutcha’s life, a journey that encompasses injustice as well as jubilation. These songs are incandescent, sung not with an air of belligerence but with a spirituality that reaffirms a sense of love for family and for country; if “We sing for love/We live for justice/
We long for freedom/We dream of peace” does not touch the soul then perhaps the heart is made of stone. These nine songs, uniformly excellent, need to be heard as one, and yet, there are some that shine like diamonds. ‘We Sing’ (chorus above) floats on a massed choir of voices that renders the song an anthem, the elegiac tribute to his mother ‘Mrs Edwards’ is swathed in Dean Roberts’ atmospheric electric guitar, and ‘Singing Up Country’ is an exultant celebration that goes to the heart of indigenous cultural connection to the land. Circling Time is a magnificent, life affirming triumph, and Kutcha is quite possibly the finest contemporary Indigenous singer of his generation. TREVOR J. LEEDEN
JACK HOWARD’S EPIC BRASS LIVE AT THE GERSHWIN ROOM Independent
Call it The Great Australian Hornbook. As a member of Hunters & Collectors’ Horns of Contempt, Jack Howard is no stranger to Aussie songs featuring a horn section. As he mentioned in his memoir, Small Moments Of Glory, R.E.M’s manager doubted the validity of brass sections in rock ’n’ roll – until he heard the Hunnas. A couple of years back, Howard came up with the idea of a gig
